creative writing of fiction

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

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

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

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

What Is Creative Writing (Long Description)?

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

Bright, colorful creative writer's desk with notebook and typewriter -- What Is Creative Writing

Table of Contents

Let’s expand on that definition a bit.

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

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

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

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

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

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

Types of Creative Writing

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

Some of the most common types:

Short stories
Screenplays
Flash fiction
Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

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

Short stories are known for their brevity.

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

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

Novels (The Long Journey)

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

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

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

Readers get an immersive experience.

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

Poetry (The Soul’s Language)

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

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

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

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

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

Plays (The Dramatic Dialogue)

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

This format uniquely explores human relationships and societal issues.

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

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

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

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

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

Memoirs (The Personal Journey)

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

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

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

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

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

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

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

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

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

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

Creative nonfiction includes biographies, essays, and travelogues.

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

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

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

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

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

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

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

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

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

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

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

Clarity makes your writing understandable and accessible.

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

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

Coherence ensures your writing flows logically.

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

Conciseness

Conciseness is about expressing ideas succinctly.

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

Creativity is the heart of creative writing.

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

Consistency

Consistency maintains a uniform tone, style, and voice.

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

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

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

Exploring complex characters and themes is also key.

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

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

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

What Does a Creative Writer Do?

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

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

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

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

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

They may navigate the publishing world with agents and editors.

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

How to Get Started With Creative Writing?

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

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

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

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

Final Thoughts: What Is Creative Writing?

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

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

Fiction Writing Basics

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Plot is what happens in a story, but action itself doesn’t constitute plot. Plot is created by the manner in which the writer arranges and organizes particular actions in a meaningful way. It’s useful to think of plot as a chain reaction, where a sequence of events causes other events to happen.

When reading a work of fiction, keep in mind that the author has selected one line of action from the countless possibilities of action available to her. Trying to understand why the author chose a particular line of action over another leads to a better understanding of how plot is working in a story

This does not mean that events happen in chronological order; the author may present a line of action that happens after the story’s conclusion, or she may present the reader with a line of action that is still to be determined. Authors can’t present all the details related to an action, so certain details are brought to the forefront, while others are omitted.

The author imbues the story with meaning by a selection of detail. The cause-and-effect connection between one event and another should be logical and believable, because the reader will lose interest if the relation between events don’t seem significant. As Cleanth Brooks and Robert Penn Warren wrote in Understanding Fiction , fiction is interpretive: “Every story must indicate some basis for the relation among its parts, for the story itself is a particular writer’s way of saying how you can make sense of human experience.”

If a sequence of events is merely reflexive, then plot hasn’t come into play. Plot occurs when the writer examines human reactions to situations that are always changing. How does love, longing, regret and ambition play out in a story? It depends on the character the writer has created.

Because plot depends on character, plot is what the character does. Plot also fluctuates, so that something is settled or thrown off balance in the end, or both. Traditionally, a story begins with some kind of description that then leads to a complication. The complication leads up to a crisis point where something must change. This is the penultimate part of the story, before the climax, or the most heightened moment of a story.

In some stories, the climax is followed by a denouement, or resolution of the climax. Making events significant in plot begins with establishing a strong logic that connects the events. Insofar as plot reveals some kind of human value or some idea about the meaning of experience, plot is related to theme.

Character can’t be separated from action, since we come to understand a character by what she does. In stories, characters drive the plot. The plot depends on the characters' situations and how they respond to it. The actions that occur in the plot are only believable if the character is believable. For most traditional fiction, characters are divided into the following categories:

Protagonist : the main or central character or hero (Harry Potter)
Antagonist : opponent or enemy of the protagonist (Dark Lord Voldemort)
Foil Character : a character(s) who helps readers better understand another character, usually the protagonist. For example in the Harry Potter series, Hermione and Ron are Harry's friends, but they also help readers better understand the protagonist, Harry. Ron and Hermione represent personalities that in many ways are opposites - Ron is a bit lazy and insecure; Hermione is driven and confident. Harry exists in the middle, thus illustrating his inner conflict and immaturity at the beginning of the book series.

Because character is so important to plot and fiction, it’s important for the writer to understand her characters as much as possible. Though the writer should know everything there is to know about her character, she should present her knowledge of the characters indirectly, through dialogue and action. Still, sometimes a summary of a character’s traits needs to be given. For example, for characters who play the supporting cast in a story, direct description of the character’s traits keeps the story from slowing down.

Beginning and intermediate level writers frequently settle for creating types, rather than highly individualized, credible characters. Be wary of creating a character who is a Loser With A Good Heart, The Working Class Man Who Is Trapped By Tough Guy Attitudes, The Lonely Old Lady With A Dog, etc. At the same time, keep in mind that all good characters are, in a sense, types.

Often, in creative writing workshops from beginning to advanced levels, the instructor asks, “Whose story is this?” This is because character is the most important aspect of fiction. In an intermediate level workshop, it would be more useful to introduce a story in which it is more difficult to pick out the main character from the line-up. It provides an opportunity for intermediate level fiction writers to really explore character and the factors that determine what is at stake, and for whom.

Conflict depends on character, because readers are interested in the outcomes of people’s lives, but may be less interested in what’s at stake for a corporation, a bank, or an organization. Characters in conflict with one another make up fiction. Hypothetically, a character can come into conflict with an external force, like poverty, or a fire. But there is simply more opportunity to explore the depth and profundity in relationships between people, because people are so complex that conflict between characters often gets blurred with a character’s conflict with herself

The short story, as in all literary forms, including poetry and creative nonfiction, depends on the parts of the poem or story or essay making some kind of sense as a whole. The best example in fiction is character. The various aspects of a character should add up to some kind of meaningful, larger understanding of the character. If the various aspects of a character don’t add up, the character isn’t believable. This doesn’t mean that your characters have to be sensible. Your characters may have no common sense at all, but we have to understand the character and why she is that way. The character’s motives and actions have to add up, however conflicted, marginalized or irrational they may be.

