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Essays on Short Story

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Situational Irony: a Closer Look at Unexpected Twists in Literature

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Bridging The Gap: Comparing "Letters from My Father" and "The Writer"

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General Education

A narrative essay is one of the most intimidating assignments you can be handed at any level of your education. Where you've previously written argumentative essays that make a point or analytic essays that dissect meaning, a narrative essay asks you to write what is effectively a story .

But unlike a simple work of creative fiction, your narrative essay must have a clear and concrete motif —a recurring theme or idea that you’ll explore throughout. Narrative essays are less rigid, more creative in expression, and therefore pretty different from most other essays you’ll be writing.

But not to fear—in this article, we’ll be covering what a narrative essay is, how to write a good one, and also analyzing some personal narrative essay examples to show you what a great one looks like.

What Is a Narrative Essay?

At first glance, a narrative essay might sound like you’re just writing a story. Like the stories you're used to reading, a narrative essay is generally (but not always) chronological, following a clear throughline from beginning to end. Even if the story jumps around in time, all the details will come back to one specific theme, demonstrated through your choice in motifs.

Unlike many creative stories, however, your narrative essay should be based in fact. That doesn’t mean that every detail needs to be pure and untainted by imagination, but rather that you shouldn’t wholly invent the events of your narrative essay. There’s nothing wrong with inventing a person’s words if you can’t remember them exactly, but you shouldn’t say they said something they weren’t even close to saying.

Another big difference between narrative essays and creative fiction—as well as other kinds of essays—is that narrative essays are based on motifs. A motif is a dominant idea or theme, one that you establish before writing the essay. As you’re crafting the narrative, it’ll feed back into your motif to create a comprehensive picture of whatever that motif is.

For example, say you want to write a narrative essay about how your first day in high school helped you establish your identity. You might discuss events like trying to figure out where to sit in the cafeteria, having to describe yourself in five words as an icebreaker in your math class, or being unsure what to do during your lunch break because it’s no longer acceptable to go outside and play during lunch. All of those ideas feed back into the central motif of establishing your identity.

The important thing to remember is that while a narrative essay is typically told chronologically and intended to read like a story, it is not purely for entertainment value. A narrative essay delivers its theme by deliberately weaving the motifs through the events, scenes, and details. While a narrative essay may be entertaining, its primary purpose is to tell a complete story based on a central meaning.

Unlike other essay forms, it is totally okay—even expected—to use first-person narration in narrative essays. If you’re writing a story about yourself, it’s natural to refer to yourself within the essay. It’s also okay to use other perspectives, such as third- or even second-person, but that should only be done if it better serves your motif. Generally speaking, your narrative essay should be in first-person perspective.

Though your motif choices may feel at times like you’re making a point the way you would in an argumentative essay, a narrative essay’s goal is to tell a story, not convince the reader of anything. Your reader should be able to tell what your motif is from reading, but you don’t have to change their mind about anything. If they don’t understand the point you are making, you should consider strengthening the delivery of the events and descriptions that support your motif.

Narrative essays also share some features with analytical essays, in which you derive meaning from a book, film, or other media. But narrative essays work differently—you’re not trying to draw meaning from an existing text, but rather using an event you’ve experienced to convey meaning. In an analytical essay, you examine narrative, whereas in a narrative essay you create narrative.

The structure of a narrative essay is also a bit different than other essays. You’ll generally be getting your point across chronologically as opposed to grouping together specific arguments in paragraphs or sections. To return to the example of an essay discussing your first day of high school and how it impacted the shaping of your identity, it would be weird to put the events out of order, even if not knowing what to do after lunch feels like a stronger idea than choosing where to sit. Instead of organizing to deliver your information based on maximum impact, you’ll be telling your story as it happened, using concrete details to reinforce your theme.

3 Great Narrative Essay Examples

One of the best ways to learn how to write a narrative essay is to look at a great narrative essay sample. Let’s take a look at some truly stellar narrative essay examples and dive into what exactly makes them work so well.

A Ticket to the Fair by David Foster Wallace

Today is Press Day at the Illinois State Fair in Springfield, and I’m supposed to be at the fairgrounds by 9:00 A.M. to get my credentials. I imagine credentials to be a small white card in the band of a fedora. I’ve never been considered press before. My real interest in credentials is getting into rides and shows for free. I’m fresh in from the East Coast, for an East Coast magazine. Why exactly they’re interested in the Illinois State Fair remains unclear to me. I suspect that every so often editors at East Coast magazines slap their foreheads and remember that about 90 percent of the United States lies between the coasts, and figure they’ll engage somebody to do pith-helmeted anthropological reporting on something rural and heartlandish. I think they asked me to do this because I grew up here, just a couple hours’ drive from downstate Springfield. I never did go to the state fair, though—I pretty much topped out at the county fair level. Actually, I haven’t been back to Illinois for a long time, and I can’t say I’ve missed it.

Throughout this essay, David Foster Wallace recounts his experience as press at the Illinois State Fair. But it’s clear from this opening that he’s not just reporting on the events exactly as they happened—though that’s also true— but rather making a point about how the East Coast, where he lives and works, thinks about the Midwest.

In his opening paragraph, Wallace states that outright: “Why exactly they’re interested in the Illinois State Fair remains unclear to me. I suspect that every so often editors at East Coast magazines slap their foreheads and remember that about 90 percent of the United States lies between the coasts, and figure they’ll engage somebody to do pith-helmeted anthropological reporting on something rural and heartlandish.”

Not every motif needs to be stated this clearly , but in an essay as long as Wallace’s, particularly since the audience for such a piece may feel similarly and forget that such a large portion of the country exists, it’s important to make that point clear.

But Wallace doesn’t just rest on introducing his motif and telling the events exactly as they occurred from there. It’s clear that he selects events that remind us of that idea of East Coast cynicism , such as when he realizes that the Help Me Grow tent is standing on top of fake grass that is killing the real grass beneath, when he realizes the hypocrisy of craving a corn dog when faced with a real, suffering pig, when he’s upset for his friend even though he’s not the one being sexually harassed, and when he witnesses another East Coast person doing something he wouldn’t dare to do.

Wallace is literally telling the audience exactly what happened, complete with dates and timestamps for when each event occurred. But he’s also choosing those events with a purpose—he doesn’t focus on details that don’t serve his motif. That’s why he discusses the experiences of people, how the smells are unappealing to him, and how all the people he meets, in cowboy hats, overalls, or “black spandex that looks like cheesecake leotards,” feel almost alien to him.

All of these details feed back into the throughline of East Coast thinking that Wallace introduces in the first paragraph. He also refers back to it in the essay’s final paragraph, stating:

At last, an overarching theory blooms inside my head: megalopolitan East Coasters’ summer treats and breaks and literally ‘getaways,’ flights-from—from crowds, noise, heat, dirt, the stress of too many sensory choices….The East Coast existential treat is escape from confines and stimuli—quiet, rustic vistas that hold still, turn inward, turn away. Not so in the rural Midwest. Here you’re pretty much away all the time….Something in a Midwesterner sort of actuates , deep down, at a public event….The real spectacle that draws us here is us.

Throughout this journey, Wallace has tried to demonstrate how the East Coast thinks about the Midwest, ultimately concluding that they are captivated by the Midwest’s less stimuli-filled life, but that the real reason they are interested in events like the Illinois State Fair is that they are, in some ways, a means of looking at the East Coast in a new, estranging way.

The reason this works so well is that Wallace has carefully chosen his examples, outlined his motif and themes in the first paragraph, and eventually circled back to the original motif with a clearer understanding of his original point.

When outlining your own narrative essay, try to do the same. Start with a theme, build upon it with examples, and return to it in the end with an even deeper understanding of the original issue. You don’t need this much space to explore a theme, either—as we’ll see in the next example, a strong narrative essay can also be very short.

Death of a Moth by Virginia Woolf

After a time, tired by his dancing apparently, he settled on the window ledge in the sun, and, the queer spectacle being at an end, I forgot about him. Then, looking up, my eye was caught by him. He was trying to resume his dancing, but seemed either so stiff or so awkward that he could only flutter to the bottom of the window-pane; and when he tried to fly across it he failed. Being intent on other matters I watched these futile attempts for a time without thinking, unconsciously waiting for him to resume his flight, as one waits for a machine, that has stopped momentarily, to start again without considering the reason of its failure. After perhaps a seventh attempt he slipped from the wooden ledge and fell, fluttering his wings, on to his back on the window sill. The helplessness of his attitude roused me. It flashed upon me that he was in difficulties; he could no longer raise himself; his legs struggled vainly. But, as I stretched out a pencil, meaning to help him to right himself, it came over me that the failure and awkwardness were the approach of death. I laid the pencil down again.

In this essay, Virginia Woolf explains her encounter with a dying moth. On surface level, this essay is just a recounting of an afternoon in which she watched a moth die—it’s even established in the title. But there’s more to it than that. Though Woolf does not begin her essay with as clear a motif as Wallace, it’s not hard to pick out the evidence she uses to support her point, which is that the experience of this moth is also the human experience.

In the title, Woolf tells us this essay is about death. But in the first paragraph, she seems to mostly be discussing life—the moth is “content with life,” people are working in the fields, and birds are flying. However, she mentions that it is mid-September and that the fields were being plowed. It’s autumn and it’s time for the harvest; the time of year in which many things die.

In this short essay, she chronicles the experience of watching a moth seemingly embody life, then die. Though this essay is literally about a moth, it’s also about a whole lot more than that. After all, moths aren’t the only things that die—Woolf is also reflecting on her own mortality, as well as the mortality of everything around her.

At its core, the essay discusses the push and pull of life and death, not in a way that’s necessarily sad, but in a way that is accepting of both. Woolf begins by setting up the transitional fall season, often associated with things coming to an end, and raises the ideas of pleasure, vitality, and pity.

At one point, Woolf tries to help the dying moth, but reconsiders, as it would interfere with the natural order of the world. The moth’s death is part of the natural order of the world, just like fall, just like her own eventual death.

All these themes are set up in the beginning and explored throughout the essay’s narrative. Though Woolf doesn’t directly state her theme, she reinforces it by choosing a small, isolated event—watching a moth die—and illustrating her point through details.

With this essay, we can see that you don’t need a big, weird, exciting event to discuss an important meaning. Woolf is able to explore complicated ideas in a short essay by being deliberate about what details she includes, just as you can be in your own essays.

Notes of a Native Son by James Baldwin

On the twenty-ninth of July, in 1943, my father died. On the same day, a few hours later, his last child was born. Over a month before this, while all our energies were concentrated in waiting for these events, there had been, in Detroit, one of the bloodiest race riots of the century. A few hours after my father’s funeral, while he lay in state in the undertaker’s chapel, a race riot broke out in Harlem. On the morning of the third of August, we drove my father to the graveyard through a wilderness of smashed plate glass.

Like Woolf, Baldwin does not lay out his themes in concrete terms—unlike Wallace, there’s no clear sentence that explains what he’ll be talking about. However, you can see the motifs quite clearly: death, fatherhood, struggle, and race.

Throughout the narrative essay, Baldwin discusses the circumstances of his father’s death, including his complicated relationship with his father. By introducing those motifs in the first paragraph, the reader understands that everything discussed in the essay will come back to those core ideas. When Baldwin talks about his experience with a white teacher taking an interest in him and his father’s resistance to that, he is also talking about race and his father’s death. When he talks about his father’s death, he is also talking about his views on race. When he talks about his encounters with segregation and racism, he is talking, in part, about his father.

Because his father was a hard, uncompromising man, Baldwin struggles to reconcile the knowledge that his father was right about many things with his desire to not let that hardness consume him, as well.

Baldwin doesn’t explicitly state any of this, but his writing so often touches on the same motifs that it becomes clear he wants us to think about all these ideas in conversation with one another.

At the end of the essay, Baldwin makes it more clear:

This fight begins, however, in the heart and it had now been laid to my charge to keep my own heart free of hatred and despair. This intimation made my heart heavy and, now that my father was irrecoverable, I wished that he had been beside me so that I could have searched his face for the answers which only the future would give me now.

Here, Baldwin ties together the themes and motifs into one clear statement: that he must continue to fight and recognize injustice, especially racial injustice, just as his father did. But unlike his father, he must do it beginning with himself—he must not let himself be closed off to the world as his father was. And yet, he still wishes he had his father for guidance, even as he establishes that he hopes to be a different man than his father.

In this essay, Baldwin loads the front of the essay with his motifs, and, through his narrative, weaves them together into a theme. In the end, he comes to a conclusion that connects all of those things together and leaves the reader with a lasting impression of completion—though the elements may have been initially disparate, in the end everything makes sense.

You can replicate this tactic of introducing seemingly unattached ideas and weaving them together in your own essays. By introducing those motifs, developing them throughout, and bringing them together in the end, you can demonstrate to your reader how all of them are related. However, it’s especially important to be sure that your motifs and clear and consistent throughout your essay so that the conclusion feels earned and consistent—if not, readers may feel mislead.

5 Key Tips for Writing Narrative Essays

Narrative essays can be a lot of fun to write since they’re so heavily based on creativity. But that can also feel intimidating—sometimes it’s easier to have strict guidelines than to have to make it all up yourself. Here are a few tips to keep your narrative essay feeling strong and fresh.

Develop Strong Motifs

Motifs are the foundation of a narrative essay . What are you trying to say? How can you say that using specific symbols or events? Those are your motifs.

In the same way that an argumentative essay’s body should support its thesis, the body of your narrative essay should include motifs that support your theme.

Try to avoid cliches, as these will feel tired to your readers. Instead of roses to symbolize love, try succulents. Instead of the ocean representing some vast, unknowable truth, try the depths of your brother’s bedroom. Keep your language and motifs fresh and your essay will be even stronger!

Use First-Person Perspective

In many essays, you’re expected to remove yourself so that your points stand on their own. Not so in a narrative essay—in this case, you want to make use of your own perspective.

Sometimes a different perspective can make your point even stronger. If you want someone to identify with your point of view, it may be tempting to choose a second-person perspective. However, be sure you really understand the function of second-person; it’s very easy to put a reader off if the narration isn’t expertly deployed.

If you want a little bit of distance, third-person perspective may be okay. But be careful—too much distance and your reader may feel like the narrative lacks truth.

That’s why first-person perspective is the standard. It keeps you, the writer, close to the narrative, reminding the reader that it really happened. And because you really know what happened and how, you’re free to inject your own opinion into the story without it detracting from your point, as it would in a different type of essay.

Stick to the Truth

Your essay should be true. However, this is a creative essay, and it’s okay to embellish a little. Rarely in life do we experience anything with a clear, concrete meaning the way somebody in a book might. If you flub the details a little, it’s okay—just don’t make them up entirely.

Also, nobody expects you to perfectly recall details that may have happened years ago. You may have to reconstruct dialog from your memory and your imagination. That’s okay, again, as long as you aren’t making it up entirely and assigning made-up statements to somebody.

Dialog is a powerful tool. A good conversation can add flavor and interest to a story, as we saw demonstrated in David Foster Wallace’s essay. As previously mentioned, it’s okay to flub it a little, especially because you’re likely writing about an experience you had without knowing that you’d be writing about it later.

However, don’t rely too much on it. Your narrative essay shouldn’t be told through people explaining things to one another; the motif comes through in the details. Dialog can be one of those details, but it shouldn’t be the only one.

Use Sensory Descriptions

Because a narrative essay is a story, you can use sensory details to make your writing more interesting. If you’re describing a particular experience, you can go into detail about things like taste, smell, and hearing in a way that you probably wouldn’t do in any other essay style.

These details can tie into your overall motifs and further your point. Woolf describes in great detail what she sees while watching the moth, giving us the sense that we, too, are watching the moth. In Wallace’s essay, he discusses the sights, sounds, and smells of the Illinois State Fair to help emphasize his point about its strangeness. And in Baldwin’s essay, he describes shattered glass as a “wilderness,” and uses the feelings of his body to describe his mental state.

All these descriptions anchor us not only in the story, but in the motifs and themes as well. One of the tools of a writer is making the reader feel as you felt, and sensory details help you achieve that.

What’s Next?

Looking to brush up on your essay-writing capabilities before the ACT? This guide to ACT English will walk you through some of the best strategies and practice questions to get you prepared!

Part of practicing for the ACT is ensuring your word choice and diction are on point. Check out this guide to some of the most common errors on the ACT English section to be sure that you're not making these common mistakes!

A solid understanding of English principles will help you make an effective point in a narrative essay, and you can get that understanding through taking a rigorous assortment of high school English classes !

Melissa Brinks graduated from the University of Washington in 2014 with a Bachelor's in English with a creative writing emphasis. She has spent several years tutoring K-12 students in many subjects, including in SAT prep, to help them prepare for their college education.

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Short Story Analysis Essay

Almost everyone has read a couple of short stories from the time they were kids up until today. Although, depending on how old you are, you analyze the stories you read differently. As a kid, you often point out who is the good guy and the bad guy. You even express your complaints if you do not like the ending. Now, in high school or maybe in college, you pretty much do the same, but you need to incorporate your critical thinking skills and follow appropriate formatting. That said, to present the results of your literature review, compose a short story analysis essay.

