elements of genre in creative writing

Creative Writing Genre Guide – The Many Genres of Writing in The Creative Arts

Written by Scott Wilson

Like the hiss of a jagged sword slicing past your ear or the roar of a spacecraft entering the atmosphere of a strange planet, genre echos through every piece of creative writing.

Whether or not the author chooses consciously to conform to an existing genre or decides to break new ground, genre will attach to whatever they create. Even so-called non-genre, or literary, fiction is itself a sort of genre. Genre is a tool that is used by:

• Writers , to guide story and expectations
• Critics , to categorize and analyze creative works
• Publishers and Booksellers , to stock and market books to their target audiences
• Readers , to find and read works that align with their aesthetic preferences

Understanding and mastering genre is not optional for creative writers. But it’s not easy, either.

How Genre Defines Your Creative Writing Work

Genre is a hot topic in the world of creative writing. You won’t get far in the average creative writing program before you get into some kind of argument over how to classify some piece of work.

That’s because genre is necessarily subjective. There is no centralized Genre Board that puts a stamp inside the front cover of each new book that is released. The American Literature Association does not maintain an official list of genres that authors are required to choose from among before beginning their next story.

The reality of a serious writer is a reality of many voices, some of them belonging to the writer, some of them belonging to the world of readers at large. ~ Aberjhani

Our literary genres today are simply social conventions, conventions that evolve over time with community expectations and tropes. It’s impossible to come up with a genre writing definition that will satisfy everyone. At the same time, genre is descriptive enough to be indispensable for readers and writers alike.

Genre is so difficult to get a grip on because it is effectively a kind of rolling consensus.

Genre is defined by the authors themselves, by critics who seek to interpret works, by readers deciding what they like to read, and by publishers looking to market those works.

And those definitions change all the time.

The Rapid Evolution of Genre in Writing

Take the ancient and well-established genre of fantasy, for example. Myth and legend may be the oldest genres of fiction, stretching back to our earliest recorded works. The Epic of Gilgamesh and Beowulf both fall into the realm of fantasy.

But fantasy has evolved as its readers and writers have.

Fantasy writing today is nothing like what it was prior to Tolkien’s tales of Middle Earth reaching and shaping the expectations of readers. Epic works like The Lord of the Rings and the Chronicles of Narnia set a standard for their writing genre, and subsequent tales are inevitably judged by those standards.

With the pace of publishing increasing rapidly and the ease of finding literature to taste getting easier and easier, genre is evolving at a lightning pace.

Writing Sub-Genres Have Become Ever More Niche With the Internet

That kind of specificity comes with very distinctive expectations, however. Niche works are often expected by readers to follow a very specific formula—hit a certain set of plot points, come in at a particular word-count, feature a distinctive type of characters. If you’re aiming for success in the Highlander romance niche, you had better have an evil Englishman somewhere in the story—and heaven help you if there’s not a shirtless man in a kilt on the cover.

While this kind of narrow, formulaic approach is seen as a constraint by some authors, it represents a kind of feedback loop that allows writers to reach very specific audiences. If you plan to make a career out of creative writing, understanding and selling to the market is door you’ll need to open. Genre expectations give you the key.

The genre of writing you pick for any given story you choose to tell will define how it is viewed and what readers expect before you even put down the first word. So understanding how genres in writing work and how to use them in your own pieces is a key part of being a creative writer today.

Picking a Writing Genre Can Be Empowering for Creative Writers

Understanding what genre is and how genres are defined is the only way that you can understand how your own work will be perceived. And developing that kind of knowledge allows your writing to grow and operate on multiple levels as your stories unfold. Genre offers subtext to your stories. Adding a new entry to the catalog of any particular genre expands what the field has to say.

The many types of genres in writing offer an avenue for every writer to explore and expand their craft.

Equally important for some writers is the sense of context that genre creates for their writing. Not only can it help shape creative works by offering standards to aim at, but it also provides a set of expectations that can be subverted to critical effect. For example, The Red Badge of Courage by Stephen Crane would not have had the effect on readers that it did without a long tradition of glorious war stories from a genre that it mimicked, then up-ended with the hero’s cowardice.

Pure formless creativity and invention are wild and dangerous things. To develop a coherent story and a world that is true enough for readers to believe is a tricky business. Having a set of general rules to follow and expectations to meet brings focus.

Beyond that, the very act of channeling your imagination into a defined form and to tell your own story within those rules is a challenge that rewards the creative spirit. Finishing a novel can feel very much like clicking the last piece into place on a jigsaw puzzle. The picture on that puzzle is the genre. When everything lines up to match, your sense of satisfaction and accomplishment is immense.

Writing Genres Give Readers the Stories They Are Looking For

Those stores, and the publishers who print novels and magazines, live and die by genre sales. Some publishers either specialize in or dedicate certain of their imprints to particular genres. Editors, illustrators, and agents may also specialize by genre. Critics, industry awards, and writing groups are often dedicated to different genres. Even creative writing programs offer specializations or concentrations in certain writing genres.

Ultimately, however, genre in writing persists and is needed for the reader. The evolution of genres in writing has largely been in the hands of publishers and book sellers, all seeking to match works with groups of readers who will find them appealing.

Genre in Writing May Be Determined in Different Ways

Genres in writing are not absolutes. Any given work can fall into many different genres depending on how the term is being applied. For example, the two big categories of writing are the genres of poetry and prose. Every work will fall into one of those, as well as others.

The most common ways of categorizing genre are:

• By literary technique and style
• By setting or character type

Each of these different genres of writing will share certain characteristics, but may diverge through other categories. For example, there are works that have a common science fiction theme, but use technique and style more common to literary fiction. The Handmaid’s Tale , by Margaret Atwood, is one example… set in a dystopian future, it nonetheless develops characters and explores deep themes common to other classic works of literature.

In addition to crossing genres, creative writing works also may fall into sub-genres. The most writing genres evolve branches over time. In fact, science fiction, one of the biggest and most popular genre examples in writing today, is simply a sub-genre of the larger category of speculative fiction.

Sub-Genres Sprout From Pop-Culture in Unexpected Ways to Offer Something Uniquely Tailored to Every Audience

To give just one example of this process, consider the evolution of the genre of steampunk.

Steampunk is a sub-genre of cyberpunk, which already lies at the bottom of a long list of other sub-genres of fiction:

In addition, steampunk works almost all fall into the addition speculative fiction category of alternate history, since they imagine a historical era not as it was, but as it might have been. Some can be called Westerns; others are post-apocalyptic, taking another bite out of the dystopian genre apple.

The first proto-steampunk works were published in the ’70s and ‘80s by authors such as Tim Powers and James Blaylock, but it was 1990’s The Difference Engine , by William Gibson and Bruce Sterling that really kicked off steampunk as a genre—probably because Gibson and Sterling were also two of the prime movers in cyberpunk itself.