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Start writing fiction

Course description

Course content, course reviews.

Have you always wanted to write, but never quite had the courage to start? This free course, Start writing fiction, will give you an insight into how authors create their characters and setting s. You will also be able to look at the different genre s for fiction.

Course learning outcomes

After studying this course, you should be able to:

identify strengths and weaknesses as a writer of fiction
demonstrate a general awareness of fiction writing
discuss fiction using basic vocabulary.

First Published: 09/08/2012

Updated: 14/05/2018

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Top 10 books about creative writing

From linguistics to essays by Zadie Smith and Toni Morrison, poet Anthony Anaxagorou recommends some ‘lateral’ ways in to a demanding craft

T he poet Rita Dove was once asked what makes poetry successful. She went on to illuminate three key areas: First, the heart of the writer; the things they wish to say – their politics and overarching sensibilities. Second, their tools: how they work language to organise and position words. And the third, the love a person must have for books: “To read, read, read.”

When I started mapping out How to Write It , I wanted to focus on the aspects of writing development that took in both theoretical and interpersonal aspects. No writer lives in a vacuum, their job is an endless task of paying attention.

How do I get myself an agent? What’s the best way to approach a publisher? Should I self-publish? There is never one way to assuage the concerns of those looking to make a career out of writing. Many labour tirelessly for decades on manuscripts that never make it to print. The UK on average publishes around 185,000 new titles per year, ranking us the third largest publishing market in the world, yet the number of aspiring writers is substantially greater.

Writers writing about writing can become a supercilious endeavour; I’m more interested in the process of making work and the writer’s perspectives that substantiate the framework.

There’s no single authority, anything is possible. All that’s required are some words and an idea – which makes the art of writing enticing but also difficult and daunting. The books listed below, diverse in their central arguments and genres, guide us towards more interesting and lateral ways to think about what we want to say, and ultimately, how we choose to say it.

1. The Hatred of Poetry by Ben Lerner An intellectual meditation on the cultural function of poetry. Less idealistic than other poetry criticism, Lerner puts forward a richly layered case for the reasons writers and readers alike turn to poetry, probing into why it’s often misconceived as elitist or tedious, and asks that we reconsider the value we place on the art form today.

2. Find Your Voice by Angie Thomas One of the hardest things about creative writing is developing a voice and not compromising your vision for the sake of public appeal. Thomas offers sharp advice to those wrestling with novels or Young Adult fiction. She writes with appealing honesty, taking in everything from writer’s block to deciding what a final draft should look like. The book also comes interspersed with prompts and writing exercises alongside other tips and suggestions to help airlift writers out of the mud.

3. Linguistics: Why It Matters by Geoffrey K Pullum If language is in a constant state of flux, and rules governing sentence construction, meaning and logic are always at a point of contention, what then can conventional modes of language and linguistics tell us about ourselves, our cultures and our relationship to the material world? Pullum addresses a number of philosophical questions through the scientific study of human languages – their grammars, clauses and limitations. An approachable, fascinating resource for those interested in the mechanics of words.

4. Madness, Rack, and Honey by Mary Ruefle The collected lectures of poet and professor Mary Ruefle present us with an erudite inquiry into some of the major aspects of a writer’s mind and craft. Ruefle possesses an uncanny ability to excavate broad and complex subjects with such unforced and original lucidity that you come away feeling as if you’ve acquired an entirely new perspective from only a few pages. Themes range from sentimentality in poetry, to fear, beginnings and – a topic she returns to throughout the book – wonder. “A poem is a finished work of the mind, it is not the work of a finished mind.”

5. Feel Free by Zadie Smith These astute and topical essays dating from 2010 to 2017 demonstrate Smith’s forensic ability to navigate and unpack everything from Brexit to Justin Bieber. Dissecting high philosophical works then bringing the focus back on to her own practice as a fiction writer, her essay The I Who Is Not Me sees Smith extrapolate on how autobiography shapes novel writing, and elucidates her approach to thinking around British society’s tenuous and often binary perspectives on race, class and ethnicity.

6. Threads by Sandeep Parmar, Nisha Ramayya and Bhanu Kapil Who occupies the “I” in poetry? When poets write, are they personally embodying their speakers or are they intended to be emblematic of something larger and more complex? Is the “I” assumed to be immutable or is it more porous? These are the questions posited in Threads, which illuminates the function of the lyric “I” in relation to whiteness, maleness and Britishness. Its short but acute essays interrogate whiteness’s hegemony in literature and language, revealing how writers from outside the dominant paradigm are often made to reckon with the positions and perspectives they write from.

7. Mouth Full of Blood by Toni Morrison An urgent set of essays and lectures from the late Nobel prize winner that collates her most discerning musings around citizenship, race and art, as well as offering invaluable insight into the craft of writing. She reflects on revisions made to her most famous novel, Beloved, while also reflecting on the ways vernaculars can shape new stories. One of my favourite aphorisms written by Morrison sits on my desk and declares: “As writers, what we do is remember. And to remember this world is to create it.”

8. On Poetry by Jonathan Davidson Poetry can be thought of as something arduous or an exercise in analysis, existing either within small artistic enclaves or secondary school classrooms. One of the many strengths of Davidson’s writing is how he makes poetry feel intimate and personal, neither dry or remote. His approach to thinking around ways that certain poems affect us is well measured without being exclusive. A timely and resourceful book for writers interested in how poems go on to live with us throughout our lives.