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What Is a Short Story Analysis Essay?

A short story analysis essay is a composition that aims to examine the plot and the aspects of the story. In writing this document, the writer needs to take the necessary elements of a short story into account. In addition, one purpose of writing this type of analysis essay is to identify the theme of the story. As well as try to make connections between the different aspects. 

How to Compose a Critical Short Story Analysis Essay

Having the assignment to write a short story analysis can be overwhelming. Reading the short story is easy enough. Evaluating and writing down your essay is the challenging part. A short story analysis essay follows a different format from other literature essays . That said, to help with that, here are instructive steps and helpful tips.

1. Take Down Notes

Considering that you have read the short story a couple of times, the first step you should take before writing your essay is to summarize and write down your notes. To help you with this, you can utilize flow charts to determine the arcs the twists of the short story. Include the parts and segments that affected you the most, as well as the ones that hold significance for the whole story. 

2. Compose Your Thesis Statement

Before composing your thesis statement for the introductory paragraph of your essay, first, you need to identify the thematic statement of the story. This sentence should present the underlying message of the entire literature. It is where the story revolves around. After that, you can use it as a basis and proceed with composing your thesis statement. It should provide the readers an overview of the content of your analysis paper.

3. Analyze the Concepts

One of the essential segments of your paper is, of course, the analysis part. In the body of your essay, you should present arguments that discuss the concepts that you were able to identify. To support your point, you should provide evidence and quote sentences from the story. If you present strong supporting sentences, it will make your composition more effective. To help with the organization and the structure, you can utilize an analysis paper outline .

4. Craft Your Conclusion

The last part of the process is to craft a conclusion for your essay . Aside from restating the crucial points and the thesis statement, there is another factor that you should consider for the ending paragraph. That said, you should also present your understanding regarding why the author wrote the story that way. In addition, you can also wrap it up by expressing how the story made you feel.

How to run an in-depth analysis of a short story?

In analyzing a short story, you should individually examine the elements of a short story. That said, you need to study the characters, setting, tone, and plot. In addition, you should also consider evaluating the author’s point of view, writing style, and story-telling method. Also, it involves studying how the story affects you personally.

Why is it necessary to compose analysis essays?

Composing analysis essays tests how well a person understands a reading material. It is a good alternative for reading comprehension worksheets . Another advantage of devising this paper is it encourages people to look at a story from different angles and perspectives. In addition to this, it lets the students enhance their article writing potential.

What is critical writing?

Conducting a critical analysis requires an individual to examine the details and facts in the literature closely. It involves breaking down ideas as well as linking them to develop a point or argument. Despite that, the prime purpose of a critical essay is to give a literary criticism of the things the author did well and the things they did poorly.

People enjoy reading short stories. It is for the reason that aside from being brief, they also present meaningful messages and themes. In addition to that, it also brings you to a memorable ride with its entertaining conflicts and plot twists. That said, as a sign of respect to the well-crafted literature, you should present your thoughts about it by generating a well-founded short story analysis essay. 

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How to Write a Short Essay

Last Updated: January 17, 2024 Fact Checked

This article was co-authored by Christopher Taylor, PhD . Christopher Taylor is an Adjunct Assistant Professor of English at Austin Community College in Texas. He received his PhD in English Literature and Medieval Studies from the University of Texas at Austin in 2014. There are 12 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 113,685 times.

Essay writing is a common assignment in high school or college courses, especially within the humanities. You’ll also be asked to write essays for college admissions and scholarships. In a short essay (250-500 words), you will need to provide an introduction with a thesis, a body, and a conclusion, as you would with a longer essay. Depending on the essay requirements, you may also need to do academic or online research to find sources to back up your claims.

Picking a Topic and Gathering Research

• If you have any questions about the topic, ask your instructor. If your essay doesn't respond to the prompt, you likely won't receive full credit.

• If you're writing an essay for an in-class test or for an application, tailor the essay to the given prompt and topic. Quickly brainstorm a few ideas; for example, think of positive things you can say about yourself for a college-entrance essay.
• For example, the topic “depression in American literature” is far too broad. Narrow down your topic to something like “Willie Loman’s depression in Death of a Salesman .”
• Or, you could write about a narrow topic like “the increase in the USA’s national debt in the 1950s” rather than a broad topic like “the American economy in the 20th century.”

• Depending on the field in which you’re writing the essay—e.g., hard sciences, sociology, humanities, etc.—your instructor will direct you towards appropriate databases. For example, if you’re writing a high-school or college-level essay for your English class, visit online literary databases like JSTOR, LION, and the MLA Bibliography.
• If you're writing the essay for a college or graduate-school application, it's unlikely that you'll need to include any secondary sources.
• If you're writing a timed or in-class essay, you may not be able to find research articles. But, still do draw information from texts and sources you've studied both in and out of class, and build from points made in any provided reading passages.

• If you’re writing about current events or journalism topics, read articles from well-known news sites like CNN or the BBC.
• Avoid citing unreliable websites like blogs or any sites that have a clear bias about the topic they’re reporting on.

Composing the Essay

• If you write the essay without outlining, the essay will be poorly organized.

• This thesis statement is far too weak: “ Death of a Salesman shows the difficulty of living in America after WWII.”
• Instead, hone your thesis to something like: “Arthur Miller uses Death of a Salesman to show that the American Dream is materialist and impractical.”

• So, avoid beginning the paragraph by writing something like, “Since the beginning of time, all people have been consumed with the desire for their father’s approval.”
• Instead, write something like, “In the play Death of a Salesman , Willie Loman’s sons compete for their father’s approval through various masculine displays."
• Then, you can say, "To examine this topic, I will perform a close reading of several key passages of the play and present analyses by noted Arthur Miller scholars."

• In a short essay, the conclusion should do nothing more than briefly restate your main claim and remind readers of the evidence you provided.

• So, take the example about Death of a Salesman . The first body paragraph could discuss the ways in which Willie’s sons try to impress him.
• The second body paragraph could dive into Willie’s hopelessness and despair, and the third paragraph could discuss how Miller uses his characters to show the flaws in their understanding of the American Dream.

• Always cite your sources so you avoid charges of plagiarism. Check with your instructor (or the essay prompt) and find out what citation style you should use.
• For example, if you’re summarizing the inflation of the American dollar during the 1930s, provide 2 or 3 years and inflation-rate percentages. Don’t provide a full-paragraph summary of the economic decline.
• If you're writing an in-class essay and don't have time to perform any research, you don't need to incorporate outside sources. But, it will impress your teacher if you quote from a reading passage or bring up pertinent knowledge you may have gained during the class.

• If no one agrees to read the essay, read over your own first draft and look for errors or spots where you could clarify your meaning. Reading the essay out loud often helps, as you’ll be able to hear sentences that aren’t quite coherent.
• This step does not apply to essays written during a timed or in-class exam, as you won't be able to ask peers to read your work.

• It’s always a mistake to submit an unrevised first draft, whether for a grade, for admissions, or for a scholarship essay.
• However, if you're writing an essay for a timed exam, it's okay if you don't have enough time to combine multiple drafts before the time runs out.

Condensing Your Essay

• So, if you’re writing about Death of a Salesman , an article about symbolism in Arthur Miller’s plays would be useful. But, an article about the average cost of Midwestern hotels in the 1940s would be irrelevant.
• If you’re writing a scholarship essay, double-check the instructions to clarify what types of sources you’re allowed to use.

• A common cliche you might find in an essay is a statement like, "I'm the hardest working student at my school."
• For example, this sentence is too verbose: “I have been a relentlessly stellar student throughout my entire high school career since I am a seriously dedicated reader and thoroughly apply myself to every assignment I receive in class.”
• Shortened, it could read: “I was a stellar student throughout my high school career since I was a dedicated reader and applied myself to every assignment I received.”

• Avoid writing something like, “Willie Loman can be seen as having achieved little through his life because he is not respected by his sons and is not valued by his co-workers.”
• Instead, write, “Arthur Miller shows readers that Willie’s life accomplishments have amounted to little. Willie’s sons do not look up to him, and his co-workers treat him without respect.”

• For example, if you’re trying to prove that WWII pulled the USA out of the Great Depression, focus strictly on an economic argument.
• Avoid bringing in other, less convincing topics. For example, don’t dedicate a paragraph to discussing how much it cost the USA to build fighter jets in 1944.

Short Essay Template and Example

Expert Q&A

• When composing the text of your essay, resist the temptation to pull words from a thesaurus in an attempt to sound academic or intelligent. Thanks Helpful 0 Not Helpful 0
• If your high school or college has an online or in-person writing center, schedule an appointment. Taking advantage of this type of service can improve your essay and help you recognize structural or grammatical problems you would not have noticed otherwise. Thanks Helpful 0 Not Helpful 0

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• ↑ https://owl.purdue.edu/owl/general_writing/common_writing_assignments/research_papers/choosing_a_topic.html
• ↑ https://monroecollege.libguides.com/c.php?g=589208&p=4072926
• ↑ https://www.utep.edu/extendeduniversity/utepconnect/blog/march-2017/4-ways-to-differentiate-a-good-source-from-a-bad-source.html
• ↑ https://www.grammarly.com/blog/essay-outline/
• ↑ https://writingcenter.unc.edu/tips-and-tools/thesis-statements/
• ↑ https://libguides.newcastle.edu.au/how-to-write-an-essay/essay-introduction
• ↑ https://lsa.umich.edu/sweetland/undergraduates/writing-guides/how-do-i-write-an-intro--conclusion----body-paragraph.html
• ↑ https://mlpp.pressbooks.pub/writingsuccess/chapter/8-3-drafting/
• ↑ https://www.trentu.ca/academicskills/how-guides/how-write-university/how-approach-any-assignment/writing-english-essay/using-secondary
• ↑ https://patch.com/michigan/berkley/bp--how-to-shorten-your-college-essay-without-ruining-it
• ↑ https://writing.wisc.edu/handbook/style/ccs_activevoice/
• ↑ https://wordcounter.net/blog/2016/01/26/101025_how-to-reduce-essay-word-count.html

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Last updated on Oct 29, 2023

How to Write a Short Story in 9 Simple Steps

This post is written by UK writer Robert Grossmith. His short stories have been widely anthologized, including in The Time Out Book of London Short Stories , The Best of Best Short Stories , and The Penguin Book of First World War Stories . You  can collaborate with him on your own short stories here on Reedsy .  

The joy of writing short stories is, in many ways, tied to its limitations.  Developing characters, conflict, and a premise within a few pages is a thrilling challenge that many writers relish — even after they've "graduated" to long-form fiction.

In this article, I’ll take you through the process of writing a short story, from idea conception to the final draft.

How to write a short story:

1. Know what a short story is versus a novel

2. pick a simple, central premise, 3. build a small but distinct cast of characters, 4. begin writing close to the end, 5. shut out your internal editor, 6. finish the first draft, 7. edit the short story, 8. share the story with beta readers, 9. submit the short story to publications.

But first, let’s talk about what makes a short story different from a novel. 

The simple answer to this question, of course, is that the short story is shorter than the novel, usually coming in at between, say, 1,000-15,000 words. Any shorter and you’re into flash fiction territory. Any longer and you’re approaching novella length . 

As far as other features are concerned, it’s easier to define the short story by what it lacks compared to the novel . For example, the short story usually has:

• fewer characters than a novel
• a single point of view, either first person or third person
• a single storyline without subplots
• less in the way of back story or exposition than a novel

If backstory is needed at all, it should come late in the story and be kept to a minimum.

It’s worth remembering too that some of the best short stories consist of a single dramatic episode in the form of a vignette or epiphany.

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A short story can begin life in all sorts of ways.

It may be suggested by a simple but powerful image that imprints itself on the mind. It may derive from the contemplation of a particular character type — someone you know perhaps — that you’re keen to understand and explore. It may arise out of a memorable incident in your own life.

For example:

• Kafka began “The Metamorphosis” with the intuition that a premise in which the protagonist wakes one morning to find he’s been transformed into a giant insect would allow him to explore questions about human relationships and the human condition.
• Herman Melville’s “Bartleby the Scrivener” takes the basic idea of a lowly clerk who decides he will no longer do anything he doesn’t personally wish to do, and turns it into a multi-layered tale capable of a variety of interpretations.

When I look back on some of my own short stories, I find a similar dynamic at work: a simple originating idea slowly expands to become something more nuanced and less formulaic. 

So how do you find this “first heartbeat” of your own short story? Here are several ways to do so. 

Experiment with writing prompts

Eagle-eyed readers will notice that the story premises mentioned above actually have a great deal in common with writing prompts like the ones put forward each week in Reedsy’s short story competition . Try it out! These prompts are often themed in a way that’s designed to narrow the focus for the writer so that one isn’t confronted with a completely blank canvas.

Turn to the originals

Take a story or novel you admire and think about how you might rework it, changing a key element. (“Pride and Prejudice and Vampires” is perhaps an extreme product of this exercise.) It doesn’t matter that your proposed reworking will probably never amount to more than a skimpy mental reimagining — it may well throw up collateral narrative possibilities along the way.

Keep a notebook

Finally, keep a notebook in which to jot down stray observations and story ideas whenever they occur to you. Again, most of what you write will be stuff you never return to, and it may even fail to make sense when you reread it. But lurking among the dross may be that one rough diamond that makes all the rest worthwhile. 

Like I mentioned earlier, short stories usually contain far fewer characters than novels. Readers also need to know far less about the characters in a short story than we do in a novel (sometimes it’s the lack of information about a particular character in a story that adds to the mystery surrounding them, making them more compelling).

Yet it remains the case that creating memorable characters should be one of your principal goals. Think of your own family, friends and colleagues. Do you ever get them confused with one another? Probably not. 

Your dramatis personae should be just as easily distinguishable from one another, either through their appearance, behavior, speech patterns, or some other unique trait. If you find yourself struggling, a character profile template like the one you can download for free below is particularly helpful in this stage of writing.   

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Reedsy’s Character Profile Template

A story is only as strong as its characters. Fill this out to develop yours.

• “The Yellow Wallpaper” by Charlotte Perkins Gilman features a cast of two: the narrator and her husband. How does Gilman give her narrator uniquely identifying features?
• “The Tell-Tale Heart” by Edgar Allan Poe features a cast of three: the narrator, the old man, and the police. How does Poe use speech patterns in dialogue and within the text itself to convey important information about the narrator?
• “A Good Man Is Hard to Find” by Flannery O’Connor is perhaps an exception: its cast of characters amounts to a whopping (for a short story) nine. How does she introduce each character? In what way does she make each character, in particular The Misfit, distinct?

He’s right: avoid the preliminary exposition or extended scene-setting. Begin your story by plunging straight into the heart of the action. What most readers want from a story is drama and conflict, and this is often best achieved by beginning in media res . You have no time to waste in a short story. The first sentence of your story is crucial, and needs to grab the reader’s attention to make them want to read on. 

One way to do this is to write an opening sentence that makes the reader ask questions. For example, Kingsley Amis once said, tongue-in-cheek, that in the future he would only read novels that began with the words: “A shot rang out.”

This simple sentence is actually quite telling. It introduces the stakes: there’s an immediate element of physical danger, and therefore jeopardy for someone. But it also raises questions that the reader will want answered. Who fired the shot? Who or what were they aiming at, and why? Where is this happening?

We read fiction for the most part to get answers to questions. For example, if you begin your story with a character who behaves in an unexpected way, the reader will want to know why he or she is behaving like this. What motivates their unusual behavior? Do they know that what they’re doing or saying is odd? Do they perhaps have something to hide? Can we trust this character? 

As the author, you can answer these questions later (that is, answer them dramatically rather than through exposition). But since we’re speaking of the beginning of a story, at the moment it’s enough simply to deliver an opening sentence that piques the reader’s curiosity, raises questions, and keeps them reading.

“Anything goes” should be your maxim when embarking on your first draft. 

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By that, I mean: kill the editor in your head and give your imagination free rein. Remember, you’re beginning with a blank page. Anything you put down will be an improvement on what’s currently there, which is nothing. And there’s a prescription for any obstacle you might encounter at this stage of writing. 

• Worried that you’re overwriting? Don’t worry. It’s easier to cut material in later drafts once you’ve sketched out the whole story. 
• Got stuck, but know what happens later? Leave a gap. There’s no necessity to write the story sequentially. You can always come back and fill in the gap once the rest of the story is complete. 
• Have a half-developed scene that’s hard for you to get onto the page? Write it in note form for the time being. You might find that it relieves the pressure of having to write in complete sentences from the get-go.

Most of my stories were begun with no idea of their eventual destination, but merely an approximate direction of travel. To put it another way, I’m a ‘pantser’ (flying by the seat of my pants, making it up as I go along) rather than a planner. There is, of course, no right way to write your first draft. What matters is that you have a first draft on your hands at the end of the day. 

It’s hard to overstate the importance of the ending of a short story : it can rescue an inferior story or ruin an otherwise superior one. 

If you’re a planner, you will already know the broad outlines of the ending. If you’re a pantser like me, you won’t — though you’ll hope that a number of possible endings will have occurred to you in the course of writing and rewriting the story! 