As steampunk caught on and became more popular, not only did newer works emerge to expand the genre (including its own sub-genres), but older novels that included or inspired the same elements were sometimes described as steampunk. Seminal works like H.G Wells’ The Time Machine and Jules Verne’s Twenty Thousand Leagues Under the Sea are sometimes found in lists of steampunk works.

Why not just do away with genre, and consider each piece on its own merits? Ultimately, many scholars and creative writing professionals are able to do just that.

In the same way that a rock musician can understand, appreciate, and adapt techniques from the classical world, good writers recognize and respect good writing craft, regardless of genre.

But genre is also a part of artistic judgement. A creative work can be assessed by how well or poorly it conforms to the expectations of the genre it is aimed at.

How To Succeed as a Creative Writer in Different Types of Writing Genres

To be clear, you don’t need to pick a genre lane if you don’t want to. Iain Banks had no problem at all jumping back and forth between epic sci-fi novels, psychologically complex literary fiction, rollicking travelogues, and even poetry. All of it earned critical acclaim.

When J.K. Rowling decided she needed a break from fantasy, she picked up the pen name of Robert Galbraith and popped over into crime fiction instead.

But most creative writers aren’t made of the same stuff as Banks or Rowling. It may be that a particular genre is what inspires you to write in the first place. Perhaps it’s a fascination with the subject matter that draws you in to a particular kind of world. Or maybe it’s just a raw commercial calculation, playing to the market and what is most publishable.

In any case, deciding the genre or genres you are interested in writing in is only one part of the process. Each genre has its own unique path to success.

The Many Genres of Writing in English Literature

To help you get started, we’ve got a whole list of writing genre guides that take you step-by-step through the process of becoming a successful writer in that field.

Literary Fiction

Literary fiction is the non-genre genre of creative writing. It includes works that are too non-traditional to fit cleanly in existing genres or that focuses on characterization and exploration of deep truths over conventional plot or narrative structures. Much of the pantheon of great novels and works that are used in teaching creative writing fall into the literary fiction genre.

Fantasy authors excel in creating imaginary worlds where fantastic creatures roam, magic and the supernatural shape character’s lives, and medieval settings call classic mythology to mind. Fantasy is one of the oldest of genres in both Eastern and Western writing traditions, and its popularity continues to ensure steady careers for well-trained fantasy writers.

There is a fascination with the macabre and surreal that keeps horror novels on the top-seller lists year after year. From Anne Rice to Stephen King, some of the most commercially successful modern authors have chosen this genre. And with classics from Shelley and Poe as part of the enduring tradition of literature, a career in horror offers creative writers a shot at both fortune and fame.

Mystery, or crime, fiction embraces a whole spectrum of entertaining works from Agatha Christie’s classic detective novels to the hard-boiled works of Dennis Lehane. Writers who have the talent to deliver an intricate plot and keep readers engaged with a steady stream of clues, but still make the reveal and resolution a rewarding surprise, have a bright future in the mystery genre.

The Western genre is both relatively new and distinctively American in nature. Following in the footsteps of Louis L’Amour and Max Brand is no easy task, but there is plenty of life in the humble Western, as works by Cormac McCarthy and Larry McMurtry have shown. Western writers may or may not need a ten-gallon hat, but the definitely need story-telling skills and a strong set of research skills.

Young Adult

Young adult works often combine other genres into stories that deal particularly with the interests and concerns of teenagers. Whether it’s a mix of fantasy and school, like Harry Potter , or pure works that explore contemporary problems and challenges like the classic The Outsiders , young adult novels can shape the perspectives and growth of a generation. Young adult writers have to develop not only a knack for telling stories cleanly and understandably, but also for tapping into the zeitgeist of their target audience. 

Science Fiction (Sci Fi)

Science fiction uses the prism of technology and time to explore both exciting theoretical science and social mores and consequences of humanity today. Science fiction is a genre that has a robust demand and strong traditions. Although it can be tough to break into sci-fi, studying creative writing offers the kind of analytical tools and techniques that can make it happen.

Short Story

The genre of short story is one rooted in length rather than subject. A short story can be told in almost any of the other genres listed here, but it is a form that requires its own set of skills and sensibilities. Creative writing degrees are one of the best places for writers to polish up their ability to deliver the crisp, clear, meaningful prose that is needed to build a successful short story.

Making people laugh is a rare skill in any kind of artistic endeavor. Comedic writing has a long and honorable history in the world of dramatic literature, serving as one of the first genres recognized by the Greeks. Comedy often crosses other genre boundaries, with tendrils in horror, science fiction, and crime. But pure comedies in the form of satire and parody serve important roles in social commentary as well as entertainment.

Historical Fiction

Writing historical fiction comes with a set of guard rails that play directly to the strengths of creative writers: research offers a glimpse of the world as it once was, and imagination fills out the humanity of those times. While the historical setting can be one grounded firmly in reality, like Hilary Mantel’s acclaimed Wolf Hall , it can also serve as a portal to the fantastical, as in Susanna Clarke’s incredible Jonathan Strange & Mr. Norrell .

Elements of Story: How Genre Impacts the Importance of Five Story Elements

by Joslyn Chase | 0 comments

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Have you ever wondered how the elements of story impact your book's genre ? Do some elements of story have greater importance in a book because of the book's genre?

I can think of several times when I’ve gone to a restaurant and been served something so delicious that I chew slowly so I can experience how each of my senses is impacted by the food: from taste to smell to sight.

The level of importance the elements of story have on genre isn't so different. We all have certain tastes—factors that appeal to us in different ways on our taste buds—and it’s the same with our reading preferences. I came to understand this in a profound way when I worked for our local library system. Readers crave certain “flavors” and genre helps them define what they like and discover more of it.

How the five elements of story vary in level of importance  because  of the genre may impact your perspective—and in a good way, for writers trying to satisfy their target readers!

Looking at Genre From a Different Perspective

In my last article, Book Genre: Why Figuring Out Your Genre Will Help Your Story Succeed , I explored the reasons genre is so important to readers, writers, publishers, and marketers. I also pointed you to some resources to help you learn more about genre.

One superb way of studying genre is to focus on the obligatory scenes and conventions inherent in each genre.

I remember how excited I was when I discovered Shawn Coyne’s book The Story Grid . By the time I finished the first chapter, I knew my life as a writer was going to change in wonderful ways. The podcast is fabulous, too.

As much as I highly recommend studying these aspects of genre, in this article I’m going to take a different approach, by looking at genre according to the story’s components.

Five Elements of Story to Include In Your Book (And Consider When Determining Your Genre)

For the purposes of this article, I’m going to focus on five components that go into every story.

By plot , I mean the order of events that create the rise and fall of tension as the story progresses. This is where you’ll see those obligatory scenes make an appearance.