9. Essays by Lydia Davis From flash fiction to stories, Davis is recognised as one of the preeminent writers of short-form fiction. In these essays, spanning several decades, she tracks much of her writing process and her relationship to experimentalism, form and the ways language can work when pushed to its outer limits. How we read into lines is something Davis returns to, as is the idea of risk and brevity within micro-fiction.

10. Essayism by Brian Dillon Dillon summarises the essay as an “experiment in attention”. This dynamic and robust consideration of the form sheds light on how and why certain essays have changed the cultural and political landscape, from the end of the Middle Ages to the present time. A sharp and curious disquisition on one of the more popular yet challenging writing enterprises.

How to Write It by Anthony Anaxagorou is published by Merky Books. To order a copy, go to guardianbookshop.com .

Creative writing
Toni Morrison
Zadie Smith
Lydia Davis

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Elements of Creative Writing

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

Formats Available

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Learn more about reviews.

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.

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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How to write science fiction and fantasy

Fantasy and science fiction are two of the most exciting genres in publishing at the moment. Here, two Penguin editors break down the SFF genre and give their top tips for writers looking to publish their novel.

What makes a book science fiction or fantasy?

“Fantasy books have a fantastical element incorporated in some way – whether it’s an alternate world, or the real world but with a fantastical creature or a touch of magic,” explains Carmen McCullough, Publisher at Penguin Random House Children’s. “Science fiction sits in a slightly different space as it doesn’t necessarily have to feature magic or fantastical spaces – it creatively depicts the impact of imagined or real science on our world or alternate worlds. This could be anything from a romance set in space to a thriller set against the backdrop of a climate change apocalypse. And of course, the two categories often overlap.”

These categories are vast, with a huge range of sub-genres falling under them. “I’m working on a really varied range of titles, from a gorgeous gothic fairytale romance inspired by Polish folklore Where the Dark Stands Still by A. B. Poranek to an accessible and epic new romantasy series Heir of Storms and a high concept love story that defies the boundaries of time and space – Our Infinite Fates by Laura Steven.”

“The world is so big, which serves as a real plus to you as a writer,” adds Jorgie Bain, Assistant Editor at Penguin Michael Joseph. “When it comes to sub-genres, fantasy has so many that the possibilities feel endless. We have the newly named romantasy that has always been around but found its spotlight recently. We have epic fantasy where books can feel more classically written, grander in the adventure scale, or the world building is very intricate. We have magical realism which literary fantasy and urban fantasy fall into, something that's drawing from the real world but putting a magical spin on it. And then of course, we have science fiction and horror, that have a whole array of sub-genres falling under them.”

What about writing for younger readers?

“Middle grade titles tend to be for readers aged 8-12. The protagonists are of a similar age or slightly older as there is an aspirational quality to reading fiction, particularly as a child where you might be keen to read about a character a little older than yourself,” explains Carmen. “YA protagonists tend to be late teens and whilst there might be some adults in the story, they don’t usually take centre stage.”

“It’s an interesting time in the YA market as the lines are increasingly blurry between YA and adult titles. Many titles now occupy what we call the crossover area of the market where the story could potentially sit in either category depending on the vision of the editor and the direction of the editorial work.”

What are editors looking for in a debut novelist?

“We look for the selling point by asking what marks is it hitting? Where will it be positioned? What other books is this like, while also doing something different?” shares Jorgie. “And then beyond that, a well thought out plot and character development is important, alongside great world-building, if it's applicable. It's important to remember that when reading a lot of pitches per day, having that key distinguisher is vital. And of course, the writing is something that everyone looks at, no matter the genre.”

What advice would you give to unpublished writers working on books in this space?

“Read widely within the genre to familiarise yourself with what people are enjoying and what stories engage you the most. As readers it’s important that we feel the excitement of the author come through the writing,” advises Carmen. If you're creating an alternate fantasy world, pay attention to world building as well: “Readers want to feel as if they’ve been transported into the story, so making the world feel believable is so key. Without that foundation, it’s hard for them to feel invested in the characters and the plot.”

“As mentioned, the world of SFFH (science fiction, fantasy, horror) is vast, so knowing where you want your book to sit can be helpful in the writing process,” says Jorgie. “Establish your audience, be bold in the route you want to go down and totally open to the editorial process. You’re creating a whole world with your words, so be creative and have fun.”

Networking can be a good way to develop your writing too. “The authors I work with benefit massively from networking with other authors, both published and not yet published. Go to author events and join networks!”

Feeling ready to start writing your own fantasy or science fiction novel, or finesse work you’ve already started? Head over to WriteNow to submit your book before midnight on Sunday 16 June.

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What Is Creative Nonfiction?

By Lee Gutkind

I am often asked: “What is creative nonfiction?” Or, in some cases, “what the hell is creative nonfiction?” The answer—or answers—can be complicated because creative nonfiction may mean different things to different people, a characteristic that makes this form so elusive and alluring.

On its very baseline creative nonfiction is a literary genre. Some people call it the fourth genre, along with poetry, fiction and drama. And it’s an umbrella term for the many different ways one can write what is called creative nonfiction. Memoir, for example, personal essay, biography, narrative history and long form narrative reportage may all fit under the creative nonfiction umbrella. Recently, as the genre has evolved, there have been offshoots to the genre like speculative nonfiction, auto(biographical) fiction, lyric essay, and the visual essay, to name only a few.

Writers who write creative nonfiction are very different in voice, orientation and purpose. But what they have in common is that they are, in one way or the other, writing true stories that provide information about a variety of subjects, enriched by relevant thoughtful ideas, personal insight, and intimacies about life and the world we live in. And this scope and variety is exactly what makes creative nonfiction significant and, these days, so incredibly popular.