In both cases, keep in mind that what you’re after is an ending that’s true to the internal logic of the story without being obvious or predictable. What you want to avoid is an ending that evokes one of two reactions:

• “Is that it?” aka “The author has failed to resolve the questions raised by the story.”
• “WTF!” aka “This ending is simply confusing.”

Like Truman Capote said, “Good writing is rewriting.”

Once you have a first draft, the real work begins. This is when you move things around, tightening the nuts and bolts of the piece to make sure it holds together and resembles the shape it took in your mind when you first conceived it. 

In most cases, this means reading through your first draft again (and again). In this stage of editing , think to yourself:

• Which narrative threads are already in place?
• Which may need to be added or developed further?
• Which need to perhaps be eliminated altogether?

All that’s left afterward is the final polish . Here’s where you interrogate every word, every sentence, to make sure it’s earned its place in the story:

• Is that really what I mean?
• Could I have said that better?
• Have I used that word correctly?
• Is that sentence too long?
• Have I removed any clichés? 

Trust me: this can be the most satisfying part of the writing process. The heavy lifting is done, the walls have been painted, the furniture is in place. All you have to do now is hang a few pictures, plump the cushions and put some flowers in a vase.

Eventually, you may reach a point where you’ve reread and rewritten your story so many times that you simply can’t bear to look at it again. If this happens, put the story aside and try to forget about it.

When you do finally return to it, weeks or even months later, you’ll probably be surprised at how the intervening period has allowed you to see the story with a fresh pair of eyes. And whereas it might have felt like removing one of your own internal organs to cut such a sentence or paragraph before, now it feels like a liberation. 

The story, you can see, is better as a result. It was only your bloated appendix you removed, not a vital organ.

It’s at this point that you should call on the services of beta readers if you have them. This can be a daunting prospect: what if the response is less enthusiastic than you’re hoping for? But think about it this way: if you’re expecting complete strangers to read and enjoy your story, then you shouldn’t be afraid of trying it out first on a more sympathetic audience. 

This is also why I’d suggest delaying this stage of the writing process until you feel sure your story is complete. It’s one thing to ask a friend to read and comment on your new story. It’s quite another thing to return to them sometime later with, “I’ve made some changes to the story — would you mind reading it again?”

So how do you know your story’s really finished? This is a question that people have put to me. My reply tends to be: I know the story’s finished when I can’t see how to make it any better.

This is when you can finally put down your pencil (or keyboard), rest content with your work for a few days, then submit it so that people can read your work. And you can start with this directory of literary magazines once you're at this step. 

The truth is, in my experience, there’s actually no such thing as a final draft. Even after you’ve submitted your story somewhere — and even if you’re lucky enough to have it accepted — there will probably be the odd word here or there that you’d like to change. 

Don’t worry about this. Large-scale changes are probably out of the question at this stage, but a sympathetic editor should be willing to implement any small changes right up to the time of publication. 

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25 Great Nonfiction Essays You Can Read Online for Free

Alison Doherty

Alison Doherty is a writing teacher and part time assistant professor living in Brooklyn, New York. She has an MFA from The New School in writing for children and teenagers. She loves writing about books on the Internet, listening to audiobooks on the subway, and reading anything with a twisty plot or a happily ever after.

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I love reading books of nonfiction essays and memoirs , but sometimes have a hard time committing to a whole book. This is especially true if I don’t know the author. But reading nonfiction essays online is a quick way to learn which authors you like. Also, reading nonfiction essays can help you learn more about different topics and experiences.

Besides essays on Book Riot,  I love looking for essays on The New Yorker , The Atlantic , The Rumpus , and Electric Literature . But there are great nonfiction essays available for free all over the Internet. From contemporary to classic writers and personal essays to researched ones—here are 25 of my favorite nonfiction essays you can read today.

“Beware of Feminist Lite” by  Chimamanda Ngozi Adichie

The author of We Should All Be Feminists  writes a short essay explaining the danger of believing men and woman are equal only under certain conditions.

“It’s Silly to Be Frightened of Being Dead” by Diana Athill

A 96-year-old woman discusses her shifting attitude towards death from her childhood in the 1920s when death was a taboo subject, to World War 2 until the present day.

“Letter from a Region in my Mind” by James Baldwin

There are many moving and important essays by James Baldwin . This one uses the lens of religion to explore the Black American experience and sexuality. Baldwin describes his move from being a teenage preacher to not believing in god. Then he recounts his meeting with the prominent Nation of Islam member Elijah Muhammad.

“Relations” by Eula Biss

Biss uses the story of a white woman giving birth to a Black baby that was mistakenly implanted during a fertility treatment to explore racial identities and segregation in society as a whole and in her own interracial family.

“Friday Night Lights” by Buzz Bissinger

A comprehensive deep dive into the world of high school football in a small West Texas town.

“The Case for Reparations” by Ta-Nehisi Coates

Coates examines the lingering and continuing affects of slavery on  American society and makes a compelling case for the descendants of slaves being offered reparations from the government.

“Why I Write” by Joan Didion

This is one of the most iconic nonfiction essays about writing. Didion describes the reasons she became a writer, her process, and her journey to doing what she loves professionally.

“Go Gentle Into That Good Night” by Roger Ebert

With knowledge of his own death, the famous film critic ponders questions of mortality while also giving readers a pep talk for how to embrace life fully.

“My Mother’s Tongue” by Zavi Kang Engles

In this personal essay, Engles celebrates the close relationship she had with her mother and laments losing her Korean fluency.

“My Life as an Heiress” by Nora Ephron

As she’s writing an important script, Ephron imagines her life as a newly wealthy woman when she finds out an uncle left her an inheritance. But she doesn’t know exactly what that inheritance is.

“My FatheR Spent 30 Years in Prison. Now He’s Out.” by Ashley C. Ford

Ford describes the experience of getting to know her father after he’s been in prison for almost all of her life. Bridging the distance in their knowledge of technology becomes a significant—and at times humorous—step in rebuilding their relationship.

“Bad Feminist” by Roxane Gay

There’s a reason Gay named her bestselling essay collection after this story. It’s a witty, sharp, and relatable look at what it means to call yourself a feminist.

“The Empathy Exams” by Leslie Jamison

Jamison discusses her job as a medical actor helping to train medical students to improve their empathy and uses this frame to tell the story of one winter in college when she had an abortion and heart surgery.

“What I Learned from a Fitting Room Disaster About Clothes and Life” by Scaachi Koul

One woman describes her history with difficult fitting room experiences culminating in one catastrophe that will change the way she hopes to identify herself through clothes.

“Breasts: the Odd Couple” by Una LaMarche

LaMarche examines her changing feelings about her own differently sized breasts.

“How I Broke, and Botched, the Brandon Teena Story” by Donna Minkowitz

A journalist looks back at her own biased reporting on a news story about the sexual assault and murder of a trans man in 1993. Minkowitz examines how ideas of gender and sexuality have changed since she reported the story, along with how her own lesbian identity influenced her opinions about the crime.

“Politics and the English Language” by George Orwell

In this famous essay, Orwell bemoans how politics have corrupted the English language by making it more vague, confusing, and boring.

“Letting Go” by David Sedaris

The famously funny personal essay author , writes about a distinctly unfunny topic of tobacco addiction and his own journey as a smoker. It is (predictably) hilarious.

“Joy” by Zadie Smith

Smith explores the difference between pleasure and joy by closely examining moments of both, including eating a delicious egg sandwich, taking drugs at a concert, and falling in love.

“Mother Tongue” by Amy Tan

Tan tells the story of how her mother’s way of speaking English as an immigrant from China changed the way people viewed her intelligence.

“Consider the Lobster” by David Foster Wallace

The prolific nonfiction essay and fiction writer  travels to the Maine Lobster Festival to write a piece for Gourmet Magazine. With his signature footnotes, Wallace turns this experience into a deep exploration on what constitutes consciousness.

“I Am Not Pocahontas” by Elissa Washuta

Washuta looks at her own contemporary Native American identity through the lens of stereotypical depictions from 1990s films.

“Once More to the Lake” by E.B. White

E.B. White didn’t just write books like Charlotte’s Web and The Elements of Style . He also was a brilliant essayist. This nature essay explores the theme of fatherhood against the backdrop of a lake within the forests of Maine.

“Pell-Mell” by Tom Wolfe

The inventor of “new journalism” writes about the creation of an American idea by telling the story of Thomas Jefferson snubbing a European Ambassador.

“The Death of the Moth” by Virginia Woolf

In this nonfiction essay, Wolf describes a moth dying on her window pane. She uses the story as a way to ruminate on the lager theme of the meaning of life and death.

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The short story is a fiction writer’s laboratory: here is where you can experiment with characters, plots, and ideas without the heavy lifting of writing a novel. Learning how to write a short story is essential to mastering the art of storytelling . With far fewer words to worry about, storytellers can make many more mistakes—and strokes of genius!—through experimentation and the fun of fiction writing.

Nonetheless, the art of writing short stories is not easy to master. How do you tell a complete story in so few words? What does a story need to have in order to be successful? Whether you’re struggling with how to write a short story outline, or how to fully develop a character in so few words, this guide is your starting point.

Famous authors like Virginia Woolf, Haruki Murakami, and Agatha Christie have used the short story form to play with ideas before turning those stories into novels. Whether you want to master the elements of fiction, experiment with novel ideas, or simply have fun with storytelling, here’s everything you need on how to write a short story step by step.

How to Write a Short Story: Contents

The Core Elements of a Short Story

How to write a short story outline, how to write a short story step by step, how to write a short story: length and setting, how to write a short story: point of view, how to write a short story: protagonist, antagonist, motivation, how to write a short story: characters, how to write a short story: prose, how to write a short story: story structure, how to write a short story: capturing reader interest, where to read and submit short stories.

There’s no secret formula to writing a short story. However, a good short story will have most or all of the following elements:

• A protagonist with a certain desire or need. It is essential for the protagonist to want something they don’t have, otherwise they will not drive the story forward.
• A clear dilemma. We don’t need much backstory to see how the dilemma started; we’re primarily concerned with how the protagonist resolves it.
• A decision. What does the protagonist do to resolve their dilemma?
• A climax. In Freytag’s Pyramid , the climax of a story is when the tension reaches its peak, and the reader discovers the outcome of the protagonist’s decision(s).
• An outcome. How does the climax change the protagonist? Are they a different person? Do they have a different philosophy or outlook on life?

Of course, short stories also utilize the elements of fiction , such as a setting , plot , and point of view . It helps to study these elements and to understand their intricacies. But, when it comes to laying down the skeleton of a short story, the above elements are what you need to get started.

Note: a short story rarely, if ever, has subplots. The focus should be entirely on a single, central storyline. Subplots will either pull focus away from the main story, or else push the story into the territory of novellas and novels.

The shorter the story is, the fewer of these elements are essentials. If you’re interested in writing short-short stories, check out our guide on how to write flash fiction .

Some writers are “pantsers”—they “write by the seat of their pants,” making things up on the go with little more than an idea for a story. Other writers are “plotters,” meaning they decide the story’s structure in advance of writing it.

You don’t need a short story outline to write a good short story. But, if you’d like to give yourself some scaffolding before putting words on the page, this article answers the question of how to write a short story outline:

https://writers.com/how-to-write-a-story-outline

There are many ways to approach the short story craft, but this method is tried-and-tested for writers of all levels. Here’s how to write a short story step-by-step.

1. Start With an Idea

Often, generating an idea is the hardest part. You want to write, but what will you write about?

What’s more, it’s easy to start coming up with ideas and then dismissing them. You want to tell an authentic, original story, but everything you come up with has already been written, it seems.

Here are a few tips:

• Originality presents itself in your storytelling, not in your ideas. For example, the premise of both Shakespeare’s A Midsummer Night’s Dream and Ostrovsky’s The Snow Maiden are very similar: two men and two women, in intertwining love triangles, sort out their feelings for each other amidst mischievous forest spirits, love potions, and friendship drama. The way each story is written makes them very distinct from one another, to the point where, unless it’s pointed out to you, you might not even notice the similarities.
• An idea is not a final draft. You will find that exploring the possibilities of your story will generate something far different than the idea you started out with. This is a good thing—it means you made the story your own!
• Experiment with genres and tropes. Even if you want to write literary fiction , pay attention to the narrative structures that drive genre stories, and practice your storytelling using those structures. Again, you will naturally make the story your own simply by playing with ideas.

If you’re struggling simply to find ideas, try out this prompt generator , or pull prompts from this Twitter .

2. Outline, OR Conceive Your Characters

If you plan to outline, do so once you’ve generated an idea. You can learn about how to write a short story outline earlier in this article.

If you don’t plan to outline, you should at least start with a character or characters. Certainly, you need a protagonist, but you should also think about any characters that aid or inhibit your protagonist’s journey.

When thinking about character development, ask the following questions:

• What is my character’s background? Where do they come from, how did they get here, where do they want to be?
• What does your character desire the most? This can be both material or conceptual, like “fitting in” or “being loved.”
• What is your character’s fatal flaw? In other words, what limitation prevents the protagonist from achieving their desire? Often, this flaw is a blind spot that directly counters their desire. For example, self hatred stands in the way of a protagonist searching for love.
• How does your character think and speak? Think of examples, both fictional and in the real world, who might resemble your character.

In short stories, there are rarely more characters than a protagonist, an antagonist (if relevant), and a small group of supporting characters. The more characters you include, the longer your story will be. Focus on making only one or two characters complex: it is absolutely okay to have the rest of the cast be flat characters that move the story along.

Learn more about character development here:

https://writers.com/character-development-definition

3. Write Scenes Around Conflict

Once you have an outline or some characters, start building scenes around conflict. Every part of your story, including the opening sentence, should in some way relate to the protagonist’s conflict.

Conflict is the lifeblood of storytelling: without it, the reader doesn’t have a clear reason to keep reading. Loveable characters are not enough, as the story has to give the reader something to root for.

Take, for example, Edgar Allan Poe’s classic short story The Cask of Amontillado . We start at the conflict: the narrator has been slighted by Fortunato, and plans to exact revenge. Every scene in the story builds tension and follows the protagonist as he exacts this revenge.

In your story, start writing scenes around conflict, and make sure each paragraph and piece of dialogue relates, in some way, to your protagonist’s unmet desires.

Read more about writing effective conflict here:

What is Conflict in a Story? Definition and Examples

4. Write Your First Draft

The scenes you build around conflict will eventually be stitched into a complete story. Make sure as the story progresses that each scene heightens the story’s tension, and that this tension remains unbroken until the climax resolves whether or not your protagonist meets their desires.

Don’t stress too hard on writing a perfect story. Rather, take Anne Lamott’s advice, and “write a shitty first draft.” The goal is not to pen a complete story at first draft; rather, it’s to set ideas down on paper. You are simply, as Shannon Hale suggests, “shoveling sand into a box so that later [you] can build castles.”

5. Step Away, Breathe, Revise

Whenever Stephen King finishes a novel, he puts it in a drawer and doesn’t think about it for 6 weeks. With short stories, you probably don’t need to take as long of a break. But, the idea itself is true: when you’ve finished your first draft, set it aside for a while. Let yourself come back to the story with fresh eyes, so that you can confidently revise, revise, revise .

In revision, you want to make sure each word has an essential place in the story, that each scene ramps up tension, and that each character is clearly defined. The culmination of these elements allows a story to explore complex themes and ideas, giving the reader something to think about after the story has ended.

6. Compare Against Our Short Story Checklist

Does your story have everything it needs to succeed? Compare it against this short story checklist, as written by our instructor Rosemary Tantra Bensko.

Below is a collection of practical short story writing tips by Writers.com instructor Rosemary Tantra Bensko . Each paragraph is its own checklist item: a core element of short story writing advice to follow unless you have clear reasons to the contrary. We hope it’s a helpful resource in your own writing.

Update 9/1/2020: We’ve now made a summary of Rosemary’s short story checklist available as a PDF download . Enjoy!

Click to download

Your short story is 1000 to 7500 words in length.

The story takes place in one time period, not spread out or with gaps other than to drive someplace, sleep, etc. If there are those gaps, there is a space between the paragraphs, the new paragraph beginning flush left, to indicate a new scene.

Each scene takes place in one location, or in continual transit, such as driving a truck or flying in a plane.

Unless it’s a very lengthy Romance story, in which there may be two Point of View (POV) characters, there is one POV character. If we are told what any character secretly thinks, it will only be the POV character. The degree to which we are privy to the unexpressed thoughts, memories and hopes of the POV character remains consistent throughout the story.

You avoid head-hopping by only having one POV character per scene, even in a Romance. You avoid straying into even brief moments of telling us what other characters think other than the POV character. You use words like “apparently,” “obviously,” or “supposedly” to suggest how non-POV-characters think rather than stating it.

Your short story has one clear protagonist who is usually the character changing most.

Your story has a clear antagonist, who generally makes the protagonist change by thwarting his goals.

(Possible exception to the two short story writing tips above: In some types of Mystery and Action stories, particularly in a series, etc., the protagonist doesn’t necessarily grow personally, but instead his change relates to understanding the antagonist enough to arrest or kill him.)