Ask yourself: what is the story arc of my plot, and how does this move the action of my story forward?

Setting must be well-developed through the five senses , the opinions, and the emotions of the POV character. Setting is also one of the elements of story that is important in making your story unique. Consider how the surroundings of your character's world can impact their actions and decisions.

You might also be interested in how to sketch setting in Scrivener, which we teach in this post .

Ask yourself: how is my story similar to others in its genre, but differs in setting? Why does this setting attract the readers of my genre?

3. Characters

The important characters in the story need to be memorable and engage reader emotions. In addition, the reader should not be in doubt about whose story it is—knowing the difference between what makes a protagonist , antagonist, and supporting characters can also be directly related to the genre.

Character development is crucial to any story, and undoubtedly one of the most important elements of story. This is what makes readers of your genre care about the book.

Ask yourself: how does the story arc challenge my protagonist, and why do my protagonist's wants and needs directly conflict with the antagonist(s)?

This is how you put words on paper. It has to do with factors like sentence length and structure, thick or thin texture, vocabulary, types of details and imagery, etc.

Style is one of those elements of story that is difficult to teach, but a good trick involves focusing on sentence length variation. For instance, Dr. Seuss had an extremely unique style that made his books timeless, which you might be interested in learning more about by reading the linked post.

Ask yourself: how do my sentences vary in length, and how does this support and develop a voice appropriate for my genre? For example, thriller suspense books will usually have shorter sentences, since there's higher action and readers of this genre naturally look for fast-paced reads.

Here, I mean character voice, rather than author voice. Surprised you! Didn't I?

I believe you can create character voice by various means, whereas author voice comes through best when you’re not trying to control it at all.

Like style, voice is one of the elements of story that is hard to teach.

Ask yourself: how do each of my characters sound different from one another? Why do their unique voices support the tone and depth of my book's genre?

P.S. If you're curious about how to strengthen the voice of your  characters , you might enjoy this post .

The 5 Elements in Action

When considering your book's genre, these five elements of story come into play in different ways. Now let’s take a look at some popular genres to see how they add up.

Romance is probably the biggest genre in terms of sales, numbers of books, and the readers who read them. It produces a massive amount of bestsellers and features a myriad of sub-genres which may slightly adjust the balance of these components.

In the romance genre, character comes first—by a long shot.

Readers must fall in love with the characters as the characters fall in love with each other.

The second component is plot . Leave out an important obligatory scene, like the “Meet Cute,” the “First Kiss,” or the “Proof of Love,” and romance readers will bring out the pitchforks.

Readers of your genre  want  these moments, and it's your job as the writer of this genre to understand not only the important elements of story, like plot obligatory scenes and conventions, but also how to apply them  into  the plot and structure .

Setting comes next, followed by style and voice. These last two are roughly interchangeable as to importance. If you’re determined to write romance, be careful not to overemphasize setting, style or voice—doing so will kick your romance into another genre, such as literary (which is strictly defined by its more descriptive, melodic prose), or historical fiction (basing setting and plot on something real in history).

Example: The Notebook

P.S. One more thought—romances must include a happy ending. Don't forget this!

Like in romance, character comes first with Mystery .

It is a critical component as the character and reader work closely together to solve the mystery.

Setting comes next, and includes the crime. You must pull the reader right into the story with sensory detail, opinion, and emotion. All of these are clearly defined by  the genre's target readers, all of whom are expecting a certain edge and suspense while unraveling the  why  of the mystery and crime.

The plot in a mystery is also hugely important because that’s where most of the clues are laid out. Voice and style can be almost neutral, kept very low-key, depending on the sub-genre of the mystery.

The ending must provide a solution—or at least a satisfying resolution—to the crime.

Examples: Agatha Christie books, Sherlock Holmes books 

Thrillers live and die on style . That’s number one, and encompasses the pacing necessary in a successful thriller.

Next comes plot. Most thrillers incorporate an intricate plot with lots of danger, but ensure that the good guys win, in the end.

Character, voice, and setting hold roughly equal positions of importance and can be tweaked up or down according to preference, as long as they don’t overpower style or plot.

Examples: The Da Vinci Code , The Girl on the Train ,  Gone Girl

As you might guess, the number one component of fantasy is setting .

The story takes place in a made-up world and pulling the reader into that world is all-important.

In positions two and three are plot and character. You can bring these two elements of story up or down as you please, but never elevate them with a higher importance than the unique, fresh contribution of setting to the story.

Style is important, but not critical and voice can be kept neutral, or not. But if you want your book to sell, you should make certain the good guys triumph in the end.

Examples:  The Name of the Wind , Harry Potter series ,   Uprooted    

Science Fiction

As in Fantasy, setting is the most essential component of science fiction—and can include style, in a way. Again, you are pulling the reader into a strange, new world and that setting is crucial to the telling of your story.

Next comes plot, the mechanics that come into play and drive the story forward.

Third is character, followed by voice in fourth place. These are notable elements of story in science fiction, but support the setting and plot rather than dominate the story.

And style can float up or down on the scale, depending on how you want to write it.

Example: Star Wars saga

Historical Fiction

It’s fairly obvious that setting will take the top position in the historical fiction genre.

Style and plot are next, and interchangeable in terms of importance.

Last come character and then voice, since the characters often support the historical event the plot is based on, and the voice is expected to have a somewhat literary tone.

Of course, the lower ranked components can slide up and down according to sub-genre and writer preference.

Examples:  The Nightingale ,  Water for Elephants ,  Before We Were Yours

Literary Fiction

The literary fiction genre calls for voice and style to the extreme—since  the prose is an acquired and important taste.

Readers and writers of literary fiction stories love to be enthralled by lush language, compelling characters, and exquisitely beautiful turns of phrase. But the voice and style of these books is expected to promote further discussion, which is also why it's not surprising to find these titles in school curriculum.

Character and setting follow voice and style, with plot holding the last position in most literary fiction. However, keep in mind that ALL elements of story are needed for a good book, literary fiction or any other genre.

Examples:  The Catcher in the Rye ,  To Kill a Mockingbird

Young Adult

Character is the most crucial component in a young adult book—the character must be of a certain age—which is also why most of these stories show a coming of age arc.

But voice runs a very close second. Very rarely do you find a YA book that isn't in first person limited point of view , since the attitude of the character is crucial to its uniqueness. Keep in mind, readers of YA fiction love a character with a strong, fresh, interesting voice and an opinion about everything.

Setting, plot, and style move up and down the spectrum, but never trump voice and character.

Examples:  The Fault in Our Stars ,  The Hate U Give ,  New Kid 

How to Use Elements of Story for Your Book's Recipe for Success

The next time you’re savoring a novel, consider how the different components are coming together—like ingredients in a recipe— to satisfy your target reader's craving for a certain type of story.