“Freedom” and “flexibility” are words I like to use when defining creative nonfiction, for the genre invites writers to push boundaries and open doors, offering them the opportunity to use all of the techniques of the fiction writer (or the poet)—dialogue, setting, description, inner point of view (seeing the world through the eyes of the person about whom they are writing)—in order to capture a reader’s attention and enlighten and intrigue them through nonfiction.

There are very few rules for writers of creative nonfiction. You can predict the future, speculate about the past, or imagine what could have happened or what someone might have been thinking, as long as you don’t violate the reader’s trust, and in the process your own credibility. There are, however, limits to the freedom and flexibility that make creative nonfiction so attractive and compelling—legal, ethical and moral issues that are challenging and, in many ways, impossible to clearly define. Freedom and flexibility—and daring—are governed by responsibility, not just to the people about whom we write, but to those who read and publish our work.

Nonfiction itself has had a bad rap in the literary world. For a long time, it was commonly believed that writing nonfiction was generally inferior to the writing of poetry and fiction. “Nonfiction is a pleasant way to walk,” Larry McMurtry once wrote, “but the novel puts one on horseback, and what cowboy, symbolic or real, would walk when he could ride?”

I remember reading this from McMurtry, who had written a great deal of nonfiction, in addition to his many novels and stories, and feeling more than a little annoyed and, at the same time, amused. He had to be joking, I thought. Or maybe he had just fallen off his horse. I pictured the comedian Rodney Dangerfield, who became rich and famous for the line “I get no respect,” which in many ways has been the story of creative nonfiction in a nutshell-up until present day.

The addition of the word “creative” to nonfiction was at first controversial, but it gradually reversed the belief that nonfiction was somehow second class, a cut below poetry and fiction. It liberated all writers, journalists especially, releasing them from longstanding rules and boundaries that had been so restrictive and inhibiting. For novelists, poets and essayists, “creative” encouraged experimentation and offered new avenues of expression. Scientists, physicians, engineers (Atul Gawande, Hope Jahren, Siddhartha Mukherjee, Henry Petroski, to name just a very few) were intrigued by the notion of being creative and began to write true stories that humanized and revealed the behind-the-scenes intimacies of their professions.

The interest in true stories motivated and opened doors for others who were not writers by trade to share their life experiences, finding meaning in the process and fulfillment in the connections they forged with readers.

This transition—an awakening to the potential and power of nonfiction that allowed and encouraged creativity—did not happen overnight and was not without resistance and often bitter infighting. Change was difficult for the literary, journalistic and academic communities, steeped in tradition and long resistant to new ideas, to accommodate. Indeed, the resistance in some corners far exceeded the scale of the change itself. The change was hardly drastic and was not really, when one looks back over the history of nonfiction, much of a change at all. Writers had been writing nonfiction that was creative and imaginative for centuries, familiar and famous names you will recognize–Daniel Defoe, George Orwell, Charles Dickens and many others—for centuries. The change, the adjustment that it precipitated, had much more to do with the approach or attitude toward nonfiction rather than its content and, of course, the idea that creative and nonfiction were not mutually exclusive. That change in approach and attitude is ongoing. The scope of nonfiction today, most especially what we call creative nonfiction, continues to evolve, informing and inspiring readers with stories that are true, compelling, revealing and always surprising.

“What is Creative Nonfiction” has been adapted from Lee Gutkind’s new book, The Fine Art of Literary Fist-Fighting: How a Bunch of Rabble-Rousers, Outsiders and Ne’er-do-wells Created Creative Nonfiction, to be published later this year by Yale University Press.

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About Lee Gutkind

Lee Gutkind is the author and editor of more than thirty books, including You Can’t Make This Stuff Up: The Complete Guide to Writing Creative Nonfiction–from Memoir to Literary Journalism and Everything in Between , Almost Human: Making Robots Think, The Best Seat in Baseball: But You Have to Stand, Forever Fat: Essays by the Godfather, and the award-winning , Many Sleepless Nights: The World of Organ Transplantation.

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Lee's Latest Book

My Last Eight Thousand Days

This revealing, candid, and vivid portrait of one man’s view of aging written by the man who played a crucial role in establishing literary, narrative nonfiction in the marketplace and in the academy, examines male aging in a way we’ve not seen before.

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BEST FICTION WRITING PROMPTS

Join (probably?) the world's largest writing contest. Flex those creative muscles with weekly writing prompts.

Showing 57 prompts reset

From the top, set your story during a total eclipse — either natural, or man-made., write about someone who is stuck between two opposing sides and can’t decide which one to choose., write a story about someone pulling an all nighter., set your story before dawn. your character has woken up early for a particular reason., write a story that begins, ends, or changes with a song played by a busker..

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Start the story with the absence of a sensory detail (eg. silence when there should be noise).

Begin a scene with a non-visual sense. describe a specific sound, smell, taste, etc to capture your setting, then expand the story out from there., set your story in a post office., set or begin your story in a room lit by the flickering flames of the fireplace., begin your story with a librarian searching for something., subscribe to our prompts newsletter.

Never miss a prompt! Get curated writing inspiration delivered to your inbox each week.

Write a story starring an octogenarian who’s more than meets the eye.

Set your story in the kitchen of a bustling restaurant., write a western-inspired story in a new genre or setting (e.g. a space western, fantasy western, etc.), write about someone rediscovering something old they thought they’d lost., write about someone stuck in an endless cycle who finally manages to break free., write a story about someone trying to reinvent themselves after spending a long time in a rut., write a modern version of "the tiger, the brahmin, and the jackal," in which someone suffers from their own good deeds and must turn to an unlikely source for help., write a story about a fox spirit (a gumiho, jiǔwěihú, kitsune, or hồ ly tinh), inspired by, e.g. korean, chinese, japanese and vietnamese folklore., write a story inspired by this quote from dante alighieri’s the divine comedy: “in the middle of the journey of our life i came to myself within a dark wood where the straight way was lost.”, set your story in a cat shelter., win $250 in our short story competition 🏆.