The protagonist changes with an Arc arising out of how he is stuck in his Flaw at the beginning of the story, which makes the reader bond with him as a human, and feel the pain of his problems he causes himself. (Or if it’s the non-personal growth type plot: he’s presented at the beginning of the story with a high-stakes problem that requires him to prevent or punish a crime.)

The protagonist usually is shown to Want something, because that’s what people normally do, defining their personalities and behavior patterns, pushing them onward from day to day. This may be obvious from the beginning of the story, though it may not become heightened until the Inciting Incident , which happens near the beginning of Act 1. The Want is usually something the reader sort of wants the character to succeed in, while at the same time, knows the Want is not in his authentic best interests. This mixed feeling in the reader creates tension.

The protagonist is usually shown to Need something valid and beneficial, but at first, he doesn’t recognize it, admit it, honor it, integrate it with his Want, or let the Want go so he can achieve the Need instead. Ideally, the Want and Need can be combined in a satisfying way toward the end for the sake of continuity of forward momentum of victoriously achieving the goals set out from the beginning. It’s the encounters with the antagonist that forcibly teach the protagonist to prioritize his Needs correctly and overcome his Flaw so he can defeat the obstacles put in his path.

The protagonist in a personal growth plot needs to change his Flaw/Want but like most people, doesn’t automatically do that when faced with the problem. He tries the easy way, which doesn’t work. Only when the Crisis takes him to a low point does he boldly change enough to become victorious over himself and the external situation. What he learns becomes the Theme.

Each scene shows its main character’s goal at its beginning, which aligns in a significant way with the protagonist’s overall goal for the story. The scene has a “charge,” showing either progress toward the goal or regression away from the goal by the ending. Most scenes end with a negative charge, because a story is about not obtaining one’s goals easily, until the end, in which the scene/s end with a positive charge.

The protagonist’s goal of the story becomes triggered until the Inciting Incident near the beginning, when something happens to shake up his life. This is the only major thing in the story that is allowed to be a random event that occurs to him.

Your characters speak differently from one another, and their dialogue suggests subtext, what they are really thinking but not saying: subtle passive-aggressive jibes, their underlying emotions, etc.

Your characters are not illustrative of ideas and beliefs you are pushing for, but come across as real people.

Your language is succinct, fresh and exciting, specific, colorful, avoiding clichés and platitudes. Sentence structures vary. In Genre stories, the language is simple, the symbolism is direct, and words are well-known, and sentences are relatively short. In Literary stories , you are freer to use more sophisticated ideas, words, sentence structures, styles , and underlying metaphors and implied motifs.

Your plot elements occur in the proper places according to classical Three Act Structure (or Freytag’s Pyramid ) so the reader feels he has vicariously gone through a harrowing trial with the protagonist and won, raising his sense of hope and possibility. Literary short stories may be more subtle, with lower stakes, experimenting beyond classical structures like the Hero’s Journey. They can be more like vignettes sometimes, or even slice-of-life, though these types are hard to place in publications.

In Genre stories, all the questions are answered, threads are tied up, problems are solved, though the results of carnage may be spread over the landscape. In Literary short stories, you are free to explore uncertainty, ambiguity, and inchoate, realistic endings that suggest multiple interpretations, and unresolved issues.

Some Literary stories may be nonrealistic, such as with Surrealism, Absurdism, New Wave Fabulism, Weird and Magical Realism . If this is what you write, they still need their own internal logic and they should not be bewildering as to the what the reader is meant to experience, whether it’s a nuanced, unnameable mood or a trip into the subconscious.

Literary stories may also go beyond any label other than Experimental. For example, a story could be a list of To Do items on a paper held by a magnet to a refrigerator for the housemate to read. The person writing the list may grow more passive-aggressive and manipulative as the list grows, and we learn about the relationship between the housemates through the implied threats and cajoling.

Your short story is suspenseful, meaning readers hope the protagonist will achieve his best goal, his Need, by the Climax battle against the antagonist.

Your story entertains. This is especially necessary for Genre short stories.

The story captivates readers at the very beginning with a Hook, which can be a puzzling mystery to solve, an amazing character’s or narrator’s Voice, an astounding location, humor, a startling image, or a world the reader wants to become immersed in.

Expository prose (telling, like an essay) takes up very, very little space in your short story, and it does not appear near the beginning. The story is in Narrative format instead, in which one action follows the next. You’ve removed every unnecessary instance of Expository prose and replaced it with showing Narrative. Distancing words like “used to,” “he would often,” “over the years, he,” “each morning, he” indicate that you are reporting on a lengthy time period, summing it up, rather than sticking to Narrative format, in which immediacy makes the story engaging.

You’ve earned the right to include Expository Backstory by making the reader yearn for knowing what happened in the past to solve a mystery. This can’t possibly happen at the beginning, obviously. Expository Backstory does not take place in the first pages of your story.

Your reader cares what happens and there are high stakes (especially important in Genre stories). Your reader worries until the end, when the protagonist survives, succeeds in his quest to help the community, gets the girl, solves or prevents the crime, achieves new scientific developments, takes over rule of his realm, etc.

Every sentence is compelling enough to urge the reader to read the next one—because he really, really wants to—instead of doing something else he could be doing. Your story is not going to be assigned to people to analyze in school like the ones you studied, so you have found a way from the beginning to intrigue strangers to want to spend their time with your words.

Whether you’re looking for inspiration or want to publish your own stories, you’ll find great literary journals for writers of all backgrounds at this article:

https://writers.com/short-story-submissions

Learn How to Write a Short Story at Writers.com

The short story takes an hour to learn and a lifetime to master. Learn how to write a short story with Writers.com. Our upcoming fiction courses will give you the ropes to tell authentic, original short stories that captivate and entrance your readers.

Rosemary – Is there any chance you could add a little something to your checklist? I’d love to know the best places to submit our short stories for publication. Thanks so much.

Hi, Kim Hanson,

Some good places to find publications specific to your story are NewPages, Poets and Writers, Duotrope, and The Submission Grinder.

“ In Genre stories, all the questions are answered, threads are tied up, problems are solved, though the results of carnage may be spread over the landscape.”

Not just no but NO.

See for example the work of MacArthur Fellow Kelly Link.

[…] How to Write a Short Story: The Short Story Checklist […]

Thank you for these directions and tips. It’s very encouraging to someone like me, just NOW taking up writing.

[…] Writers.com. A great intro to writing. https://writers.com/how-to-write-a-short-story […]

Hello: I started to write seriously in the late 70’s. I loved to write in High School in the early 60’s but life got in the way. Around the 00’s many of the obstacles disappeared. Since then I have been writing more, and some of my work was vanilla transgender stories. Here in 2024 transgender stories have become tiresome because I really don’t have much in common with that mind set.

The glare of an editor that could potentially pay me is quite daunting, so I would like to start out unpaid to see where that goes. I am not sure if a writer’s agent would be a good fit for me. My work life was in the Trades, not as some sort of Academic. That alone causes timidity, but I did read about a fiction writer who had been a house painter.

This is my first effort to publish since the late 70’s. My pseudonym would perhaps include Ahabidah.

Gwen Boucher.

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30 Short English Essays for kids

Short English essays for kids are an excellent way to foster creativity, enhance language skills, and encourage young minds to express their thoughts and ideas. These essays , typically ranging from a few sentences to a couple of paragraphs , are tailored to the comprehension level of children. They cover a wide range of topics, allowing children to explore their interests and develop their writing skills.

Download essays for kids for later learning and use   (adsbygoogle = window.adsbygoogle || []).push({}); Download PDF

Table of Contents

Essay Topics for Kids

Writing essays can be an enjoyable and educational experience for kids. Here are a few essay topics tailored for younger writers:

My father is my greatest strength. He has good habits and good manners. He helps me in my study. He loves to play with me. He believes in discipline. He helps my mother with household chores. He listens to my problems very patiently. He always cares about our family members. He always shows a sense of confidence in me. I am proud of my father.

My Best Friend

A friend in need is a friend indeed. Man is a social animal. He cannot live alone. He needs the help of others. So he makes friends. My father always advises me to keep away from bad company. Let me introduce you to my best friend. Ali is my best friend. He belongs to a noble family. We live like real brothers. He wears simple clothes. He helps the poor. He is of my age. His father is a doctor. He does not mix with bad boys. He says his prayers daily. He is very intelligent. He is at home in all subjects. He stands first in our class every year. He helps the weak boys in their studies. He is a good player in hockey. He is the apple of his parent’s eyes. live long!

My Best Teacher

Teaching is a noble profession. It is the profession of prophets. The best people in the world are those who teach others. The teacher is an engineer, a doctor, and an officer maker. I have many teachers but Ali is my best teacher. He belongs to a good family. His father is a doctor. He is an M.A., B.ED. He is fifty years old. He teaches us English. He checks our homework daily. He is very hard-working. He gets up early in the morning. He wears neat and clean clothes. All the teachers like him. I like him very much. May he live long.

My Classroom

A classroom is a respectable place. It is a place where we get knowledge. It is my classroom. It is airy and spacious. It has two doors. It has three windows. It has four ventilators. It has thirty desks in it. There is a table and chair for the teacher in it. There is also a blackboard on the wall. There are four ceiling fans in it. There are maps, charts, and pictures on its walls. It is a very beautiful classroom. I like my classroom very much, I keep it clean.

A policeman is a government servant. His duty is to keep law and order. He keeps our lives and property safe. He is dutiful and obedient. He is always bold and courageous. He never hesitates to face danger. He is always active, alert, and energetic. There are also traffic police. Traffic police control and regulate the traffic. He is a true servant of society. We should respect him.

The name of my country is Pakistan. It came into being on 14th August 1947. It was founded by Quaid-e-Azam, Muhammad Ali Jinnah. It is an Islamic state. It has four provinces. The name of its capital is Islamabad. There are four seasons in my country, its people are very loving and kind. The national language of Pakistan is Urdu. The national sport of Pakistan is hockey. The national fruit of Pakistan is the mango. I love my country very much.

I study in Govt. Pilot School. It has a new building with spacious rooms. It has a practical science lab for students. It has a big library. The playground of our school is very large and beautiful. Our class teacher is a very kind man. All the other teachers are also kind. The principal of our school is a very friendly man. We all live like a family here. The schools like ours are the real wealth of our country. I am proud of my school.

The horse is a friend of a man. Man’s love for the horse is well-known. The Arabian horses are famous. The horses live mainly on grass. In the olden days, horses were used to carry people and goods from place to place. An adult male horse is called a ‘stallion’. An adult female horse is called a ‘mare’. A male baby horse is called a colt. A female baby horse is called a foal. He is very faithful to his master. Warriors are very fond of their horses.

A Morning Walk

A morning walk is a good exercise for all. It is very helpful for our health. It is as useful for the body as food. The fresh air is very useful for our lungs. The cool breeze refreshes us. We hear the chirping of the birds. I am very fond of morning walks, I get up early in the morning. The rising sun looks very beautiful in the park. Everything looks very fresh and blooming. The dewdrops on the grass look very lovely. We walk barefoot on the green grass.

Visit to a Park

A park is a place of beauty. It presents a feast of joy before us. In summer, I sit under its shady trees. The rows of roses attract my eyes. I enjoy the birds singing in the trees. I grow plants in the park. I came here to get fresh and clean air. It provides me with a place for sports. Many people visit the garden at different hours of the day. People come here for a walk and jogging. Other people come here to exercise and ease. A park is a place of beauty.

A Visit to a Zoo

Last week we went to the Lahore Zoo. I went with my father, mother, and brothers. We reached the zoo at around 12.00 p.m. We bought tickets and entered the zoo. First, we went to see the birds. There were many birds of beautiful colors. We also saw lions, tigers, bears, monkeys, and cheetahs. We also saw many other animals. After that, we went to the Aquarium. There we saw many varieties of fish. After that, we sat under a tree and had our lunch. At 4.00 p.m. we returned home. We will never forget this trip.

An Accident

Road accidents are very common in big cities. Careless driving causes accidents. Some drivers do not obey the traffic rules. A car was coming at a very high speed. The car hits the cyclist at a turn. Another car collided with this car. The cyclist fell down. He became senseless. People caught the car driver. People called the Ambulance for the cyclist. We should follow the traffic rules to stay safe.”

Journey by Bus

Once I traveled by bus from Lahore to Multan. The bus started its journey at 6 p.m. It traveled at a good speed. There were road lights near the towns. It was very cold at night. All of a sudden, the bus stopped. There was some problem with the engine. The driver opened the engine and made some corrections. Luckily, the bus started again. I reached Multan at 11 p.m.

God has bestowed upon us many blessings. Mother is one of these blessings. I often feel incomplete without my mother. The name of my mother is she is a housewife. She is a very kind lady. She loves me very much. She gets up early in the morning. She says her prayers regularly. She recites the Holy Quran daily. She cooks food for us. She cleans the house daily. She helps me with my studies. She is a simple woman. She always helps the poor. I love her very much. May she live long!

The Telephone

The telephone is a wonderful gift of science. It was invented by Graham Bell. The two telephone sets are connected by wires. People use it everywhere. In every phone, it has a number. It has a speaker and a microphone. It has a dialing pad that shows numbers. It saves time and money. It is very useful to mankind.

A Hockey Match

Last year, the Inter-board Tournament was held in our school. The final match was played between the teams of D. G. Khan and Rajanpur. Everybody was excited. The match started at 9 am. During the first half, both teams played well. Only a minute before the end of the first half, the Rajanpur Team made a fast move. Their center forward hit the ball into the goal. After that, the referee blew the whistle to end the first half. In the second half, the D. G. Khan Team attacked well to equal the score. At last, they scored the equalizer. Now the match was in full swing. Each team was trying hard to score the winning goal. But no team could succeed in its efforts. At last, the Rajanpur Team secured the winning goal. The people in favor of the winning team shouted and clapped. It was a wonderful match.

This age is the age of dearness. A man has to do a lot of work from morning till evening to earn his living. Sometimes, he has to labor beyond his capacity to meet his needs and desires properly. Thus he feels boredom. To keep the boredom away, he tries to enjoy some kind of recreation. A picnic party is also a source of recreation. During the summer vacation, we, the students of class seven, decided to take a trip to the Murree Hills. We went there by bus. We started our journey early in the morning. We were very happy and made the journey pleasant by talking and cutting jokes. The Journey through the mountainous area was very pleasant. There was greenery everywhere. We passed through the high hills of Marghala. The road lay ahead moving round the lofty rocks. The scenery was very charming. The ascent and descent of the road were very enjoyable. We stopped on the way and had our lunch at a restaurant. We reached Murree before sunset. We stay at Edina rest house. We enjoyed ourselves in the beautiful scenery of Murree Hills. A ride on the chairlift at Ayoubia was very thrilling. We stayed there for a week. It was a wonderful experience. We cannot forget those happy moments.

A visit to Hill Station

After taking exams I felt boredom. I managed to go to Murree to keep the boredom away. I with my class fellows went to Murree by bus. We start our journey early in the morning. We made our journey pleasant by cutting jokes. There was greenery everywhere near the mountainous area. We passed through the high hills of Marghala. The ascent and descent of the road were very enjoyable. We reached Murree before sunset. We enjoy ourselves in the beautiful views of Murree. A ride on the chair lift at Ayoubia was very exciting. We stayed there for a week.

It is a cow. It is a pet animal. It is in many colors. It has two eyes, two ears, and two horns. It has a long tail. It has four Legs. It eats grass. It gives us milk. We make butter, ghee, and cheese from it. We eat its meat. Its skin is used in bag, belt, and shoe making. We use its dung for manure. It is a very useful animal. It is found everywhere.

The computer has changed the world altogether. It has made things easier. There are many types of computers. In the beginning, computers were very big in size. But nowadays quite slim and smart computers are made. We can keep all types of records on computers. The most amazing thing is that we can talk to anybody, anywhere, and at any time in the world through the internet. It has reduced the distances and made the world a global village. In fact, it is the most amazing invention of the present age. We should use this device for useful purposes only.

My Favorite Game

Sports are necessary for our health. Games improve our fitness. Hockey is our national game. Football is also a favorite game of our people. “Sometimes to work, sometimes to play” is a right English proverb. It must be followed in life by everybody. My favorite game is cricket. I play cricket with my friends on holiday. The cool morning hour is the best time for playing. On Sunday, I go to vast open ground with my friends. We play cricket with a team spirit and obey the discipline of the team. This game builds our body and refreshes our minds. It also makes us active and improves our fitness. In the playground, we learn how to cooperate with one another and to be just and fair as well. All the games benefit both mind and body and improve fitness but I like cricket the most. It has created confidence in me and made me a good citizen.

A hobby is work that we do in our spare time. It is not a profession. Stamps collection, collection of old coins, painting, photography, and gardening are some popular hobbies. Gardening is my favorite hobby. It is a cheap hobby. I have a small grassy plot adjacent to my house. I have grown there different types of plants. I water them twice a day. I remove all kinds of weeds from there. After some days the flower buds become ready. They bloom after a few days. I enjoy their sweet smell. I look after them with care and love. When I am tired, I sit in the company of these pretty flowers. I decorate my drawing room with them. I give some flowers to my friends as a gift, too. This hobby gives me much pleasure and removes my worries. Greenery and flowers are a great blessing of Allah Almighty. I like my hobby very much.