As a final reminder, these are:

All of them are crucial to defining your book's unique aspects, and while the level of importance in how they define your book (according to genre) varies, you need ALL of them to polish a book that your target readers will love.

For a more detailed study of this subject, consider taking the Genre Structure Workshop offered by WMG Publishing.

In my next article, we’ll take a look at how readjusting the amounts of these five crucial components can change the result from one genre to another, giving the story a different flavor and appealing to a different audience.

See you next time!

How do the elements of story work in your story? Do the genre analyses above hold true for your genre and book?  Tell us about it in the comments .

Today, pick one of the five elements of plot and practice it. Will you engage us with a vivid setting or introduce us to a new bold and sassy character?

Pull out your work in progress and write with a focus on one of the five elements. Or, choose an element and focus on it as you write a scene based on this prompt:

She'd expected climbing the mountain to be tough, but she hadn't bargained for this.

Write for fifteen minutes . When you're done, share your writing practice in the comments below , and don't forget to provide feedback for your fellow writers!

Joslyn Chase

Any day where she can send readers to the edge of their seats, prickling with suspense and chewing their fingernails to the nub, is a good day for Joslyn. Pick up her latest thriller, Steadman's Blind , an explosive read that will keep you turning pages to the end. No Rest: 14 Tales of Chilling Suspense , Joslyn's latest collection of short suspense, is available for free at joslynchase.com .

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Top 10 Elements of Creative Writing: All you Need to Know

Learn the art of storytelling with our comprehensive blog on the Elements of Creative Writing. Discover the vital components that transform ordinary words into extraordinary tales. Dive into character development, plot intricacies, and more as we cover the core aspects of crafting captivating narratives. Read more to find out!

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Whether you're an aspiring novelist, a poet, or simply someone who loves to pen down your ideas, understanding the key Elements of Creative Writing can significantly enhance your skills. In this blog, we will explore the top 10 Elements of Creative Writing that are essential for creating compelling and impactful written works, along with tips. 

Table of Contents  

1) The i mportance of Creative Writing elements 

2) Top 10 Elements of Creative Writing 

   a)  Imagery and descriptive language  

   b)  Character development 

   c)  Plot structure 

   d)  Dialogue and conversations 

   e)  Point of View (POV) 

   f)  Setting and world-building 

   g)  Tone and Style 

   h)  Conflict and resolution 

   i)   Theme and symbolism  

   j)  Editing and revision 

3)  Conclusion 

The importance  of Creative Writing elements  

Creative writing isn't confined to the pages of novels or the lines of poetry; it's a fundamental human expression that predates recorded history. It has been a conduit for cultural preservation, knowledge transfer, and emotional catharsis. But how exactly mastering these elements can improve your writing?   

Every art has its tools, and Creative Writing is no different. The elements we'll delve into aren't just guidelines; they're the building blocks that transform your words from ordinary to extraordinary. By understanding and mastering these Creative Writing elements, you'll be equipped to craft narratives that draw readers in, keep them engaged, and leave an indelible mark on their minds and hearts. 

Unlock your creative potential with our expert-led Creative Writing Training – Register now to ignite your imagination!  

Top 10 Elements of Creative Writing    

Generally, there are various Elements of Creative Writing, each possessing its own unique features. However, many forms of Creative Writing also share some common features. Here’s a detailed explanation of each element every Writer must follow:  

1) Imagery and d escriptive l anguage   

Imagery and descriptive language are the brushes with which writers paint vivid mental pictures for their readers. By skillfully weaving sensory details, you bring scenes to life and evoke emotions. The rustling leaves, the scent of freshly baked bread, the gritty texture of sand beneath one's feet—these details create a sensory symphony that immerses readers in your world.    

Metaphors, similes, and analogies act as bridges, connecting the familiar with the unfamiliar. Through them, you can compare the indescribable to the known, enriching your narrative with layers of meaning. Mastery of imagery and descriptive language transforms passive reading into an active experience where readers can taste, smell, hear, see, and feel the world you've created.   

Tips :   

a)  When selecting details, focus on the ones that have the most impact and avoid including unnecessary clutter.   

b)  Use metaphors and similes sparingly, making them truly resonate.   

c) T ailor your descriptions to the tone and mood of the scene or story. 

2) Character d evelopment   

Character development is the art of breathing life into your fictional personas. Well-crafted characters are not only relatable but also complex, with layers of personality, desires, flaws, and history. They drive the plot forward, compelling readers to invest emotionally in their journeys. Backstories provide context, explaining why characters behave the way they do.   

Effective character development allows readers to understand, empathise, and even dislike characters. The key lies in making them authentic and evolving. Just as people change, so should your characters. They learn, grow, and adapt, making their arcs believable and satisfying. The beauty of character development is in its ability to mirror the human experience, forging connections between fictional worlds and real hearts.  

a)  Explore your characters' pasts to understand their motivations and fears.  

b) Create a character profile detailing their appearance, background, and personality traits. 

c) Show character development through actions and decisions rather than telling.  

3) Plot s tructure   

Plot structure is the architecture that holds your narrative together. Think of it as a roller coaster, with highs and lows that keep readers engaged. The introduction sets the stage, introducing characters, settings, and the initial conflict. Rising action builds tension, propelling the story forward. At its peak is the climax, the turning point that determines the characters' fate.   

Falling action allows for a gradual untwisting of events, leading to the resolution. Effective plot structure balances pacing, ensuring readers remain intrigued without feeling rushed. Twists and turns add surprise, while cause-and-effect relationships maintain coherence. A well-structured plot keeps readers invested, eagerly flipping pages to discover what happens next.  

a)  Introduce the main conflict early to hook readers' curiosity.  

b) Use cliffhangers and unexpected twists to maintain suspense.  

c)  Ensure each scene contributes to character development or plot progression.  

4) Dialogue and c onversations   

Dialogue and conversations are windows into your characters' minds and hearts. Natural and dynamic dialogue conveys information and reveals personalities and relationships. Each character's speech patterns, vocabulary, and tone should be distinct, reflecting their backgrounds and emotions .   

Through dialogue, conflicts can be ignited, alliances forged, and secrets unveiled. Subtext—the unspoken thoughts beneath the spoken words—adds depth and intrigue. Conversations can quicken the story's pace, providing relief from dense narrative passages. Dialogue-driven scenes foster engagement, inviting readers to eavesdrop on captivating interactions that fuel the narrative's fire.  

a)  Listen to real conversations to capture natural rhythms and speech patterns.  

b)  Use interruptions and nonverbal cues to make dialogue dynamic.  

c)  Balance dialogue with narrative to avoid overwhelming the reader.  