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The best fiction writing prompts

For many people, a blank page is a just a piece of paper. But for writers who dream about writing a short story or novel, it's something much worse: it's a chilling omen of writer's block.

That's how creative writing prompts can help—especially for a fiction writer. Writing prompts give you the story ideas so that you're left with the time and energy to bring those stories and characters from your own imagination to vivid life. Best of all, they come in all shapes, sizes, and genres, from mystery prompts about a death in a haunted house to romance prompts about a meet-cute in the city. Feel free to scour this directory for the fiction writing prompts you need to write your book!

If you're looking to cut to the chase, here's a top ten list of fiction writing prompts:

At some point in the story, have a character casually say something that hints at the ending.
Start your story with someone trying to read a map.
Write a story about miscommunication.
Write a story based on the song title: "My Generation"
Write a story in which societal rituals and expectations play a key role.
Write a story in which the same line recurs three times.
Write a story about a character exploring their religious or spiritual identity.
Write a story where your protagonist predicts danger.
Write about a character who was considered a prodigy when they were young.
Write the 'origin story' of a person who goes on to achieve great things.

If you're interested in learning how to write fiction, check out our free resources on the topic:

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Begin your novel today (blog post)— Once you’ve got a writing routine now, all that’s left is the hard part: actually writing the book! That's where this blog post comes in handy.

How to Write a Short Story That Gets Published (free course) — Thinking about trying your hand at short stories? Laura Mae Isaacman, a full-time editor who’s worked with authors like Joyce Carol Oates, teaches this course that’s all about short stories. She’ll cover the entire process, from writing the story to actually getting it published.

Ready to start writing? Check out Reedsy’s weekly short story contest , for the chance of winning $250! You can also check out our list of writing contests or our directory of literary magazines for more opportunities to submit your story.

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What is creative nonfiction? Despite its slightly enigmatic name, no literary genre has grown quite as quickly as creative nonfiction in recent decades. Literary nonfiction is now well-established as a powerful means of storytelling, and bookstores now reserve large amounts of space for nonfiction, when it often used to occupy a single bookshelf.

Like any literary genre, creative nonfiction has a long history; also like other genres, defining contemporary CNF for the modern writer can be nuanced. If you’re interested in writing true-to-life stories but you’re not sure where to begin, let’s start by dissecting the creative nonfiction genre and what it means to write a modern literary essay.

What Creative Nonfiction Is

Creative nonfiction employs the creative writing techniques of literature, such as poetry and fiction, to retell a true story.

How do we define creative nonfiction? What makes it “creative,” as opposed to just “factual writing”? These are great questions to ask when entering the genre, and they require answers which could become literary essays themselves.

In short, creative nonfiction (CNF) is a form of storytelling that employs the creative writing techniques of literature, such as poetry and fiction, to retell a true story. Creative nonfiction writers don’t just share pithy anecdotes, they use craft and technique to situate the reader into their own personal lives. Fictional elements, such as character development and narrative arcs, are employed to create a cohesive story, but so are poetic elements like conceit and juxtaposition.

The CNF genre is wildly experimental, and contemporary nonfiction writers are pushing the bounds of literature by finding new ways to tell their stories. While a CNF writer might retell a personal narrative, they might also focus their gaze on history, politics, or they might use creative writing elements to write an expository essay. There are very few limits to what creative nonfiction can be, which is what makes defining the genre so difficult—but writing it so exciting.

Different Forms of Creative Nonfiction

From the autobiographies of Mark Twain and Benvenuto Cellini, to the more experimental styles of modern writers like Karl Ove Knausgård, creative nonfiction has a long history and takes a wide variety of forms. Common iterations of the creative nonfiction genre include the following:

Also known as biography or autobiography, the memoir form is probably the most recognizable form of creative nonfiction. Memoirs are collections of memories, either surrounding a single narrative thread or multiple interrelated ideas. The memoir is usually published as a book or extended piece of fiction, and many memoirs take years to write and perfect. Memoirs often take on a similar writing style as the personal essay does, though it must be personable and interesting enough to encourage the reader through the entire book.

Personal Essay

Personal essays are stories about personal experiences told using literary techniques.

When someone hears the word “essay,” they instinctively think about those five paragraph book essays everyone wrote in high school. In creative nonfiction, the personal essay is much more vibrant and dynamic. Personal essays are stories about personal experiences, and while some personal essays can be standalone stories about a single event, many essays braid true stories with extended metaphors and other narratives.

Personal essays are often intimate, emotionally charged spaces. Consider the opening two paragraphs from Beth Ann Fennelly’s personal essay “ I Survived the Blizzard of ’79. ”

We didn’t question. Or complain. It wouldn’t have occurred to us, and it wouldn’t have helped. I was eight. Julie was ten.

We didn’t know yet that this blizzard would earn itself a moniker that would be silk-screened on T-shirts. We would own such a shirt, which extended its tenure in our house as a rag for polishing silver.

The word “essay” comes from the French “essayer,” which means “to try” or “attempt.” The personal essay is more than just an autobiographical narrative—it’s an attempt to tell your own history with literary techniques.

Lyric Essay

The lyric essay contains similar subject matter as the personal essay, but is much more experimental in form.

The lyric essay contains similar subject matter as the personal essay, with one key distinction: lyric essays are much more experimental in form. Poetry and creative nonfiction merge in the lyric essay, challenging the conventional prose format of paragraphs and linear sentences.