Quaid-e-Azam

Quaid-e-Azam is the greatest leader in our history. His real name is Muhammad Ali Jinnah. His father’s name was Ponja Jinnah. He was a businessman in Karachi. He was born in Karachi on 25th December 1876. He was an intelligent and serious child. He received his early education in Karachi. He was a man of great willpower. He worked very hard for the nation. In 1940 the famous Pakistan Resolution was adopted. Pakistan came into being on 14th August 1947. He became the first Governor-General of Pakistan, He died on 11th September 1948. His tomb is in Karachi.

It is a great blessing to have friends. It is a natural phenomenon to make friends. At the school level, we make friends, share with them our things, and lunch box, and discuss little innocent matters. We feel happy to play with them and sometimes we go to school and play together.

But to make a friend, we must keep some points in our mind. He must be honest, kind-hearted and caring. If a person has these qualities you can make him your friend and start your friendship which will be long lasting. Every person has some weaknesses, so when you say, he is my friend, then accept him with all his weaknesses and improve him through your good behavior and smile. If your friend gives you time for playing and helps you in your studies and does not waste your time and takes care of you, your time and study, are your loyal friend, you can trust him. If your friend respects you and in return you respect him, and he forbids you from wrong doing, is your true friend. In friendship, you must avoid little things because the friendship is based on trust and mutual respect. When you avoid little things, with the passage of time your friendship will be strong.

Traffic Education

Every education helps man to make him civilized, sensible, and a good citizen, therefore the role of Traffic education is very important in this regard to drive the vehicle on the road safely. We daily travel in different vehicles, some use their own cars and some use public transport, therefore we must know the basic rules of how to drive a vehicle, what is a function of one way-traffic and two way-traffic, how we can follow the white lines which are drawn. So the vehicles follow them and avoid overspeed and rash driving. On every big road, we can see traffic signs with the help of the drivers, these signs include maximum speed, turn, signals, overhead bridge underpass, coming city or stop, etc. These signs help us in our driving so that we can safely reach our destination. In big cities, the flow of traffic is greater than the small cities. So we must follow the traffic signals and abide by the rules because these rules are only for our safety. The major cause of accidents on the roads are lack of traffic education which we do not follow. Every driver must get a traffic education and after the test, he/she should come on the road for the safety of himself/herself and others. When we follow the traffic rules, signs, and signals we can become responsible citizens.

My Favorite Animal

I love cats! Cats are my favorite animals because they are cute, cuddly, and full of personality. They have soft fur that feels so nice to pet. Cats come in all sorts of colors and patterns, which makes them even more interesting. Cats are also very playful. They chase after toys and pounce on imaginary prey. It’s so much fun to watch them play. Cats are independent too. They can groom themselves and use a litter box, which makes them easy to take care of. But the best thing about cats is their purring. When a cat purrs, it’s like they’re telling you they’re happy and content. I love snuggling with my cat and listening to her purr. Cats are truly wonderful animals, and I’m lucky to have one as my pet.

My family is small but full of love and happiness. It’s just me, my mom, and my dad. We may be small in numbers, but we are big in heart. We do everything together, from playing games to cooking delicious meals. Mom takes care of us and makes our home cozy, while Dad tells us fun stories and teaches me new things. We laugh a lot, share secrets, and support each other.

Our small family is like a close-knit team, always there for one another. I feel safe, loved, and cherished in our little family, and that’s what makes it so special and happy.

My Favorite Book

My favorite book is a magical adventure called “Harry Potter.” It’s about a young wizard named Harry who goes to a school for magic. The book has wizards, witches, spells, and fantastic creatures. I love it because it takes me to a world of imagination where anything is possible. The characters are brave and kind, and they teach important lessons about friendship and courage.

When I read “Harry Potter,” I feel like I’m right there with Harry, Ron, and Hermione, battling dragons and solving mysteries. It’s a book that makes me dream and believe in the power of magic, and that’s why it’s my favorite.

A Day at the Beach

The beach is a magical place for children. One sunny day, I went to the beach with my family. The sky was blue, and the soft sand felt warm under my feet. I could hear the waves gently crashing onto the shore, creating a soothing sound. We built sandcastles, letting the sand slip through our fingers, and decorated them with seashells. The ocean was inviting, so we splashed and played in the cool water. We even saw some colorful fish swimming nearby. Eating ice-cream and watching the sunset, I felt happy and relaxed. A day at the beach is always a day filled with joy and wonderful memories.

The Importance of Trees

Trees are very important. They give us clean air to breathe. Trees take in bad air and make it good. They also give homes to birds and animals. In the summer, trees give us shade. This keeps us cool. Trees also give us fruits like apples and oranges. We can climb trees and play around them. Trees make our world look beautiful. We must take care of trees because they help us in many ways. Planting more trees is good for our earth. We should love and protect trees always. Trees are our friends.

Check: Our Moral Stories Notes for kids

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Resilience and Dreams: the Inspirational Story of Rudy Ruettiger in Film

This essay about the origins and evolution of Starbucks describes how it started in 1971 in Seattle and grew into a major cultural phenomenon. Highlighting the influence of founders Jerry Baldwin, Zev Siegl, and Gordon Bowker, and transformative leader Howard Schultz, it details their commitment to quality and community, turning coffee purchasing into a premium, communal experience. The essay also covers Starbucks’ pioneering efforts in sustainability and social responsibility, underscoring its ongoing commitment to these values amid changing market dynamics and consumer habits.

How it works

In 1971, amidst the vibrant yet often misty atmosphere of Seattle, a small coffee shop began its journey to becoming a landmark. Founded by Jerry Baldwin, Zev Siegl, and Gordon Bowker, this café quickly became known for its rich aroma of freshly roasted coffee beans. This was the birthplace of Starbucks, which would later emerge as not only a leading coffee chain but also a significant cultural icon.

From its inception, Starbucks was more than just a place to buy coffee—it was about offering a premium coffee experience.

The founders’ commitment to selecting and roasting high-quality beans garnered a loyal customer base, who appreciated the cozy and welcoming environment, a comforting contrast to Seattle’s often gloomy climate.

The transformation of Starbucks was notably influenced by Howard Schultz in 1981. Inspired by the lively espresso bars he visited in Milan, Schultz saw potential for Starbucks to become a community center, mirroring the social hubs of Italy. Despite initial resistance from the original founders, Schultz’s idea prevailed when he took leadership in 1987, propelling the company towards significant expansion.

Under Schultz’s leadership, Starbucks redefined itself as more than just a coffee shop; it became a community space, a ‘third place’ for people to unwind, converse, or work, nestled between their home and workplace. This concept resonated worldwide as Starbucks expanded globally, each location featuring the iconic green mermaid logo.

Starbucks has been a pioneer in sustainability and corporate social responsibility, embracing fair trade and community initiatives ahead of industry trends. Their commitment to recycling, offering substantial employee benefits, and maintaining ethical business practices has set standards within the corporate world, merging profitability with a positive societal impact.

Today, Starbucks continues to adapt to the shifting dynamics of the coffee industry, facing new competitors and evolving consumer preferences while staying true to its foundational values. Through every cup, Starbucks upholds its reputation as a beacon of community and quality, reflecting the enduring impact of its thoughtful approach to coffee culture around the world.

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What I’ve Learned From My Students’ College Essays

The genre is often maligned for being formulaic and melodramatic, but it’s more important than you think.

By Nell Freudenberger

Most high school seniors approach the college essay with dread. Either their upbringing hasn’t supplied them with several hundred words of adversity, or worse, they’re afraid that packaging the genuine trauma they’ve experienced is the only way to secure their future. The college counselor at the Brooklyn high school where I’m a writing tutor advises against trauma porn. “Keep it brief , ” she says, “and show how you rose above it.”

I started volunteering in New York City schools in my 20s, before I had kids of my own. At the time, I liked hanging out with teenagers, whom I sometimes had more interesting conversations with than I did my peers. Often I worked with students who spoke English as a second language or who used slang in their writing, and at first I was hung up on grammar. Should I correct any deviation from “standard English” to appeal to some Wizard of Oz behind the curtains of a college admissions office? Or should I encourage students to write the way they speak, in pursuit of an authentic voice, that most elusive of literary qualities?

In fact, I was missing the point. One of many lessons the students have taught me is to let the story dictate the voice of the essay. A few years ago, I worked with a boy who claimed to have nothing to write about. His life had been ordinary, he said; nothing had happened to him. I asked if he wanted to try writing about a family member, his favorite school subject, a summer job? He glanced at his phone, his posture and expression suggesting that he’d rather be anywhere but in front of a computer with me. “Hobbies?” I suggested, without much hope. He gave me a shy glance. “I like to box,” he said.

I’ve had this experience with reluctant writers again and again — when a topic clicks with a student, an essay can unfurl spontaneously. Of course the primary goal of a college essay is to help its author get an education that leads to a career. Changes in testing policies and financial aid have made applying to college more confusing than ever, but essays have remained basically the same. I would argue that they’re much more than an onerous task or rote exercise, and that unlike standardized tests they are infinitely variable and sometimes beautiful. College essays also provide an opportunity to learn precision, clarity and the process of working toward the truth through multiple revisions.

When a topic clicks with a student, an essay can unfurl spontaneously.

Even if writing doesn’t end up being fundamental to their future professions, students learn to choose language carefully and to be suspicious of the first words that come to mind. Especially now, as college students shoulder so much of the country’s ethical responsibility for war with their protest movement, essay writing teaches prospective students an increasingly urgent lesson: that choosing their own words over ready-made phrases is the only reliable way to ensure they’re thinking for themselves.

Teenagers are ideal writers for several reasons. They’re usually free of preconceptions about writing, and they tend not to use self-consciously ‘‘literary’’ language. They’re allergic to hypocrisy and are generally unfiltered: They overshare, ask personal questions and call you out for microaggressions as well as less egregious (but still mortifying) verbal errors, such as referring to weed as ‘‘pot.’’ Most important, they have yet to put down their best stories in a finished form.

I can imagine an essay taking a risk and distinguishing itself formally — a poem or a one-act play — but most kids use a more straightforward model: a hook followed by a narrative built around “small moments” that lead to a concluding lesson or aspiration for the future. I never get tired of working with students on these essays because each one is different, and the short, rigid form sometimes makes an emotional story even more powerful. Before I read Javier Zamora’s wrenching “Solito,” I worked with a student who had been transported by a coyote into the U.S. and was reunited with his mother in the parking lot of a big-box store. I don’t remember whether this essay focused on specific skills or coping mechanisms that he gained from his ordeal. I remember only the bliss of the parent-and-child reunion in that uninspiring setting. If I were making a case to an admissions officer, I would suggest that simply being able to convey that experience demonstrates the kind of resilience that any college should admire.

The essays that have stayed with me over the years don’t follow a pattern. There are some narratives on very predictable topics — living up to the expectations of immigrant parents, or suffering from depression in 2020 — that are moving because of the attention with which the student describes the experience. One girl determined to become an engineer while watching her father build furniture from scraps after work; a boy, grieving for his mother during lockdown, began taking pictures of the sky.

If, as Lorrie Moore said, “a short story is a love affair; a novel is a marriage,” what is a college essay? Every once in a while I sit down next to a student and start reading, and I have to suppress my excitement, because there on the Google Doc in front of me is a real writer’s voice. One of the first students I ever worked with wrote about falling in love with another girl in dance class, the absolute magic of watching her move and the terror in the conflict between her feelings and the instruction of her religious middle school. She made me think that college essays are less like love than limerence: one-sided, obsessive, idiosyncratic but profound, the first draft of the most personal story their writers will ever tell.

Nell Freudenberger’s novel “The Limits” was published by Knopf last month. She volunteers through the PEN America Writers in the Schools program.

Learn English Through Story

Reading English stories is one of the most effective ways of improving your language skills. We have a lot of story books for all levels to learn English easily and quickly. Each English stories has audio files with subtitles. You can also free download them in PDF book form. We offer you to learn English through stories.

Alice’s Adventures in Wonderland (for Elementary Levels A2)

English Stories to improve English – “Alice’s Adventures in Wonderland” Free Download

Watch this story on YouTube and improve your English skills.

Alice’s Adventures in Wonderland

By Lewis Carroll

Retold by Jennifer Bassett

Chapter one: Down the rabbit-hole

Chapter two: the pool of tears, chapter three: conversation with a caterpillar, chapter four: the cheshire cat, chapter five: a mad tea-party, chapter six: the queen’s game of croquet, chapter seven: who stole the tarts.

     Alice was beginning to get very bored. She and her sister were sitting under the trees. Her sister was reading, but Alice had nothing to do. Once or twice she looked into her sister’s book, but it had no pictures or conversations in it.

     ‘And what is the use of a book,’ thought Alice, ‘without pictures or conversations?’

     She tried to think of something to do, but it was a hot day and she felt very sleepy and stupid. She was still sitting and thinking when suddenly a White Rabbit with pink eyes ran past her.

Suddenly a White Rabbit ran past her

      There was nothing really strange about seeing a rabbit.  And Alice was not very surprised when the Rabbit said, ‘Oh dear! Oh dear! I shall be late!’ (Perhaps it was a little strange, Alice thought later, but at the time she was not surprised.)

     But then the Rabbit took a watch out of its pocket, looked at it, and hurried on. At once Alice jumped to her feet.

      ‘I’ve never before seen a rabbit with either a pocket, or a watch to take out of it,’ she thought. And she ran quickly across the field after the Rabbit. She did not stop to think, and when the Rabbit ran down a large rabbit-hole, Alice followed it immediately.

     After a little way the rabbit-hole suddenly went down, deep into the ground. Alice could not stop herself falling, and down she went, too.

     It was a very strange hole. Alice was falling very slowly, and she had time to think and to look around her. She could see nothing below her because it was so dark. But when she looked at the sides of the hole, she could see cupboards and books and pictures on the walls.  She had time to take things out of a cupboard, look at them, and then put them back in a cupboard lower down.

     ‘Well!’ thought Alice. ‘After a fall like this, I can fall anywhere! I can fall downstairs at home, and I won’t cry or say a word about it!’

      Down, down, down. ‘How far have I fallen now?’ Alice said aloud to herself. ‘Perhaps I’m near the centre of the earth. Let me think …  That’s four thousand miles down.’ (Alice was very good at her school lessons and could remember a lot of things like this.)

      Down, down, down. Would she ever stop falling? Alice was very nearly asleep when, suddenly, she was sitting on the ground.  Quickly, she jumped to her feet and looked around. She could see the White Rabbit, who was hurrying away and still talking to himself. ‘Oh my ears and whiskers!’ he was saying. ‘How late it’s getting!’

      Alice ran after him like the wind. She was getting very near him when he suddenly turned a corner. Alice ran round the corner too, and then stopped. She was now in a long, dark room with doors all round the walls, and she could not see the White Rabbit anywhere.

      She tried to open the doors, but they were all locked. ‘How will I ever get out again?’ she thought sadly. Then she saw a little glass table with three legs, and on the top of it was a very small gold key. Alice quickly took the key and tried it in all the doors, but oh dear! Either the locks were too big, or the key was too small, but she could not open any of the doors.

      Then she saw another door, a door that was only forty centimetres high. The little gold key unlocked this door easily, but of course Alice could not get through it – she was much too big. So she lay on the floor and looked through the open door, into a beautiful garden with green trees and bright flowers.

     Poor Alice was very unhappy. ‘What a wonderful garden!’ she said to herself. ‘I’d like to be out there – not in this dark room. Why can’t I get smaller?’  It was already a very strange day, and Alice was beginning to think that anything was possible.

     After a while she locked the door again, got up and went back to the glass table. She put the key down and then she saw a little bottle on the table (‘I’m sure it wasn’t here before,’ said Alice).  Round the neck of the bottle was a piece of paper with the words DRINK ME in large letters.

     But Alice was a careful girl.  ‘It can be dangerous to drink out of strange bottles,’ she said. ‘What will it do to me?’ She drank a little bit very slowly. The taste was very nice, like chocolate and oranges and hot sweet coffee, and very soon Alice finished the bottle.

‘What a strange feeling!’ said Alice.  ‘I think I’m getting smaller and smaller every second.’

      And she was. A few minutes later she was only twenty- five centimetres high. ‘And now,’ she said happily, ‘I can get through the little door into that beautiful garden.’

     She ran at once to the door. When she got there, she remembered that the little gold key was back on the glass table. She ran back to the table for it, but of course, she was now much too small! There was the key, high above her, on top of the table. She tried very hard to climb up the table leg, but she could not do it.

      At last, tired and unhappy, Alice sat down on the floor and cried. But after a while she spoke to herself angrily.

      ‘Come now,’ she said. ‘Stop crying at once. What’s the use of crying?’ She was a strange child, and often talked to herself like this.

      Soon she saw a little glass box near her on the floor. She opened it, and found a very small cake with the words EAT ME on it.

     Nothing could surprise Alice now. ‘Well, I’ll eat it,’ she said. ‘If I get taller, I can take the key off the table. And if I get smaller, I can get under the door. One way or another, I’ll get into the garden. So it doesn’t matter what happens!’

Alice tried very hard to climb up the table leg.