5) Point of View (POV)  

Point of view (POV) is the lens through which your story is perceived. The choice of POV shapes the reader's relationship with characters and events. First-person offers intimacy, allowing readers to see the world through a character's eyes. Second person immerses readers directly into the narrative. Third person limited provides insight into a character's thoughts, while third-person omniscient offers a broader perspective.   

Consistency in POV is vital; changing viewpoints can confuse readers. The chosen POV influences what readers know and when they know it. It also affects emotional connection and empathy. Selecting the appropriate POV requires consideration of the story's needs and the desired reader experience.  

a)  Experiment with different POVs to find the best fit for your story.  

b)  Consider the level of intimacy and distance you want between characters and readers.  

c)  Be aware of the limitations and advantages of each POV.   

6) Setting and w orld- b uilding   

The setting isn't just a backdrop; it's a dynamic element that influences mood and plot. A well-defined setting isn't merely a stage but an active participant, influencing characters and events. You transport readers to a different reality through meticulous detail, allowing them to immerse themselves fully.  

Effective world-building extends beyond the physical, encompassing societal norms, rules, and even magic systems in speculative fiction. The environment can reflect themes and impact mood. Whether in a fantasy realm or a contemporary city, the authenticity of the setting enhances the reader's experience.   

a)  Research settings thoroughly to ensure accuracy and authenticity.  

b)  Show how characters interact with their environment to convey their experiences.  

c)  Create a sense of place by using unique and specific details.  

7)   Tone and style   

Tone and style are the fingerprints that make your writing uniquely yours. The tone is the distinctive way you express yourself through words—a combination of tone, diction, and syntax. It reflects your personality as an author. Style encompasses sentence structure, pacing, and word choice, influencing the overall feel of your work .   

A comedic style might employ wordplay and witty dialogue, while a dramatic style could use evocative descriptions and emotional introspection. Finding your voice and style involves self-discovery and experimenting with different approaches until you uncover what feels authentic. A strong voice and style leave an indelible mark on readers, making your work instantly recognisable   

a)  Read more to familiarise yourself with different writing styles.  

b)  Practice writing in different tones to discover your preferred voice.  

c)  Revise with a focus on refining your voice; eliminate elements that don't align. 

8)  Conflict and r esolution   

Conflict and resolution are the engine that drives your narrative forward. Conflict introduces challenges that characters must overcome, making their journeys compelling and relatable. There are various types of conflict—internal struggles within characters, external conflicts with other characters or nature, and interpersonal conflicts between characters. Conflict creates tension, propelling the story toward its climax.   

The resolution, whether happy or bittersweet, provides closure and offers insights into the characters' growth. Well-crafted conflicts test characters' limits, forcing them to confront their fears, flaws, and desires. Through the resolution, readers witness the transformation and the culmination of the character's arcs. 

a)  Vary the types of conflict to maintain reader engagement.  

b)  Build tension gradually; escalate the stakes as the story progresses.  

c)  Avoid convenient solutions; resolutions should arise from the characters' choices and actions.  

Supercharge your writing skills with our Speedwriting Masterclass – Register now and amplify your productivity!  

9) Theme and symbolism  

Theme and symbolism lend depth and layers to your writing. Themes are the underlying ideas, beliefs, or messages that resonate with readers. They can explore love, friendship, power, or mortality, connecting the narrative to universal human experiences. Symbolism employs objects, actions, or concepts to convey abstract ideas, often adding an element of intrigue.  

A red rose might symbolize love or passion, while a broken mirror could represent self-perception. Themes and symbols intertwine, enriching the story's interpretation and emotional impact. Skilful use of theme and symbolism transforms a tale into an exploration of human nature and society.  

Tips:   

a)  Reflect on the themes that resonate with you and explore them in your writing.  

b)  Use recurring symbols to reinforce thematic elements.  

c)  Allow themes to emerge naturally from the characters' struggles and growth. 

10) Editing and r evisi on    

Editing and revising are the crucial phases that turn your initial draft into a polished masterpiece. Writing is rewriting; the initial draft is a raw exploration of ideas. Editing involves refining sentences for clarity, coherence, and flow. It ensures grammar and punctuation are correct. Revising delves deeper, examining plot holes, character consistency, and thematic resonance.  

Seeking feedback from peers or professionals is invaluable, offering fresh perspectives. The revision process is where your story truly comes to life. It's an opportunity to tighten narrative threads, enhance descriptions, and amplify emotions. Embrace the iterative nature of editing and revising; each pass brings your writing closer to its full potential.  

a) Revise in multiple passes, focusing on different aspects in each round.  

b)  Cut unnecessary details or scenes that don't contribute to the narrative.  

c)  Pay attention to grammar, punctuation, and spelling to ensure a polished final product.  

Conclusion   

Creative Writing is a journey of discovery, both for the Writer and the reader. In this blog post, we've explored the essential elements that constitute effective Creative Writing. From the foundation of imagination to the nuances of dialogue, style, and conflict, each element plays a pivotal role in crafting a compelling narrative. By mastering these top 10 Elements of Creative Writing, you'll be equipped to create stories that resonate, inspire, and captivate audiences.  

Elevate your Copywriting skills to new heights with our Copywriting Masterclass – Join today and craft compelling content that captivates your audience!  

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What are the Genres of Creative Writing?

The Black Bear Review boasts about accepting work in all four literary genres, but what does that mean? In simplest terms, genres are used to organize, categorize, and classify literature. The four primary genres of creative writing are fiction, creative non-fiction, poetry, and drama.

Fiction:  The fiction genre includes all works conceived primarily out of the writer’s imagination. Although fiction may include some elements of reality (names of real-life towns or natural phenomena), it relies on make-believe events to drive plots that often parallel, rather than recite, real-life circumstances. Some examples of fiction form are the novel, short story, or novella.

Creative Non-Fiction:  Writers of creative non-fiction develop stories based on true to life events but often infuse their own personal views and experiences in their work. Creative non-fiction pieces go beyond fact to appeal to readers through story, experience, and imagery. Some examples of creative non-fiction forms are personal essays, book reviews, memoirs, interviews, and cultural criticisms.

Poetry:  Poetry includes writing meant to be heard out loud as well as read on the page. Although poetry can take many forms, its foundation is built on a balance of rhythm, imagery, metaphor, and other techniques used to communicate abstract ideas to readers. Poems may be structured (haikus, and sonnets), unstructured (free verse), or even appear to read as a narrative (prose poems).

Drama:  The genre of drama can include both the fictitious and the fact. In a drama, the story is primarily conveyed through dialogue between characters. It may reference sound and movement, but much is left to reader’s imaginations. Drama includes movie scripts, ten-minute plays, screenplays, and written stage productions.

* Much of the information in this article has been taken from “Imaginative Writing: The Elements of Craft” by Janet Burroway and “Write Moves” by Nancy Pagh. We recommend looking into these books for yourself. They’re excellent resources to add to any writer’s toolbox!