The lyric essay stands out for its unique writing style and sentence structure. Consider these lines from “ Life Code ” by J. A. Knight:

The dream goes like this: blue room of water. God light from above. Child’s fist, foot, curve, face, the arc of an eye, the symmetry of circles… and then an opening of this body—which surprised her—a movement so clean and assured and then the push towards the light like a frog or a fish.

What we get is language driven by emotion, choosing an internal logic rather than a universally accepted one.

Lyric essays are amazing spaces to break barriers in language. For example, the lyricist might write a few paragraphs about their story, then examine a key emotion in the form of a villanelle or a ghazal . They might decide to write their entire essay in a string of couplets or a series of sonnets, then interrupt those stanzas with moments of insight or analysis. In the lyric essay, language dictates form. The successful lyricist lets the words arrange themselves in whatever format best tells the story, allowing for experimental new forms of storytelling.

Literary Journalism

Much more ambiguously defined is the idea of literary journalism. The idea is simple: report on real life events using literary conventions and styles. But how do you do this effectively, in a way that the audience pays attention and takes the story seriously?

You can best find examples of literary journalism in more “prestigious” news journals, such as The New Yorker , The Atlantic , Salon , and occasionally The New York Times . Think pieces about real world events, as well as expository journalism, might use braiding and extended metaphors to make readers feel more connected to the story. Other forms of nonfiction, such as the academic essay or more technical writing, might also fall under literary journalism, provided those pieces still use the elements of creative nonfiction.

Consider this recently published article from The Atlantic : The Uncanny Tale of Shimmel Zohar by Lawrence Weschler. It employs a style that’s breezy yet personable—including its opening line.

So I first heard about Shimmel Zohar from Gravity Goldberg—yeah, I know, but she insists it’s her real name (explaining that her father was a physicist)—who is the director of public programs and visitor experience at the Contemporary Jewish Museum, in San Francisco.

How to Write Creative Nonfiction: Common Elements and Techniques

What separates a general news update from a well-written piece of literary journalism? What’s the difference between essay writing in high school and the personal essay? When nonfiction writers put out creative work, they are most successful when they utilize the following elements.

Just like fiction, nonfiction relies on effective narration. Telling the story with an effective plot, writing from a certain point of view, and using the narrative to flesh out the story’s big idea are all key craft elements. How you structure your story can have a huge impact on how the reader perceives the work, as well as the insights you draw from the story itself.

Consider the first lines of the story “ To the Miami University Payroll Lady ” by Frenci Nguyen:

You might not remember me, but I’m the dark-haired, Texas-born, Asian-American graduate student who visited the Payroll Office the other day to complete direct deposit and tax forms.

Because the story is written in second person, with the reader experiencing the story as the payroll lady, the story’s narration feels much more personal and important, forcing the reader to evaluate their own personal biases and beliefs.

Observation

Telling the story involves more than just simple plot elements, it also involves situating the reader in the key details. Setting the scene requires attention to all five senses, and interpersonal dialogue is much more effective when the narrator observes changes in vocal pitch, certain facial expressions, and movements in body language. Essentially, let the reader experience the tiny details – we access each other best through minutiae.

The story “ In Transit ” by Erica Plouffe Lazure is a perfect example of storytelling through observation. Every detail of this flash piece is carefully noted to tell a story without direct action, using observations about group behavior to find hope in a crisis. We get observation when the narrator notes the following:

Here at the St. Thomas airport in mid-March, we feel the urgency of the transition, the awareness of how we position our bodies, where we place our luggage, how we consider for the first time the numbers of people whose belongings are placed on the same steel table, the same conveyor belt, the same glowing radioactive scan, whose IDs are touched by the same gloved hand[.]

What’s especially powerful about this story is that it is written in a single sentence, allowing the reader to be just as overwhelmed by observation and context as the narrator is.

We’ve used this word a lot, but what is braiding? Braiding is a technique most often used in creative nonfiction where the writer intertwines multiple narratives, or “threads.” Not all essays use braiding, but the longer a story is, the more it benefits the writer to intertwine their story with an extended metaphor or another idea to draw insight from.

“ The Crush ” by Zsofia McMullin demonstrates braiding wonderfully. Some paragraphs are written in first person, while others are written in second person.

The following example from “The Crush” demonstrates braiding:

Your hair is still wet when you slip into the booth across from me and throw your wallet and glasses and phone on the table, and I marvel at how everything about you is streamlined, compact, organized. I am always overflowing — flesh and wants and a purse stuffed with snacks and toy soldiers and tissues.

The author threads these narratives together by having both people interact in a diner, yet the reader still perceives a distance between the two threads because of the separation of “I” and “you” pronouns. When these threads meet, briefly, we know they will never meet again.

Speaking of insight, creative nonfiction writers must draw novel conclusions from the stories they write. When the narrator pauses in the story to delve into their emotions, explain complex ideas, or draw strength and meaning from tough situations, they’re finding insight in the essay.

Often, creative writers experience insight as they write it, drawing conclusions they hadn’t yet considered as they tell their story, which makes creative nonfiction much more genuine and raw.

The story “ Me Llamo Theresa ” by Theresa Okokun does a fantastic job of finding insight. The story is about the history of our own names and the generations that stand before them, and as the writer explores her disconnect with her own name, she recognizes a similar disconnect in her mother, as well as the need to connect with her name because of her father.

The narrator offers insight when she remarks:

I began to experience a particular type of identity crisis that so many immigrants and children of immigrants go through — where we are called one name at school or at work, but another name at home, and in our hearts.