     She ate a bit of the cake, and then put her hand on top of her head.  ‘Which way?  Which way?’  she asked herself, a little afraid. Nothing happened.  This was not really surprising. People don’t usually get taller or shorter when they eat cake. But a lot of strange things were happening to Alice today. ‘It will be very boring,’ she said, ‘if nothing happens.’

      So she went on eating, and very soon the cake was finished.

       Curiouser and curiouser!’ said Alice. (She was very surprised, and for a minute she forgot how to speak good English.)

      ‘I shall be as tall as a house in a minute,’ she said. She tried to look down at her feet, and could only just see them. ‘Goodbye, feet!’ she called. ‘Who will put on your shoes now? Oh dear! What nonsense I’m talking!’

     Just then her head hit the ceiling of the room. She was now about three metres high. Quickly, she took the little gold key from the table and hurried to the garden door.

     Poor Alice!  She lay on the floor and looked into the garden with one eye.  She could not even put her head through the door.

    She began to cry again, and went on crying and crying. The tears ran down her face, and soon there was a large pool of water all around her on the floor. Suddenly she heard a voice, and she stopped crying to listen.

    ‘Oh, the Duchess, the Duchess! She’ll be so angry! I’m late, and she’s waiting for me. Oh dear, oh dear!’

    It was the White Rabbit again. He was hurrying down the long room, with some white gloves in one hand and a large fan in the other hand.

     Alice was afraid, but she needed help. She spoke in a quiet voice.  ‘Oh, please, sir—’

    The Rabbit jumped wildly, dropped the gloves and the fan, and hurried away as fast as he could.

     Alice picked up the fan and the gloves. The room was very hot, so she began to fan herself while she talked. ‘Oh dear! How strange everything is today! Did I change in the night? Am I a different person today?  But if I’m a different person, then the next question is – who am I? Ah, that’s the mystery.’

The Rabbit jumped wildly, and dropped the gloves and the fan.

     She began to feel very unhappy again, but then she looked down at her hand. She was wearing one of the Rabbit’s white gloves. ‘How did I get it on my hand?’ she thought.  ‘Oh, I’m getting smaller again!’ She looked round the room. ‘I’m already less than a metre high. And getting smaller every second! How can I stop it?’ She saw the fan in her other hand, and quickly dropped it.

      She was now very, very small – and the little garden door was locked again, and the little gold key was lying on the glass table.

     ‘Things are worse than ever,’ thought poor Alice. She turned away from the door, and fell into salt water, right up to her neck. At first she thought it was the sea, but then she saw it was the pool of tears. Her tears. Crying makes a lot of tears when you are three metres tall.

    ‘Oh, why did I cry so much?’  said Alice.  She swam around and looked for a way out, but the pool was very big. Just then she saw an animal in the water near her. It looked like a large animal to Alice, but it was only a mouse.

     ‘Shall I speak to it?’  thought Alice.  ‘Everything’s very strange down here, so perhaps a mouse can talk.’

     So she began: ‘Oh Mouse, do you know the way out of this pool? I am very tired of swimming, oh Mouse!’ (Alice did not know if this was the right way to speak to a mouse. But she wanted to be polite.)

      The mouse looked at her with its little eyes, but it said nothing.

     ‘Perhaps it doesn’t understand English,’ thought Alice. ‘Perhaps it’s a French mouse.’ So she began again, and said in French:  ‘Where is my cat?’  (This was the first sentence in her French lesson-book.)

It looked like a large animal to Alice, but it was only a mouse.

     The mouse jumped half out of the water and looked at her angrily.

    ‘Oh, I’m so sorry!’ cried Alice quickly. ‘Of course, you don’t like cats, do you?’

    ‘Like cats?’ cried the mouse in a high,  angry voice. ‘Does any mouse like cats?’

    ‘Well, perhaps not,’ Alice began kindly.

     But the mouse was now swimming quickly away, and soon Alice was alone again.  At last she found her way out of the pool and sat down on the ground. She felt very lonely and unhappy. But after a while the White Rabbit came past again, looking for his white gloves and his fan.

    ‘The Duchess! The Duchess! Oh my ears and whiskers! She’ll cut my head off, I know she will! Oh, where did I drop my gloves?’ Then he saw Alice. ‘Why, Mary Ann, what are you doing here? Run home at once, and bring me some gloves and a fan. Quick, now!’

     Alice hurried away. ‘But where is his house?’  she thought while she ran. Strangely, she was no longer in the long room with the little door, but outside in a wood. She ran and ran but could not see a house anywhere, so she sat down under a flower to rest.

   “Now,’ Alice said to herself. ‘First, I must get a little bigger, and second, I must find my way into that beautiful garden. I think that will be the best plan. But oh dear! How shall I get bigger? Perhaps I must eat or drink something, but the question is, what?’

     Alice looked all around her at the flowers and the trees, but she could not see anything to eat. Then she saw a large mushroom near her. It was as tall as she was. She walked across to look at it, and there, on top of the mushroom, was a large caterpillar, smoking a pipe. After a while, the Caterpillar took the pipe out of its mouth and said to Alice in a slow, sleepy voice, ‘Who are you?’

     ‘I don’t really know, sir,’ said Alice. ‘I know who I was when I got up this morning, but I have changed so often since then. I think I am a different person now.’

    ‘What do you mean by that?’ said the Caterpillar. ‘Explain yourself!’

    ‘I can’t explain myself, sir,’ said Alice, ‘because I’m not myself, you know.’

    ‘I don’t know,’ said the Caterpillar.

‘Explain yourself!’ said the Caterpillar.

     ‘It’s difficult to describe,’ Alice replied politely.  ‘One minute I’m very small, the next minute I’m as tall as a house, then I’m small again. Usually, I stay the same all day, and changing so often feels very strange to me.’

      ‘You!’ said the Caterpillar, in a very unfriendly voice. ‘Who are you?’

      They were now back at the beginning of their conversation, which was not very helpful. Alice felt a little cross and decided to walk away.

      ‘Come back!’  the Caterpillar called after her. ‘I’ve something important to say.’

      This sounded better, so Alice turned back.

     ‘Never get angry,’ said the Caterpillar.

      ‘Is that all?’ said Alice, trying not to be angry.

     ‘No,’ said the Caterpillar. For some minutes it smoked its pipe and did not speak, but at last it took the pipe out of its mouth, and said, ‘So you’ve changed, have you? How tall do you want to be?’

     ‘I would like to be a little larger, sir, please,’ said Alice. ‘Eight centimetres is really very small.’

     For a while the Caterpillar smoked its pipe. Then it shook itself, got down off the mushroom, and moved slowly away into the grass. It did not look back at Alice, but said, ‘One side will make you taller, and the other side will make you shorter.’

     ‘One side of what?’ thought Alice to herself.

     She did not say this aloud, but the Caterpillar said, ‘Of the mushroom.’ Then it moved away into the wood.

     Alice looked at the mushroom carefully, but it was round, and did not have sides. At last she broke off a piece in each hand from opposite sides of the mushroom. She ate some of the piece in her left hand, and waited to see what would happen.

     A minute later her head was as high as the tallest tree in the wood, and she was looking at a sea of green leaves. Then a bird appeared and began to fly around her head, screaming, ‘Egg thief!  Egg thief! Go away!’

    ‘I’m not an egg thief,’ said Alice.

    ‘Oh no?’ said the bird angrily. ‘But you eat eggs, don’t you?’

    ‘Well, yes, I do, but I don’t steal them,’ explained Alice quickly. ‘We have them for breakfast, you know.’

     ‘Then how do you get them, if you don’t steal them?’ screamed the bird.

      This was a difficult question to answer, so Alice brought up her right hand through the leaves and ate a little from the other piece of mushroom. She began to get smaller at once and, very carefully, she ate first from one hand, then from the other, until she was about twenty- five centimetres high.

     ‘That’s better,’ she said to herself. ‘And now I must find that garden.’ She began to walk through the wood, and after a while she came to a little house.

     There was a boy outside the door, with a large letter in his hand. (He was dressed like a boy, but his face was very like a fish, Alice thought.) The Fish-Boy knocked at the door, and a second later a large plate came flying out of an open window.

      ‘A letter for the Duchess,’ the Fish-Boy shouted. He pushed the letter under the door and went away.

     Alice went up to the door and knocked, but there was a lot of noise inside and nobody answered. So she opened the door and walked in.

‘A letter for the Duchess,’ the Fish-Boy shouted

      She found herself in a kitchen, which was full of smoke. There was a very angry cook by the fire, and in the middle of the room sat the Duchess, holding a screaming baby. Every few minutes a plate crashed to the floor. There was also a large cat, which was sitting on a chair and grinning from ear to ear.

     ‘Please,’ Alice said politely to the Duchess, ‘why does your cat grin like that?’

     ‘It’s a Cheshire Cat,’ said the Duchess. ‘That’s why.’

     ‘I didn’t know that cats could grin,’ said Alice.

     ‘Well, you don’t know much,’ said the Duchess. Another plate crashed to the floor and Alice jumped. ‘Here!’ the Duchess went on. ‘You can hold the baby for a bit, if you like. The Queen has invited me to play croquet, and I must go and get ready.’ She pushed the baby into Alice’s arms and hurried out of the room.

There was a large cat, which was grinning from ear to ear.

     ‘Oh, the poor little thing!’ said Alice, looking at the baby, which had a very strange face. She took it outside into the wood and walked around under the trees. Then the baby began to make strange noises, and Alice looked into its face again. Its eyes were really very small for a baby, and its nose now looked very like the nose of a pig.

      ‘Don’t make noises like that, my dear,’ said Alice. ‘It’s not polite. You’re beginning to sound like a pig.’

    But a few minutes later, there was no mistake. It was a pig.  Alice put it carefully on the ground, and it ran quietly away on its four legs into the wood.

    ‘I’m pleased about that,’ Alice said to herself. ‘It will be a good-looking pig, but it would be terrible to be a child with a face like that.’

     She was thinking about pigs and children when she suddenly saw the Cheshire Cat in a tree. The Cat grinned at her, and she went nearer to it.

    ‘Please,’ she said, ‘can you tell me which way to go from here?’

      ‘But where do you want to get to?’ said the Cat.

      ‘It doesn’t really matter—’ began Alice.

      ‘Then it doesn’t matter which way you go,’ said the Cat.

      ‘But I would like to get somewhere,’ Alice explained.

      ‘If you just go on walking,’ said the Cat, ‘in the end you’ll arrive somewhere.’

     That was true, thought Alice, but not very helpful, so she tried another question.  ‘What kind of people live near here?’

     ‘To the left,’ the Cat said, ‘lives a Hatter. And to the right, lives a March Hare. You can visit either of them. They’re both mad.’

     ‘But I don’t want to visit mad people,’ said Alice.

     ‘We’re all mad here, you know,’ said the Cat. ‘I’m mad. You’re mad.’

     ‘How do you know that I’m mad?’ said Alice.

     ‘Of course you’re mad,’ said the Cat.  ‘Only mad people come here.’

     Alice was thinking about this, but the Cat went on, ‘Are you playing croquet with the Queen today?’

    ‘I would like to very much,’ said Alice, ‘but nobody has invited me yet.’

    ‘You’ll see me there,’ said the Cat, and vanished.

     Alice was not really surprised at this, because so many strange things were happening today. She was still looking at the tree when, suddenly, the Cat appeared again.

     ‘I forgot to ask,’ said the Cat. ‘What happened to the baby?’

     ‘It turned into a pig,’ Alice said.

     ‘I’m not surprised,’ said the Cat, and vanished again.

     Alice began to walk on, and decided to visit the March Hare. ‘It’s the month of May now,’ she said to herself, ‘so perhaps the Hare won’t be as mad as he was in March.’

    Suddenly, there was the Cheshire Cat again, sitting in another tree. Alice jumped in surprise.

    ‘Do you think,’ she said politely, ‘that you could come and go more slowly?’

    ‘All right,’ said the Cat. And this time it vanished very slowly. First its tail went, then its body, then its head, and last, the grin.

      ‘Well!  I’ve often seen a cat without a grin,’ thought Alice, ‘but never a grin without a cat!’

     Soon she saw the house of the March Hare in front of her.  It was a large house, so she ate a little piece of mushroom to get bigger, and walked on.

This time the Cat vanished very slowly.

      There was a table under a tree outside the house, and the March Hare and the Hatter were having tea. A Dormouse was sitting between them, asleep. The three of them were all sitting together at one corner of the table, but the table was large and there were many other seats. Alice sat down in a big chair at one end.

     ‘Have some coffee,’ the March Hare said in a friendly voice.

     Alice looked all round the table, but she could only see a teapot. ‘I don’t see any coffee,’ she said.

    ‘There isn’t any,’ said the March Hare.

     ‘Then why did you ask me to have some?’ said Alice crossly. ‘It wasn’t very polite of you.’

     ‘It wasn’t very polite of you to sit down. We haven’t invited you to tea,’ said the March Hare.

    ‘But there are lots of seats,’ said Alice.

    ‘Your hair’s too long,’ said the Hatter, looking at Alice with interest.

    ‘It’s not polite to say things like that,’ said Alice.

    The Hatter looked surprised, but he said, ‘Why is a bird like a desk?’

    Alice was pleased.  She enjoyed playing wordgames, so she said, ‘That’s an easy question.’

    ‘Do you mean you know the answer?’ said the March Hare.

    ‘Yes,’ said Alice.

    ‘Then you must say what you mean,’ the March Hare said.

    ‘I do,’ Alice said quickly. ‘Well, I mean what I say. And that’s the same thing, you know.’

    ‘No, it isn’t!’ said the Hatter. ‘Listen to this. I see what I eat means one thing, but I eat what I see means something very different.’

    Alice did not know what to say to this. So she took some tea and some bread-and-butter while she thought about it. The Dormouse woke up for a minute and then went to sleep again. After a while the Hatter took out his watch, shook it, then looked at it sadly.

    ‘Two days slow! I told you that butter wasn’t good for watches!’ he said angrily to the March Hare.

    ‘It was the best butter,’ said the March Hare sadly.

    Alice was looking at the watch with interest.  ‘It’s a strange watch,’ she said. ‘It shows the day of the week, but not the time.’

    ‘But we know the time,’ said the Hatter. ‘It’s always six o’clock here.’

    Alice suddenly understood. ‘Is that why there are all these cups and plates?’  she said.  ‘It’s always tea-time here, and you go on moving round the table.  Is that right? But what happens when you come to the beginning again?’

    ‘Don’t ask questions,’ said the March Hare crossly. ‘You must tell us a story now.’

    ‘But I don’t know any stories,’ said Alice.

    Then the March Hare and the Hatter turned to the Dormouse. ‘Wake up, Dormouse!’ they shouted loudly in its ears. ‘Tell us a story.’

    ‘Yes, please do,’ said Alice.

     The Dormouse woke up and quickly began to tell a story, but a few minutes later it was asleep again. The March Hare poured a little hot tea on its nose, and the Hatter began to look for a clean plate. Alice decided to leave and walked away into the wood. She looked back once, and the March Hare and the Hatter were trying to put the Dormouse into the teapot.

The March Hare poured a little hot tea on the Dormouse’s nose.

    ‘Well, I won’t go there again,’ said Alice.  ‘What a stupid tea-party it was!’ Just then she saw a door in one of the trees. ‘How curious!’ she thought. ‘But everything is strange today. I think I’ll go in.’

    So she went in. And there she was, back in the long room with the little glass table. At once, she picked up the gold key from the table, unlocked the little door into the garden, and then began to eat a piece of mushroom. When she was down to about thirty centimetres high, she walked through the door, and then, at last, she was in the beautiful garden with its green trees and bright flowers.

    Near the door there was a rose-tree and three gardeners, who were looking at the roses in a very worried way.

     ‘What’s the matter?’ Alice said to them.

    ‘You see, Miss,’ said the first gardener, ‘these roses are white, but the Queen only likes red roses, and she—’

    ‘The Queen!’ said the second gardener suddenly, and at once, the three gardeners lay down flat on their faces. Alice turned round and saw a great crowd of people.

     It was a pack of cards, walking through the garden. There were clubs (they were soldiers), and diamonds, and ten little children (they were hearts).  Next came some Kings and Queens. Then Alice saw the White Rabbit, and behind him, the Knave of Hearts. And last of all, came THE KING AND QUEEN OF HEARTS.

    When the crowd came near to Alice, they all stopped and looked at her, and the Queen said, ‘Who are you?’

    ‘My name is Alice, Your Majesty,’ said Alice very politely. But she thought to herself, ‘They’re only a pack of cards. I don’t need to be afraid of them!’

    ‘And who are these? said the Queen, looking at the three gardeners. Then she saw the white roses, and her face turned red and angry. ‘Off with their heads!’  she shouted, and soldiers hurried up to take the gardeners away. The Queen turned to Alice. ‘Can you play croquet?’ she shouted.

    ‘Yes!’ shouted Alice.

     ‘Come on, then!’ shouted the Queen. The crowd began to move on, and Alice went with them.

    ‘It’s – it’s a very fine day,’ said a worried voice in her ear. Alice saw that the White Rabbit was by her side.