Copyright © 2020 Black Bear Review

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What is a Genre? || Definition & Examples

"what is a genre": a literary guide for english students and teachers.

View the full series: The Oregon State Guide to English Literary Terms

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What is a Genre? Transcript (English and Spanish Subtitles Available in Video, Click Here for Spanish Transcript)

By Ehren Pflugfelder , Oregon State University Associate Professor of Rhetoric

12 February 2020

You know that moment when you’re watching a movie, and it’s been really captivating, and you’re getting interested in the characters, and a little bit lost in the story, when something shifts and you can sense what might happen next? Well in those moments, you might be experiencing what it’s like to recognize genre. And genre is a term frequently used to define the elements that repeat themselves in similar kinds of movies, books, television shows, music, and more.

I like to define genre. Genre? Jean? Jahnrah?

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Uh, let’s just go with genre (zhan-rah). OK. Genre is what some might call “typified rhetorical action” and what that means is that there are features that repeat again and again, over time, with few differences, in part because audiences expect certain things to happen or because they want certain kinds of experiences. Genre is the name we use to describe the categories that have developed over time for what we read, what we watch, and what we listen to. And the kinds of genres that exist in one culture at one time may not exist in another culture at another time – they’re constantly changing.

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The main kinds of literary genre that you might be familiar with are fiction, poetry, and nonfiction. But those are the biggest categories we can think of, really. For example, non-fiction can encompass everything from a memoir, to a to a biography, to an instruction manual. All are kinds of non-fiction writing – the only thing that ties them together is that they’re not made up. The same is true for fiction and poetry, too, and when we read poetry or prose fiction, we, as the audience, have some expectations as to what should be included. That is, when we read fiction, we expect the narrative to be made up, and when we read poetry, we expect that the each line of a poem match with other lines in a particular way, or it rhyme in the manner of a  sonnet , or break rules of punctuation, or simply take us through a lot of figurative language in a very short amount of time.

But those are the big genre categories. Genre gets especially interesting when we find even smaller categories like action movies, or superhero action movies, or parody superhero action movies. So think of the superhero genre this way: there’s usually an evil villain trying to do something terrible that the superhero is going to try and stop; there’s usually smaller fight scenes throughout the movie and a big fight scene at the end where the superhero, or group of superheroes, triumph, often by using their superpowers. The reason I didn’t have to mention a SPOILER ALERT is because I didn’t give any of the plot away, and you all know that superhero movies follow this pattern. That narrative pattern , and all the other ways that we can describe other repeating features, are what makes up a genre.

What’s more is that more than one genre can exist at once. Think of Ant Man. It’s a superhero movie, an action movie, a comedy, and a parody of other superhero movies. In fact, parodies are where we really see how genres work. After all, the reason Ant Man is funny is because it’s making fun of our expectations of what a superhero movie should be – its making fun of the genre of superhero movies.

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We use these same terms and descriptions to analyze literary works, works of nonfiction, and poetry, too. So, if I want to understand gothic novels, like Frankenstein by Mary Shelley, or Dracula by Bran Stoker, I’m going to look for literary tropes that they share. Some of those tropes could be similar kinds of characters , plots, settings , or themes . Is there a creepy stranger in a cape? Is there danger lurking in the shadows? Is there a haunted castle? Are you encouraged to think of the sinister side of humanity? If so, you might be reading a gothic novel. When I analyze a genre, I’m likely to compare and contrast those features and try to understand how one novel adheres to the conventions of a particular genre or breaks away from our expectations and does something different. We can describe a genre by showing how similar features are repeated, and those elements include most any of the many literary terms that are featured in the other videos in this series. For a gothic novel, we might see metaphors  that connect events to scary or dangerous things, we might see foreshadowing of horrible events yet to come, or we might see a flashback to something terrifying that happened in them past and that changes how characters act in the present. All of these are features of a particular genre.

Now, one thing not to confuse with the idea of a genre is that of a medium. A medium is the form in which something is delivered, so we might say the medium of gothic novel is a printed book, or the medium of a superhero movie is that of film. Medium describes the kind of technology that is used to convey a story to us, but doesn’t necessarily help us understand the genre of what we’re reading or watching. People often ask me is email a genre of writing? And I respond by asking when writing an email if we’re required to write in a particular way. And for the most part, we’re not. In email, you can write a love letter, you can write an angry message to the company that sold you a dodgy product, or you can write a poem. Email itself might suggest certain kinds of writing – for example, you shouldn’t break up with someone through email – but it’s a medium that can hold lots of different genres – it itself is not a genre. Describing and analyzing genre is a powerful way to understand how narratives work, and a really useful way to make sense of stories and texts that surround us.

Want to cite this?

MLA Citation: Pflugfelder, Ehren. "What is a Genre?" Oregon State Guide to English Literary Terms, 12 Feb. 2020, Oregon State University, https://liberalarts.oregonstate.edu/wlf/what-genre . Accessed [insert date].

Further Resources for Teachers

Other examples of texts that parody the genres within which they work include Jorge Luis Borges's short story "Death and the Compass," Karen Russell's "Vampires in the Lemon Grove," Lewis Carroll's "Jabberwocky," Paolo Bacigalupi's "The Tamarisk Hunter," William Shakespeare's Sonnet 130, and Chris Ware's strange short graphic narrative "Thrilling Adventure Stories (I Guess)." For an example of a character who laughs at the genre he has found himself in, see our "What is a Flashback?" video.

Writing prompt: Select one of the above examples and explain how the author invokes the genre being parodied through the example's form or content. Next, try to explain the significance of the parody. What insight does the parody provide into the limitations of the genre? What tone or attitude does the poem or short story take towards the genre it parodies?

Interested in more video lessons? View the full series:

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Genres of Writing: Definition, Examples, and 12 Types

What is the definition of Genre? 

Genre is a label that tells audience members what to expect from our stories.

It is a clear framework to catalog all stories and helps writers give audience members what they are hoping for—and more. The genres of writing choices are the most important ones we need to make.

When people use the term genre, they often refer to different story elements at different times. They might mean the content of the story, the medium through which the story is presented, or even its sales category.

Without clear definitions, these labels don’t help us deliver what readers want when they choose to read, watch, or listen to a particular story .

In the Story Grid Universe, we break genre into five clear categories to help us identify, meet, and innovate story requirements. Understanding genre helps us delight audiences by meeting their expectations in unexpected ways.

Download Our In-depth Guide to Genre

This 99-page book written by Story Grid founder Shawn Coyne, walks you step-by-step through each of the twelve genres and what you need in your story to make it work.

Genre Categories: Introducing the Story Grid Genre 5-Leaf Clover

The Story Grid Genre 5-Leaf Clover is the tool we use to define the genres of writing in our stories. Each of the five leaves helps us determine a different element of a story’s experience. It helps to think of the five categories visually, so we present them as a five-leaf clover. 