How to Write Creative Nonfiction: the 5 R’s

CNF pioneer Lee Gutkind developed a very system called the “5 R’s” of creative nonfiction writing. Together, the 5 R’s form a general framework for any creative writing project. They are:

Write about r eal life: Creative nonfiction tackles real people, events, and places—things that actually happened or are happening.
Conduct extensive r esearch: Learn as much as you can about your subject matter, to deepen and enrich your ability to relay the subject matter. (Are you writing about your tenth birthday? What were the newspaper headlines that day?)
(W) r ite a narrative: Use storytelling elements originally from fiction, such as Freytag’s Pyramid , to structure your CNF piece’s narrative as a story with literary impact rather than just a recounting.
Include personal r eflection: Share your unique voice and perspective on the narrative you are retelling.
Learn by r eading: The best way to learn to write creative nonfiction well is to read it being written well. Read as much CNF as you can, and observe closely how the author’s choices impact you as a reader.

You can read more about the 5 R’s in this helpful summary article .

How to Write Creative Nonfiction: Give it a Try!

Whatever form you choose, whatever story you tell, and whatever techniques you write with, the more important aspect of creative nonfiction is this: be honest. That may seem redundant, but often, writers mistakenly create narratives that aren’t true, or they use details and symbols that didn’t exist in the story. Trust us – real life is best read when it’s honest, and readers can tell when details in the story feel fabricated or inflated. Write with honesty, and the right words will follow!

Ready to start writing your creative nonfiction piece? If you need extra guidance or want to write alongside our community, take a look at the upcoming nonfiction classes at Writers.com. Now, go and write the next bestselling memoir!

Sean Glatch

Thank you so much for including these samples from Hippocampus Magazine essays/contributors; it was so wonderful to see these pieces reflected on from the craft perspective! – Donna from Hippocampus

Absolutely, Donna! I’m a longtime fan of Hippocampus and am always astounded by the writing you publish. We’re always happy to showcase stunning work 🙂

[…] Source: https://www.masterclass.com/articles/a-complete-guide-to-writing-creative-nonfiction#5-creative-nonfiction-writing-promptshttps://writers.com/what-is-creative-nonfiction […]

So impressive

Thank you. I’ve been researching a number of figures from the 1800’s and have come across a large number of ‘biographies’ of figures. These include quoted conversations which I knew to be figments of the author and yet some works are lauded as ‘histories’.

excellent guidelines inspiring me to write CNF thank you

The Adventurous Author | How to Write a Book, Character Development, Beat Writer’s Block, Creative Writing, World Building Author DK Drake | Fantasy Author, Adventurous Author Coach, League of Adventurous Authors Leader

97 | fantasy fiction: chapter 43 of the dragon collector, a ya fantasy novel.

Javan comes soooo close to collecting his first dragon today...but then he makes a cocky mistake that lands him (literally) in a sticky situation. Listen in and enjoy your visit to Zandador! Your friend, DK Escape into the Land of Zandador: Get your free D.K. Drake Starter Library Purchase one or all of the Dragon Stalker Bloodline Saga books on Amazon. Rate, Review, & Follow on Apple Podcasts: “I love The Adventurous Author!” If that sounds like something you’d say, please rate and review this show. Your rating and review helps the show get found by other authors with big writing dreams. It’ll take a quick 30 seconds to scroll to the bottom, tap to rate with five stars, and select “Write a Review.” Then share what you enjoyed most about this episode. And if you haven’t already done so, follow the podcast. That way you’ll never miss an episode and will be better prepared to write and publish your novel. Follow now!

096 || Fantasy Fiction Friday: Chapter 42 of The Dragon Collector, a YA Fantasy

Enjoy Chapter 42 of The Dragon Collector! Your Friend, DK Escape into the Land of Zandador: Get your free D.K. Drake Starter Library Purchase one or all of the Dragon Stalker Bloodline Saga books on Amazon. Rate, Review, & Follow on Apple Podcasts: “I love The Author D.K. Drake Show!” If that sounds like something you’d say, please rate and review this show. Your rating and review helps the show get found by other authors with big writing dreams. It’ll take a quick 30 seconds to scroll to the bottom, tap to rate with five stars, and select “Write a Review.” Then share what you enjoyed most about this episode. And if you haven’t already done so, follow the podcast. That way you’ll never miss an episode and will be better prepared to write and publish your novel. Follow now!

095 || Fantasy Fiction Friday: Chapter 41 of The Dragon Collector, a YA Fantasy Novel

In Chapter 41 of The Dragon Collector, Javan opens his big mouth and starts the ticking time bomb that makes collecting his first dragon a near impossibility. But it’s that ticking time bomb that helps speed up the story and send it spinning toward its climax. Tune in to find out just how long he has to collect that elusive first dragon and what’s at stake if he fails. Your friend, DK Escape into the Land of Zandador: Get your free D.K. Drake Starter Library Purchase one or all of the Dragon Stalker Bloodline Saga books on Amazon. Rate, Review, & Follow on Apple Podcasts: “I love The Author D.K. Drake Show!” If that sounds like something you’d say, please rate and review this show. Your rating and review helps the show get found by other authors with big writing dreams. It’ll take a quick 30 seconds to scroll to the bottom, tap to rate with five stars, and select “Write a Review.” Then share what you enjoyed most about this episode. And if you haven’t already done so, follow the podcast. That way you’ll never miss an episode and will be better prepared to write and publish your novel. Follow now!