    ‘Very fine,’ said Alice. ‘Where’s the Duchess?’

     ‘Shhh!’  said the Rabbit in a hurried voice.  ‘She’s in prison, waiting for execution.’

     ‘What for?’ said Alice.

    But just then the Queen shouted, ‘Get to your places!’ and the game began.

    It was the strangest game of croquet in Alice’s life! The balls were hedgehogs, and the mallets were flamingoes. And the hoops were made by soldiers, who turned over and stood on their hands and feet.  Alice held her flamingo’s body under her arm, but the flamingo turned its long neck first this way and then that way. At last, Alice was ready to hit the ball with the flamingo’s head. But by then, the hedgehog was tired of waiting and was walking away across the croquet-ground.  And when both the flamingo and the hedgehog were ready, there was no hoop! The soldiers too were always getting up and walking away.  It really was a very difficult game, Alice thought.

     The players all played at the same time, and they were always arguing and fighting for hedgehogs. Nobody could agree about anything. Very soon, the Queen was wildly angry, and went around shouting ‘Off with his head!’ or ‘Off with her head!’ about once a minute.

    Alice began to feel worried. ‘The Queen is sure to argue with me soon,’ she thought.  ‘And what will happen to me then? They’re cutting people’s heads off all the time here. I’m surprised there is anyone left alive!’

     Just then she saw something very strange. She watched carefully, and after a minute or two she saw that the thing was a grin. ‘It’s the Cheshire Cat,’ she said to herself.  ‘Now I’ll have somebody to talk to.’   

The balls were hedgehogs, and the mallets were flamingoes

    ‘How are you getting on?’ said the Cat, when its mouth appeared.

    Alice waited. ‘I can’t talk to something without ears,’ she thought. Slowly the Cat’s eyes, then its ears, and then the rest of its head appeared. But it stopped at the neck, and its body did not appear.

    Alice began to tell the Cat all about the game. ‘It’s very difficult to play,’ she said.  ‘Everybody argues all the time, and the hoops and the hedgehogs walk away.’

    ‘How do you like the Queen?’ said the Cat quietly.

     ‘I don’t,’ said Alice. ‘She’s very—’ Just then she saw the Queen behind her, so she went on, ‘—clever. She’s the best player here.’

    The Queen smiled and walked past.

    ‘Who are you talking to?’ said the King. He came up behind Alice and looked at the Cat’s head in surprise.

      ‘It’s a friend of mine – a Cheshire Cat,’ said Alice.

      ‘I’m not sure that I like it,’ said the King.  ‘But it can touch my hand if it likes.’

     ‘I prefer not to,’ said the Cat.

    ‘Well!’  said the King angrily.  He called out to the Queen, ‘My dear! There’s a cat here, and I don’t like it.’

     The Queen did not look round. ‘Off with its head!’ she shouted. ‘Call for the executioner!’

      Alice was a little worried for her friend, but when the executioner arrived, everybody began to argue.

     ‘I can’t cut off a head,’ said the executioner, ‘if there isn’t a body to cut it off from.’

      ‘You can cut the head off,’ said the King, ‘from anything that’s got a head.’

     ‘If somebody doesn’t do something quickly,’ said the Queen, ‘I’ll cut everybody’s head off.’

      Nobody liked that plan very much, so they all turned to Alice. ‘And what do you say?’ they cried.

     ‘The Cat belongs to the Duchess,’ said Alice carefully. ‘Perhaps you could ask her about it.’

    ‘She’s in prison,’ the Queen said to the executioner. ‘Bring her here at once.’

     But then the Cat’s head slowly began to vanish, and when the executioner came back with the Duchess, there was nothing there. The King ran wildly up and down, looking for the Cat, and the Duchess put her arm round Alice. ‘I’m so pleased to see you again, my dear!’ she said.

     ‘Let’s get on with the game,’ the Queen said angrily, and Alice followed her back to the croquet-ground.

    The game went on, but all the time the Queen was arguing, and shouting ‘Off with his head!’ or ‘Off with her head!’  Soon there were no hoops left, because the soldiers (who were the hoops) were too busy taking everybody to prison.  And at the end there were only three players left – the King, the Queen, and Alice.

     The Queen stopped shouting and said to Alice, ‘Have you seen the Mock Turtle yet?’

    ‘No,’ said Alice. ‘I’m not sure what a Mock Turtle is.’

    ‘Then come with me,’ said the Queen.

    They found the Mock Turtle down by the sea. Next to him was a Gryphon, asleep in the sun. Then the Queen hurried away, saying, ‘I have to get on with some executions.’

    The Gryphon woke up, and said sleepily to Alice, ‘It’s just talk, you know. They never execute anybody.’

    Alice was pleased to hear this. She felt a little afraid of the Gryphon and the Mock Turtle, because they were so large. But they were very friendly, and sang songs and told her many stories about their lives. The Mock Turtle was in the middle of a very sad song when they all heard a shout a long way away: ‘It’s beginning!’ ‘Come on! We must hurry!’ cried the Gryphon. It took Alice by the hand and began to run.

The Mock Turtle and the Gryphon were very friendly.

      The King and Queen of Hearts were sitting on their thrones when Alice and the Gryphon arrived. There was a great crowd of birds and animals, and all the pack of cards.

    Soldiers stood all around the Knave of Hearts, and near the King was the White Rabbit, with a trumpet in one hand.

    In the middle of the room there was a table, with a large plate of tarts on it. ‘They look good,’ thought Alice, who was feeling a little hungry.

     Then the White Rabbit called out loudly, ‘Silence! The trial of the Knave of Hearts will now begin!’ He took out a long piece of paper, and read:

The Queen of Hearts, she made some tarts,

All on a summer day.

The Knave of Hearts, he stole those tarts,

And took them all away.

        ‘Very good,’ said the King. ‘Call the first witness.’

    Alice looked at the jury, who were now writing everything down. It was a very strange jury. Some of the jurymen were animals, and the others were birds.

     Then the White Rabbit blew his trumpet three times, and called out, ‘First witness!’

    The first witness was the Hatter.  He came in with a teacup in one hand and a piece of bread-and-butter in the other hand.  ‘I’m very sorry, Your Majesty,’ he said.  ‘I was in the middle of tea when the trial began.’

     ‘Take off your hat,’ the King said.

     ‘It isn’t mine,’ said the Hatter.

    ‘Stolen! Write that down,’ the King said to the jury.

     ‘I keep hats to sell,’ explained the Hatter. ‘I don’t have a hat myself. I’m a Hatter.’

     ‘Give your evidence,’ said the King, ‘or we’ll cut your head off.’

    The Hatter’s face turned white. ‘I’m a poor man, Your Majesty,’ he began, in a shaking voice.

     Just then Alice had a strange feeling. After a minute or two she understood what it was.

    ‘Don’t push like that,’ said the Dormouse, who was sitting next to her. ‘I’m nearly falling off my seat.’

     ‘I’m very sorry,’ Alice said politely. ‘I’m getting bigger and taller, you see.’

     ‘Well, you can’t do that here,’ said the Dormouse crossly, and he got up and moved to another seat.

    The Hatter was still giving evidence, but nobody could understand a word of it. The King looked at the Queen, and the Queen looked at the executioner.

     The unhappy Hatter saw this, and dropped his bread- and-butter.  ‘I’m a poor man, Your Majesty,’ he said again.

    ‘You’re a very poor speaker,’ said the King. He turned to the White Rabbit. ‘Call the next witness,’ he said.

    The next witness was the Duchess’s cook, who spoke very angrily and said  that  she  would  not  give  any evidence. The King looked worried and told the White Rabbit to call another witness. Alice watched while the White Rabbit looked at the names on his piece of paper. Then, to her great surprise, he called out loudly, ‘Alice!’ ‘Here!’ cried Alice, jumping to her feet.

     ‘Here!’ cried Alice, jumping to her feet.

     ‘What do you know about these tarts?’ said the King.

     ‘Nothing,’ said Alice.

     The Queen was looking hard at Alice. Now she said,

     ‘All people a mile high must leave the room.’

     ‘I’m not a mile high,’ said Alice. ‘And I won’t leave the room. I want to hear the evidence.’

    ‘There is no more evidence,’ said the King very quickly, ‘and now the jury will—’

     ‘Your Majesty!’ said the White Rabbit, jumping up in a great hurry.  ‘We’ve just found this letter. There’s no name on it, but I think the Knave wrote it.’

    ‘No, I didn’t!’ said the Knave loudly.

    ‘Read it to us,’ said the King.

    ‘Where shall I begin, Your Majesty?’ asked the Rabbit.

    ‘Begin at the beginning,’ said the King, ‘and go on until you get to the end, then stop.’

    Everybody listened very carefully while the White Rabbit read these words.

They tell me you have been to her,

And talked of me to him.

She thought I was a gardener,

But said I could not swim.

He tells them that I have not gone,

(We know that this is true).

If she decide to hurry on,

What will they do to you?

I gave her one, they gave him two,

You gave us three or more.

They all returned from him to you,

But they were mine before.

   ‘That’s a very important piece of evidence,’ said the King. He looked very pleased. ‘Now the jury must—’

     ‘If anybody in the jury can explain that letter,’ said Alice (she was not afraid of anything now, because she was much bigger than everybody in the room), ‘I’ll give him sixpence. It’s all nonsense! It doesn’t mean anything.’

    The jury busily wrote this down.  ‘She thinks it’s all nonsense.’

     ‘All nonsense, eh?’ said the King. He read some of the words again. ‘But said I could not swim. You can’t swim, can you?’ he said to the Knave.

    The Knave’s face was sad. ‘Do I look like a swimmer?’ he said. (And he didn’t – because he was made of paper.)

     The King smiled. ‘I understand everything now,’ he said. ‘There are the tarts, and here is the Knave of Hearts. And now the jury must decide who the thief is.’

    ‘No, no!’ said the Queen. ‘Off with his head! The jury can say what it thinks later.’

    ‘What nonsense!’ said Alice loudly. ‘The jury must decide first. You can’t—’

    ‘Be quiet!’ said the Queen, her face turning red.

    ‘I won’t!’ said Alice.

    ‘Off with her head!’  screamed the Queen.  Nobody moved.

    ‘It doesn’t matter what you say,’ said Alice.  ‘You’re only a pack of cards!’

    Then the pack of cards flew up into the sky and began to fall on Alice’s face. She gave a little scream . . . and woke up. She was lying next to her sister under the trees, and some leaves were falling on her face.

    ‘Wake up, Alice dear,’ said her sister.  ‘You’ve been asleep a long time.’

    ‘Oh, I’ve had a very curious dream!’  said Alice, and she told her sister all about the strange adventures in her wonderful dream.   

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‘A Great Gay Book’ provides compelling short stories, essays, graphic panels and more

The exciting anthology, “A Great Gay Book: Stories of Growth, Belonging & Other Queer Possibilities,” publishing May 21, is edited by Ryan Fitzgibbon, founder of the now defunct “Hello Mr.” magazine. This 432-page volume collects more than 50 interviews, poems, short stories, essays, graphic panels and more. The entries are compelling enough to enjoy back-to-back-to-back, but they are also worth savoring as Fitzgibbon has compiled selections “to encourage reflection.” The arrangement of the pieces often allows readers to consider an idea or topic such as connection, and how we interact with others, to religion’s impact on queer lives, to ideas about gender. 

The book certainly lives up to its title. “A Great Gay Book” opens with an article that originally appeared in Fitzgibbon’s “Hello Mr.” magazine entitled, “On Writing a Great, Gay Book.” Hanya Yanagihara, author of “A Little Life,” interviews Garth Greenwell, author of “What Belongs to You” about what it means to be a gay writer and write a gay book. This is bookended by “Saying Hello to New Queer Voices,” in which Colby Anderson, in conversation with Yezmin Villarreal, considers opportunities for queer women and nonbinary and trans writers and content creators.

The design playfully changes type and color in ways that make many entries inviting to read. Most of the stories are short, and Fitzgibbon wisely juxtaposes text and images, so the flow of the book never feels too dense. He includes naughty photo essays such as “Fire Island” by Robert Andy Coombs, and “Screen Test” by Daniel Shea, as well as poems, such as the deliberately designed “Good Dick Is a Myth” by Mack Rogers, to provide nice breathers between some of the wordier selections.

“A Great Gay Book” feels like a big classy zine at times which is quaintly appealing. (Brontez Purnell’s “Fag School #6 ½,” included herein, literally is a republished zine.) Most of the pieces originally appeared in Fitzgibbon’s publication, and a section devoted to each of the cover models from the ten published issues of “Hello Mr” makes it feel like a greatest hits collection.

But such self-indulgence can be forgiven as some of the republished magazine pieces are beneficial to new readers. They also provide some of the best entries. “Kehinde Wiley in 3D” by Antwaun Sargent, is exceptional in how it unpacks visibility. “When you look at me, do you see me?” Wiley asks unflinchingly. Likewise, “The Recording” by Khalid El Khatib, which recounts the author’s tense coming out to his Muslim Palestinian father, is a very moving selection. Equally impressive is “He Opened Up Somewhere Along the Eastern Shore,” by Jason Hanasik, a gay man who has an unexpectedly poignant encounter with a straight man during a road trip they reluctantly take. And “The Mother, The Son, and The Holy Spirit,” by Dany Salvatierra, is a fantastic piece about a gay man who visits his religious mother and has to navigate her world without completely denying his. It is valuable that these entries are now available to reach a wider audience.

There are several memorable essays and interviews that are original to this volume. Chief among them is “Anal Fisting: A Case Study of the Mental and Rectal Elasticity of the Human Male,” in which Sam Finkelstein recalls his fascinating experience performing the titular sex act on a very willing and encouraging stranger and how the encounter impacted each man. “Blurry Soles,” by Mathew Rodriguez, begins with a discussion of a diabetes exam and leads to a consideration of the author’s unabashed foot fetish. Rodriguez’s candor is terrific. And “Back to Start: The ‘Lady’ Bunny,” is Martin Beck’s illuminating conversation with the drag superstar that showcases the performer’s integrity as well as her disdain for political correctness. The book’s biggest misfire, however, is “Shut Up After You’re Thirty: Charles Rogers in Search of John Waters’s Approval,” in which the co creator of the series “Search Party” meets his filmmaking idol and tests the readers’ patience with his anxiety. 

“A Great Gay Book” also includes some superb fiction that was originally published elsewhere and is reprinted here. Former PGN editor’s Jason Villemez’s haunting story, “All These Cats Have AIDS,” recounts an activist looking back on a defining moment in his life. It contains vivid imagery, such as sarcomas that “looked like islands [countries].” Likewise, “The House of the Sleeping Beaus,” by John Better Armelia, is an evocative story about a young man who finds work in a brothel in Columbia and is surrounded by a palpable atmosphere of sex.

Fitzgibbon also includes brief entries featuring key queer voices in contemporary gay literature. Bryan Washington’s (“Lot,” “Memorial”) entry, “How to Talk to Strangers,” provides darkly amusing advice, and Ocean Vuong (“On Earth We’re Briefly Gorgeous”) is represented by “Notebook Fragments,” a poem in notebook form from his collection “Night Sky with Exit Wounds.”  

One of the book’s highlights is “Clear Constellations: Mapping the Cultural Pinpoints of Critic Wesley Morris,” a profile of the Philadelphia native who is a Pulitzer Prize-winner, a podcaster, and a writer-at-large for the New York Times. As J Wortham interviews him, Morris discusses hearing Nina Simone for the first time, or why he hates the film “Carol.” The engaging conversation ends too soon because one feels Morris has so much more to say. 

And “A Great Gay Book” leaves readers wanting more. Hopefully, Fitzgibbon will produce another volume in the future.

“A Great Gay Book: Stories of Growth, Belonging & Other Queer Possibilities” is available May 21.

The Philadelphia Gay News is the area’s largest and oldest publication targeting the LGBTQ+ community. Started in 1976, PGN reaches, builds rapport with and listens to our readers and supporters — as well as our critics.

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What is climate change mitigation and why is it urgent?

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• Climate change mitigation involves actions to reduce or prevent greenhouse gas emissions from human activities.
• Mitigation efforts include transitioning to renewable energy sources, enhancing energy efficiency, adopting regenerative agricultural practices and protecting and restoring forests and critical ecosystems.
• Effective mitigation requires a whole-of-society approach and structural transformations to reduce emissions and limit global warming to 1.5°C above pre-industrial levels.
• International cooperation, for example through the Paris Agreement, is crucial in guiding and achieving global and national mitigation goals.
• Mitigation efforts face challenges such as the world's deep-rooted dependency on fossil fuels, the increased demand for new mineral resources and the difficulties in revamping our food systems.
• These challenges also offer opportunities to improve resilience and contribute to sustainable development.

What is climate change mitigation?

Climate change mitigation refers to any action taken by governments, businesses or people to reduce or prevent greenhouse gases, or to enhance carbon sinks that remove them from the atmosphere. These gases trap heat from the sun in our planet’s atmosphere, keeping it warm. 