The goal of the Genre Five-Leaf Clover is to help us think about how each element or leaf comes together to form the global story. We can check our stories to make sure we are using the best combination possible to deliver a satisfying story experience.

By defining the specific genres and their conventions, we can start to look for each element within masterworks and study to understand ways of meeting these expectations within our own stories.

1. What is the Time Genre?

The TIME GENRE indicates how the reader experiences the time it takes to go from the beginning to the end of our stories. It answers how long the story will take to consume.

There are three categories of the Time Genre our stories can fall into: Short, Medium, and Long form.

Read more about the Time Genre .

2. What is the Structure Genre?

The STRUCTURE GENRE indicates to our reader who or what the change of the story will affect. It addresses whether the change will occur for a single AVATAR or throughout the whole system or context.

There are three categories of the Structure Genre our stories can fall into: Archplot, Miniplot, and Antiplot.

Read more about the Structure Genre .

3. What is the Style Genre?

The STYLE GENRE sets the tone for what the audience will experience during the story. It puts constraints on what we include in the story to keep a consistent feel so the audience does not get confused.

This genre leaf is divided into two broad categories and several mediums. The broad categories are Drama and Comedy. The mediums include Documentary, Musical, Dance, Literary, Theatrical, Cinematic, Epistolary, and Animation.

Read more about the Style Genre .

4. What is the Reality Genre?

The REALITY GENRE constrains the way the ALTERNATE WORLD of our story operates by establishing codes, laws, and norms. It dictates how much readers must suspend disbelief when building the worlds of our stories in their minds.

There are four categories of the Reality Genre our stories can fall into: Absurdism, Factualism, Realism, and Fantasy.

Read more about the Reality Genre .

5. What is the Content Genre?

The CONTENT GENRE defines what is contained in a story and specifically determines the need and VALUE at stake. It sets expectations for the reader using the FOUR CORE FRAMEWORK , CONVENTIONS , and OBLIGATORY MOMENTS . The Content Genre is divided into two sections: external and internal. 

The external content genres of writing are: 

Action Genre

An external story in the Action genre focuses on the protagonist’s sacrifice for positive movement along the death / life   VALUE spectrum while generating feelings of excitement in the reader. 

In Action stories, readers see the lengths the protagonist will go to protect themselves and/or other potential victims.

Read our in-depth article on the Action Genre .

An external story in the War genre focuses on the self-actualization of the protagonist through the expression of the gifts of love and self-sacrifice. Each AVATAR can act heroically by defending fellow warriors honorably in the face of horrific pain and loss.

Read our in-depth article on the War Genre .

Horror Genre

An external story in the Horror genre focuses on the ability of a protagonist to self-actualize through the expression of the gift of courage and selflessness in the face of fear. The Horror genre pits a single victim (even though there may be multiple AVATARS) against impossible odds and a supernatural, scientifically explainable or ambiguous monster possessed by evil and intent on annihilation.

Read our in-depth article on the Horror Genre.

Crime Genre

An external story in the Crime genre focuses on the Justice / Injustice spectrum while generating feelings in the reader of intrigue (solving the puzzle) and security or personal safety when the perpetrator is exposed.

Read our in-depth article on the Crime Genre .

Thriller Genre

An external story in the Thriller genre focuses on the protagonist’s need for safety. This leads the reader to identify with the protagonist, who seeks to defeat an antagonist that personifies evil. 

Thriller stories blend elements of three other genres as the powerful individual protagonist from the  ACTION  genre faces the embodiment of evil (the monster) from the  HORROR  genre in a story about unmasking an antagonist who has committed a crime against society, as in the  CRIME  genre. The protagonist ends up as a victim and faces damnation if they fail to identify and defeat the villain.

Read our in-depth article on the Thriller Genre .

Western/Eastern Genre

An external story in the Western or Eastern genres focuses on the conflict between the individual and society. It turns on the  subjugation / freedom  spectrum while generating feelings of intrigue in the reader.

Read our in-depth article on the Western/Eastern Genre .

An external story in the Love genre focuses on the need for connection in a variety of forms, including desire, commitment, and intimacy, allowing readers to identify with the lovers as protagonists and respond to the fulfillment of the couple’s fate on the hate-love spectrum with a feeling of romance.

Read our in-depth article on the Love Genre .

Performance Genre

An external story in the Performance genre focuses on the outward expression of the protagonist’s internal gifts and need for approval. It turns on the  shame / respect spectrum while generating feelings of triumph in the reader.

Read our in-depth article on the Performance Genre .

Society Genre

An external story in the Society genre focuses the protagonist’s need for recognition in a disenfranchised group. It turns on the impotence / power spectrum while generating feelings of triumph or righteous indignation depending on whether the Revolution succeeds or fails.

Read our in-depth article on the Society Genre .

The internal content genres of writing are:

An internal story in the Status genre focuses on the protagonist’s need for respect. These stories turn on the failure / success spectrum while generating feelings of admiration or pity in the reader, depending on the outcome.

Read our in-depth article on the Status Genre .

An internal story in the Morality genre focuses on the choice to act on behalf of ourselves or others and the consequences of that choice. It turns on the  selfishness / altruism  spectrum while providing feelings in the reader of satisfaction or contempt.

Read our in-depth article on the Morality Genre .

An internal story, Worldview genres focus on the lens through which we view the world and the consequences of those lens choices. It turns on the  naivete/sophistication  spectrum, while providing readers with feelings of relief at the protagonist’s emerging whole from a threat to their internal status quo, or pity for a less fortunate avatar.

Read our in-depth article on the Worldview Genre .

Additional Resources for Genres of Writing:

• Story Grid 101: The First Five Principles of the Story Grid Methodology by Shawn Coyne
• The Four Core Framework: Needs, Life Values, Emotions and Events in Storytelling by Shawn Coyne

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Writing in genre: the way we tell stories and why it matters, let's look at what genre is, how we define genre today, and why it's important to know what genre you’re writing in.

Table of Contents

The concept of genre has long been a source of discussion and debate in literature and the arts. An idea that is both simple and complex, it’s constantly changing and has been adapted to fit numerous contexts over the course of centuries.

Let’s look at the definition of genre today and most importantly, why you need to know what genre you’re writing in.

What is Genre?

At its core, genre is a term we commonly use to refer to a category or type of creative work , typically denoting a specific style of writing or form of artistic expression.

For example, we have different classifications for a romance novel or a gothic horror novel for literature, heavy metal or lo-fi songs for music, and impressionism or surrealism for art.

The Literary Definition of Genre

Today we define literary genres as categories of fictional works that share story elements in similar ways. The characteristics of a literary genre aren’t singularly defined by, but can include, elements such as setting, plot, characters, and themes.