094 || Write Stories that are Met with the Silence of Awe

Today I wanted to share a fun little story that will inspire you to write stories that are met with the silence of awe. I love that phrase: the silence of awe. I wish I had thought of it. But I have to give credit where credit is due…which would be to AI. Actually, the story I’m sharing today was written by AI. I could have made it much better by adding some dialogue and action, but it’s interesting enough to share. You can also read the story on the blog. Enjoy! Your friend, DK Next Steps: Register for your FREE ticket to the Thriving Scribes Summit here. HURRY! The Summit runs from January 22-24. You’ll be able to soak up innovative publishing models, writing methods, & strategies from incredible speakers like… 🎟️ Michael Evans, CEO of Ream, the subscription platform by fiction authors for fiction authors 🎟️ Emilia Rose, serialization and subscription queen 🎟️ Elle Beauregard, experienced co-author 🎟️ Ines Johnson, episodic publishing specialist 🎟️ Kyle Ann Robertson, creative writing coach 🎟️ Brit Poe, aligned publishing connoisseur … and so, so many more, including yours truly! This is an affiliate link, so if you choose to invest in the Scribe Pass that gives you extended access to the recordings from all the fabulous presentations, ways to connect with speakers & other attendees, and oodles of bonus gifts from speakers, I’ll get a small commission. You don’t have to buy anything, though. It’s completely free to attend, and you are going to learn soooo much about the world of publishing! **Register for the FREE Revolutionize Your Writing Masterclass.** The On-Demand Virtual Experience shows you how to master the art of organizing your story ideas in Notion to set yourself up for fiction writing success. Escape into the Land of Zandador: Get your free D.K. Drake Starter Library Purchase one or all of the Dragon Stalker Bloodline Saga books on Amazon. Rate, Review, & Follow on Apple Podcasts: “I love The Author D.K. Drake Show!” If that sounds like something you’d say, please rate and review this show. Your rating and review helps the show get found by other authors with big writing dreams. It’ll take a quick 30 seconds to scroll to the bottom, tap to rate with five stars, and select “Write a Review.” Then share what you enjoyed most about this episode. And if you haven’t already done so, follow the podcast. That way you’ll never miss an episode and will be better prepared to write and publish your novel. Follow now!

093 || A Poem for the Christian Author who Wants to Write a Book But is Scared to Start

Today I am excited to share a poem with you that I wrote…the prompt for. That’s right. I asked AI to write a poem for the Christian author who wants to write a book but is scared to start. Starting something new can be scary, especially when it’s a big of a dream as a book. But we’ve got God. He’s with us and gives us the ability to craft amazing stories. So listen in with an open heart and let these words inspire to you get your book started. Your friend, DK Next Steps: Register for your FREE ticket to the Thriving Scribes Summit here. HURRY! The Summit runs from January 22-24. You’ll be able to soak up innovative publishing models, writing methods, & strategies from incredible speakers like… 🎟️ Michael Evans, CEO of Ream, the subscription platform by fiction authors for fiction authors 🎟️ Emilia Rose, serialization and subscription queen 🎟️ Elle Beauregard, experienced co-author 🎟️ Ines Johnson, episodic publishing specialist 🎟️ Kyle Ann Robertson, creative writing coach 🎟️ Brit Poe, aligned publishing connoisseur … and so, so many more, including yours truly! This is an affiliate link, so if you choose to invest in the Scribe Pass that gives you extended access to the recordings from all the fabulous presentations, ways to connect with speakers & other attendees, and oodles of bonus gifts from speakers, I’ll get a small commission. You don’t have to buy anything, though. It’s completely free to attend, and you are going to learn soooo much about the world of publishing! **Register for the FREE Revolutionize Your Writing Masterclass.** The On-Demand Virtual Experience shows you how to master the art of organizing your story ideas in Notion to set yourself up for fiction writing success. Escape into the Land of Zandador: Get your free D.K. Drake Starter Library Purchase one or all of the Dragon Stalker Bloodline Saga books on Amazon. Rate, Review, & Follow on Apple Podcasts: “I love The Author D.K. Drake Show!” If that sounds like something you’d say, please rate and review this show. Your rating and review helps the show get found by other authors with big writing dreams. It’ll take a quick 30 seconds to scroll to the bottom, tap to rate with five stars, and select “Write a Review.” Then share what you enjoyed most about this episode. And if you haven’t already done so, follow the podcast. That way you’ll never miss an episode and will be better prepared to write and publish your novel. Follow now!

092 || New Year, New Me, Same God

2024 has gotten off to a weird start for me, probably because of the way 2023 ended. But it’s a good weird. Listen in for details. Your friend, DK Next Steps: Register for your FREE ticket to the Thriving Scribes Summit here. HURRY! The Summit runs from January 22-24. You’ll be able to soak up innovative publishing models, writing methods, & strategies from incredible speakers like… 🎟️ Michael Evans, CEO of Ream, the subscription platform by fiction authors for fiction authors 🎟️ Emilia Rose, serialization and subscription queen 🎟️ Elle Beauregard, experienced co-author 🎟️ Ines Johnson, episodic publishing specialist 🎟️ Kyle Ann Robertson, creative writing coach 🎟️ Brit Poe, aligned publishing connoisseur … and so, so many more, including yours truly! This is an affiliate link, so if you choose to invest in the Scribe Pass that gives you extended access to the recordings from all the fabulous presentations, ways to connect with speakers & other attendees, and oodles of bonus gifts from speakers, I’ll get a small commission. You don’t have to buy anything, though. It’s completely free to attend, and you are going to learn soooo much about the world of publishing! **Register for the FREE Revolutionize Your Writing Masterclass.** The On-Demand Virtual Experience shows you how to master the art of organizing your story ideas in Notion to set yourself up for fiction writing success. Escape into the Land of Zandador: Get your free D.K. Drake Starter Library Purchase one or all of the Dragon Stalker Bloodline Saga books on Amazon. Rate, Review, & Follow on Apple Podcasts: “I love The Author D.K. Drake Show!” If that sounds like something you’d say, please rate and review this show. Your rating and review helps the show get found by other authors with big writing dreams. It’ll take a quick 30 seconds to scroll to the bottom, tap to rate with five stars, and select “Write a Review.” Then share what you enjoyed most about this episode. And if you haven’t already done so, follow the podcast. That way you’ll never miss an episode and will be better prepared to write and publish your novel. Follow now!