Since the industrial era began, human activities have led to the release of dangerous levels of greenhouse gases, causing global warming and climate change. However, despite unequivocal research about the impact of our activities on the planet’s climate and growing awareness of the severe danger climate change poses to our societies, greenhouse gas emissions keep rising. If we can slow down the rise in greenhouse gases, we can slow down the pace of climate change and avoid its worst consequences.

Reducing greenhouse gases can be achieved by:

• Shifting away from fossil fuels : Fossil fuels are the biggest source of greenhouse gases, so transitioning to modern renewable energy sources like solar, wind and geothermal power, and advancing sustainable modes of transportation, is crucial.
• Improving energy efficiency : Using less energy overall – in buildings, industries, public and private spaces, energy generation and transmission, and transportation – helps reduce emissions. This can be achieved by using thermal comfort standards, better insulation and energy efficient appliances, and by improving building design, energy transmission systems and vehicles.
• Changing agricultural practices : Certain farming methods release high amounts of methane and nitrous oxide, which are potent greenhouse gases. Regenerative agricultural practices – including enhancing soil health, reducing livestock-related emissions, direct seeding techniques and using cover crops – support mitigation, improve resilience and decrease the cost burden on farmers.
• The sustainable management and conservation of forests : Forests act as carbon sinks , absorbing carbon dioxide and reducing the overall concentration of greenhouse gases in the atmosphere. Measures to reduce deforestation and forest degradation are key for climate mitigation and generate multiple additional benefits such as biodiversity conservation and improved water cycles.
• Restoring and conserving critical ecosystems : In addition to forests, ecosystems such as wetlands, peatlands, and grasslands, as well as coastal biomes such as mangrove forests, also contribute significantly to carbon sequestration, while supporting biodiversity and enhancing climate resilience.
• Creating a supportive environment : Investments, policies and regulations that encourage emission reductions, such as incentives, carbon pricing and limits on emissions from key sectors are crucial to driving climate change mitigation.

Photo: Stephane Bellerose/UNDP Mauritius

Photo: La Incre and Lizeth Jurado/PROAmazonia

What is the 1.5°C goal and why do we need to stick to it?

In 2015, 196 Parties to the UN Climate Convention in Paris adopted the Paris Agreement , a landmark international treaty, aimed at curbing global warming and addressing the effects of climate change. Its core ambition is to cap the rise in global average temperatures to well below 2°C above levels observed prior to the industrial era, while pursuing efforts to limit the increase to 1.5°C.

The 1.5°C goal is extremely important, especially for vulnerable communities already experiencing severe climate change impacts. Limiting warming below 1.5°C will translate into less extreme weather events and sea level rise, less stress on food production and water access, less biodiversity and ecosystem loss, and a lower chance of irreversible climate consequences.

To limit global warming to the critical threshold of 1.5°C, it is imperative for the world to undertake significant mitigation action. This requires a reduction in greenhouse gas emissions by 45 percent before 2030 and achieving net-zero emissions by mid-century.

What are the policy instruments that countries can use to drive mitigation?

Everyone has a role to play in climate change mitigation, from individuals adopting sustainable habits and advocating for change to governments implementing regulations, providing incentives and facilitating investments. The private sector, particularly those businesses and companies responsible for causing high emissions, should take a leading role in innovating, funding and driving climate change mitigation solutions. 

International collaboration and technology transfer is also crucial given the global nature and size of the challenge. As the main platform for international cooperation on climate action, the Paris Agreement has set forth a series of responsibilities and policy tools for its signatories. One of the primary instruments for achieving the goals of the treaty is Nationally Determined Contributions (NDCs) . These are the national climate pledges that each Party is required to develop and update every five years. NDCs articulate how each country will contribute to reducing greenhouse gas emissions and enhance climate resilience.   While NDCs include short- to medium-term targets, long-term low emission development strategies (LT-LEDS) are policy tools under the Paris Agreement through which countries must show how they plan to achieve carbon neutrality by mid-century. These strategies define a long-term vision that gives coherence and direction to shorter-term national climate targets.

Photo: Mucyo Serge/UNDP Rwanda

Photo: William Seal/UNDP Sudan

At the same time, the call for climate change mitigation has evolved into a call for reparative action, where high-income countries are urged to rectify past and ongoing contributions to the climate crisis. This approach reflects the UN Framework Convention on Climate Change (UNFCCC) which advocates for climate justice, recognizing the unequal historical responsibility for the climate crisis, emphasizing that wealthier countries, having profited from high-emission activities, bear a greater obligation to lead in mitigating these impacts. This includes not only reducing their own emissions, but also supporting vulnerable countries in their transition to low-emission development pathways.

Another critical aspect is ensuring a just transition for workers and communities that depend on the fossil fuel industry and its many connected industries. This process must prioritize social equity and create alternative employment opportunities as part of the shift towards renewable energy and more sustainable practices.

For emerging economies, innovation and advancements in technology have now demonstrated that robust economic growth can be achieved with clean, sustainable energy sources. By integrating renewable energy technologies such as solar, wind and geothermal power into their growth strategies, these economies can reduce their emissions, enhance energy security and create new economic opportunities and jobs. This shift not only contributes to global mitigation efforts but also sets a precedent for sustainable development.

What are some of the challenges slowing down climate change mitigation efforts?

Mitigating climate change is fraught with complexities, including the global economy's deep-rooted dependency on fossil fuels and the accompanying challenge of eliminating fossil fuel subsidies. This reliance – and the vested interests that have a stake in maintaining it – presents a significant barrier to transitioning to sustainable energy sources.

The shift towards decarbonization and renewable energy is driving increased demand for critical minerals such as copper, lithium, nickel, cobalt, and rare earth metals. Since new mining projects can take up to 15 years to yield output, mineral supply chains could become a bottleneck for decarbonization efforts. In addition, these minerals are predominantly found in a few, mostly low-income countries, which could heighten supply chain vulnerabilities and geopolitical tensions.

Furthermore, due to the significant demand for these minerals and the urgency of the energy transition, the scaled-up investment in the sector has the potential to exacerbate environmental degradation, economic and governance risks, and social inequalities, affecting the rights of Indigenous Peoples, local communities, and workers. Addressing these concerns necessitates implementing social and environmental safeguards, embracing circular economy principles, and establishing and enforcing responsible policies and regulations .

Agriculture is currently the largest driver of deforestation worldwide. A transformation in our food systems to reverse the impact that agriculture has on forests and biodiversity is undoubtedly a complex challenge. But it is also an important opportunity. The latest IPCC report highlights that adaptation and mitigation options related to land, water and food offer the greatest potential in responding to the climate crisis. Shifting to regenerative agricultural practices will not only ensure a healthy, fair and stable food supply for the world’s population, but also help to significantly reduce greenhouse gas emissions.  

Photo: UNDP India

Photo: Nino Zedginidze/UNDP Georgia

What are some examples of climate change mitigation?

In Mauritius , UNDP, with funding from the Green Climate Fund, has supported the government to install battery energy storage capacity that has enabled 50 MW of intermittent renewable energy to be connected to the grid, helping to avoid 81,000 tonnes of carbon dioxide annually. 

In Indonesia , UNDP has been working with the government for over a decade to support sustainable palm oil production. In 2019, the country adopted a National Action Plan on Sustainable Palm Oil, which was collaboratively developed by government, industry and civil society representatives. The plan increased the adoption of practices to minimize the adverse social and environmental effects of palm oil production and to protect forests. Since 2015, 37 million tonnes of direct greenhouse gas emissions have been avoided and 824,000 hectares of land with high conservation value have been protected.

In Moldova and Paraguay , UNDP has helped set up Green City Labs that are helping build more sustainable cities. This is achieved by implementing urban land use and mobility planning, prioritizing energy efficiency in residential buildings, introducing low-carbon public transport, implementing resource-efficient waste management, and switching to renewable energy sources. 

UNDP has supported the governments of Brazil, Costa Rica, Ecuador and Indonesia to implement results-based payments through the REDD+ (Reducing emissions from deforestation and forest degradation in developing countries) framework. These include payments for environmental services and community forest management programmes that channel international climate finance resources to local actors on the ground, specifically forest communities and Indigenous Peoples. 

UNDP is also supporting small island developing states like the Comoros to invest in renewable energy and sustainable infrastructure. Through the Africa Minigrids Program , solar minigrids will be installed in two priority communities, Grand Comore and Moheli, providing energy access through distributed renewable energy solutions to those hardest to reach.

And in South Africa , a UNDP initative to boost energy efficiency awareness among the general population and improve labelling standards has taken over commercial shopping malls.

What is UNDP’s role in supporting climate change mitigation?

UNDP aims to assist countries with their climate change mitigation efforts, guiding them towards sustainable, low-carbon and climate-resilient development. This support is in line with achieving the Sustainable Development Goals (SDGs), particularly those related to affordable and clean energy (SDG7), sustainable cities and communities (SDG11), and climate action (SDG13). Specifically, UNDP’s offer of support includes developing and improving legislation and policy, standards and regulations, capacity building, knowledge dissemination, and financial mobilization for countries to pilot and scale-up mitigation solutions such as renewable energy projects, energy efficiency initiatives and sustainable land-use practices. 

With financial support from the Global Environment Facility and the Green Climate Fund, UNDP has an active portfolio of 94 climate change mitigation projects in 69 countries. These initiatives are not only aimed at reducing greenhouse gas emissions, but also at contributing to sustainable and resilient development pathways.

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Hope Hicks gets teary testifying at Trump’s hush money trial

After a week of tabloid-focused testimony, the former aide led the jury through the whirlwind of the 2016 campaign and directly to the Oval Office.

NEW YORK — Hope Hicks, a former top aide to Donald Trump , appeared to break down crying on the witness stand Friday at Trump’s criminal trial, where she described campaign and White House efforts to keep a lid on scandalous stories about his past sex life.

Her time on the stand marked a significant shift in the focus of trial testimony; after days of hearing about tabloid editors and secret deals to stifle or sell celebrity gossip, the jury was led through the whirlwind of the 2016 presidential campaign and directly to the Oval Office.

Prosecutors with the Manhattan district attorney’s office wanted Hicks to show the jury how worried the 2016 Trump campaign was about negative stories about him and women — a key element in Trump’s alleged motive in the hush money case.

Her testimony seemed to accomplish that limited goal, but overall her tenor was respectful and complimentary of Trump, the presumptive GOP nominee for president in the November election; far from an aide turning against her former boss, she came across as a still-loyal and reluctant participant in his prosecution.

Hicks has long been seen as one of Trump’s most loyal aides, following him from his business to the 2016 presidential campaign to the White House. After about two hours on the witness stand in a packed courtroom, she was overcome by emotion as Trump lawyer Emil Bove prepared to cross-examine her.

As Bove began, Hicks slowly turned her face away from Trump, who was sitting at the defense table, and toward the jury. She brought her hand to her nose and started to quietly cry.

“Miss Hicks, do you need a break?” asked New York Supreme Court Justice Juan Merchan .

“Yes,” she said through tears.

Trump hush money trial

With that, the jury was sent out of the courtroom while Hicks collected herself.

Trump had watched Hicks enter the courtroom but did not react much during her time on the stand; at some points he wrote notes and passed them to his lawyers, but mostly he sat impassively at the defense table, listening with his eyes mostly closed.

Hicks appeared nervous at the start of her testimony, but there was no confrontation or revelation that seemed to prompt her emotional moment. It appeared that the attention of the high-profile trial, and being a prosecution witness against her former boss, whom she described in positive terms, became overwhelming as the day wore on.

Hicks told the jury about conversations inside the White House in 2018, as aides dealt with the fallout from news stories about payments made to two women during the 2016 campaign to keep them from going public with allegations about sexual trysts with Trump.

Under questioning from prosecutor Matthew Colangelo, Hicks recounted speaking to Trump after an article appeared in 2018 about a payment to adult-film actress Stormy Daniels. That $130,000 payment was first made by Michael Cohen, then a lawyer for Trump, whom Trump later reimbursed. Those reimbursements, and their categorization as legal costs rather than campaign expenses, are the basis of the 34-count indictment filed against Trump by Manhattan District Attorney Alvin Bragg (D).

After that hush money payment was detailed by the Wall Street Journal, Hicks said, Trump told her that “Michael had paid this woman to protect him from a false allegation, and that Michael felt like it was his job to protect him and that’s what he was doing and he did it out of the kindness of his heart.” Soon after the story came out, Cohen publicly claimed to have made the payment with his own money.

Cohen completed a three-year prison term after pleading guilty to fraud and lying, and has become an outspoken Trump critic . He is expected to be a key witness in the case. Hicks on Friday became the latest of several trial witnesses who have said biting things about Cohen .

Asked if it sounded like Mr. Cohen to make a $130,000 payment “out of the kindness of his heart,” Hicks replied, “I’d say that would be out of character for Michael … I didn’t know Michael to be an especially charitable person or selfless person.”

She said he was “the kind of person who seeks credit.”

At another point, Hicks wryly mentioned that Cohen liked to refer to himself as a “fixer,” yet in her experience, he fixed things “only because he first broke it.”

For prosecutors, the main purpose of Hicks’s testimony seemed to be showing that Trump and his campaign were very concerned about allegations made against him by women.

When it came to the Daniels story, which surfaced publicly while he was in the White House, Hicks said Trump told her that “it was better to be dealing with it now, and it would have been bad to have that story come out before the election.”

As soon as Hicks said that, prosecutors ended their questioning.

Her testimony, while emotional at one moment, did not offer any major revelations or surprises, but it adds to prosecutors’ larger point that Trump was motivated to keep scandalous stories out of the public eye during the election.

But Hicks’s account also made clear that her former boss was concerned about the potential effect of the allegations on his family.

When the Journal published a story in early November 2016 about the National Enquirer buying the rights to a Playboy model’s tale of an affair with Trump — a purchase the tabloid made for the express purpose of keeping the allegation quiet — Hicks said the presidential candidate worried about Melania Trump’s reaction.

In her role as a campaign adviser, Hicks said, she wanted to “blow past it and keep going,” since the election was only days away.

She said Trump was “concerned about the story, he was concerned about how it would be viewed by his wife, and he wanted me to make sure that the newspapers weren’t delivered to their residence that morning.”

By that point, the campaign had already been rocked a month earlier, when The Washington Post revealed the existence of an “Access Hollywood” recording in which Trump bragged about grabbing women’s genitalia.

That story unleashed a political maelstrom, Hicks testified. Prosecutors wanted her testimony in part to show that, after the scandal, Trump and his campaign were desperate to prevent further damaging stories about him and women, and that gave the candidate and his staff a powerful motive to keep Daniels and any other potential accusers quiet.

Hicks said she was “a little stunned” when she was first asked for comment about the “Access Hollywood” tape, and wrote in an email that they should “deny, deny, deny.”

“I had a good sense that this was going to be a massive story and sort of dominate the news cycle for the next several days at least,” she said. “This was a crisis.”

At times in her testimony, Hicks flashed a sense of humor, noting that around the same time as that story, a hurricane hit the East Coast.

“I don’t think anybody remembers where or when that hurricane made landfall,” she said. “It was all Trump, all the time, for the next 36 hours.”

The 11th day of the trial — the first time a former U.S. president has faced criminal charges — began with the judge reassuring Trump that despite being found in contempt of court for repeated violations of his gag order, Trump still had an absolute right to testify in his defense if he wanted to do so later.

“It came to my attention that there may be some misunderstanding regarding the order,” Merchan said, referring to comments Trump made a day earlier in the courthouse hallway. Speaking to reporters, the former president had complained that the judge’s order — which bars him from talking about witnesses, or the families of the judge or the prosecutor — prevented him from testifying. It does not.

Merchan tried to clear up the issue by telling Trump: “You have an absolute right to testify at trial if that’s what you decide to do after consultation with your attorneys.” The gag order, he said, only applies to statements made outside the courtroom, whether in the hallway, in media interviews or on social media.

As Merchan spoke, Trump nodded in agreement.

Trump has flirted publicly with the idea of testifying in his defense, though lawyers usually advise defendants not to do so, because it gives prosecutors a chance to question the person under oath in front of the jury.

Trump has been found in contempt of court for nine statements that violated the judge’s gag order, and Merchan is considering four additional statements that may also be violations.

Later Friday, a court official said Trump has paid the $9,000 in fines he owed for those violations. The payment was made in two installments: one for $2,000 and another for $7,000.

Trump New York hush money case

Former president Donald Trump’s criminal hush money trial is underway in New York. Follow live updates from the trial .

Key witnesses: Several key witnesses, including David Pecker and Stormy Daniels, have taken the stand. Here’s what Daniels said during her testimony . Read full transcripts from the trial .

Gag order: New York Supreme Court Justice Juan Merchan has twice ruled that Trump violated his gag order , which prohibits him from commenting on jurors and witnesses in the case, among others. Here are all of the times Trump has violated the gag order .

The case: The investigation involves a $130,000 payment made to Daniels, an adult-film actress , during the 2016 presidential campaign. It’s one of many ongoing investigations involving Trump . Here are some of the key people in the case .

The charges: Trump is charged with 34 felony counts of falsifying business records. Falsifying business records is a felony in New York when there is an “intent to defraud” that includes an intent to “commit another crime or to aid or conceal” another crime. He has pleaded not guilty . Here’s what to know about the charges — and any potential sentence .