We have clear ideas and expectations for the various literary genres: fantasy, science fiction, romance, mystery, poetry, nonfiction, and so on.

Sub-Genres and Blended Genres

But even though genre is a concept we try to box up into these clearly defined categories, there are still many grey areas. Genre categories can be broken up into several sub-genre categories, and sometimes even these sub-genres are nebulous blends of their parent genres.

For example, dystopian literature is typically shelved in Science Fiction and Fantasy or general Fiction , mostly depending on its inclusion of any fantastical elements. Walk into any major bookstore and you’re likely to find N.K. Jemisin’s otherworldly The Fifth Season in Science Fiction & Fantasy, while Margaret Atwood’s eerily familiar The Handmaid’s Tale will be tucked into the general Fiction section.

Then take contemporary works of climate fiction , such as Clean Air by Sarah Blake or Migrations by Charlotte McConaghy , yet another pairing with one in Science Fiction & Fantasy and the other in general Fiction. Blake's novel is a post-apocalyptic work of eco-fiction, yet it also leans heavily towards being a thrilling mystery. McConaghy penned a meditative cli-fi story of a woman studying a dying species, but it remains very grounded in its human themes.

Some creative works just don’t fit neatly into the current idea of what genre is, yet we love to classify things anyway. It’s how we make sense of our world and the things that exist in it, or simply, how we determine what section of the bookshop we head toward first.

The Conventions of Genre

Genre conventions can include tropes, settings, theme, character archetypes, or even plot structures. They alone do not make up genre, but arranged in a certain way, they can. If genre is the whole puzzle, genre conventions are its puzzle pieces.

Here are some examples of how genre conventions typically work in different genres:

Genre Tropes

You’re most likely to find the chosen one trope in a fantasy novel, or a marriage of convenience trope in a romance. In an adventure novel, it’s probable that the main character gets involved in a quest for some powerful, ancient artifact; and they’re probably being pursued by a band of faceless mercenaries.

In a Gothic novel, you’re likely to find a moody, decrepit setting, like an abandoned castle. If you’re reading a space opera, it’s possible you’re reading about characters on a spaceship traveling around the galaxy.

You’ll often see a theme like fear (or confronting it) expressed in a horror novel, or a theme of true love in a romance. In fantasy or science fiction, themes of overcoming some powerful personal or external obstacle are common. Your main character from a small village no one has ever heard of discovers their inherent worth or your ragtag crew of space travelers is fighting a galaxy-spanning political power.

Character Archetypes

It’s common to find wizards in fantasy, hackers or androids in science fiction, and monsters in horror novels . You can, of course, find these beings in other genres, but there is a reason we associate them in the way that we do.

Plot Structures

Romance novels typically follow a structure of (1) meet-cute, (2) romantic tension, (3) break-up, and (4) happily ever after. If you’re writing a romance that doesn’t end in a happily ever after , you’re probably not actually writing a romance.

Understanding genre conventions will help you avoid tangents that might confuse audiences.

What Makes Genre Fiction?

Genre fiction is a modern term that generally refers to fantasy, science fiction, romance, and mystery. For fiction writers especially, choosing a genre for your book ultimately comes down to understanding the conventions used in your story.

🚀 Does your book take place in a futuristic setting where your characters can use advanced technology for various means? You’re probably writing science fiction.

💞 Are you writing a story with two main characters who fall in love, and where the main plot of the story is about these characters getting together? You’re writing romance.

🧝‍♂️ Are there elves in your book? You’re definitely writing fantasy.

Pretty much anything that is not general fiction, literary fiction, or dramatic fiction, can be referred to as genre fiction, and it’s written in a formulaic manner for a reason.

Readers have certain expectations about these different types of stories, and authors and publishers want to meet those expectations.

What’s the Most Popular Fiction Genre?

The most popular fiction genre in 2023 is by far, the romance genre. The latest sales figures put romance at the top of the list with a total annual sales volume of $1.4 billion. This is double the figure of the second most-sold genre (mysteries & thrillers) at $728 million.

Then, in 2022, Colleen Hoover’s books made up 6 out of 10 of the bestselling books of the year. Insane. Hoover is well-known for writing contemporary romance.

Both Hoover's and romance's popularity can partially be attributed to the power of social media . Romance readers dominate the various social book communities from Booktok to Bookstagram to BookTube. Romance books can also be read quite fast, generally, and thanks to their formulaic happily-ever-after endings, they often provide a guaranteed serotonin boost to readers. What’s not to love ?

But the interests of readers are constantly changing. Not too long ago, the most popular fictional genre category was mysteries & thrillers , no doubt thanks to the way they can induce an adrenaline rush.

Genre fiction is probably so popular because it promises the same or a similar experience each time , no matter the story. People enjoy being (reliably) entertained by their fiction.

Does The Genre of a Book Matter?

In short: Yes, the genre of a book matters. It helps communicate necessary information to readers, which in turn, helps you better market your book. The nuances between genres can dramatically change who your readers are and how you’ll sell your book to those readers.

For example, are you writing dark fantasy or grimdark fantasy ? They both stem from the same branch of darker-flavored fantasy, but there are subtle nuances between them. However, you're likely to find the same or similar audience craving these subgenres.

A more extreme example might be that you're writing a book with both a romantic element and fantastical elements. But are you writing a romance set in a fantasy world? Or are you writing a fantasy that has a romantic subplot?

There’s a very clear difference between romantic fantasy books and fantasy books that have romance in them. Sure, there is some overlap between general fantasy and romantic fantasy audiences. But you may have a hard time selling a general fantasy book with a romantic subplot to romance readers who prefer romance to be front and center in the story.

Can a Book Be Two (Or More) Genres?

A book can absolutely be more than one genre. But, there is an art and a science to blending genres in your novel , or so author Robert Jackson Bennett believes. He had this to say about his Founders trilogy , which transitioned from pure cyberpunk fun to a discussion on transhumanism during the course of the three books:

I’d say it worked out for him, though, as the series remains rather popular in the science fiction and fantasy community. To some extent, your brand as an author holds more weight than any individual body of your work. If readers already know you and enjoy your books, they’re more likely to be open-minded when you want to explore different genres with your novels.

Clear-cut literary genres are dominant in traditional publishing too, but a few more daring publishers have been known to take chances on genre-bending books. Science fiction and fantasy publisher DAW Books did just that with The Initiate Brother duology , an Eastern Asian historical fantasy series by Sean Russell. In an introduction to the omnibus Russell wrote in 2013, he states:

Examples of cross-genre books can be found everywhere in literature today. Yes, some readers absolutely don’t or won’t like change. And it’s true that if a book doesn’t perfectly fit into checked-off boxes, it can be harder to sell, simply because it has to appeal to multiple audiences. But as an author, it’s a risk that you may have to take if you want to write what matters to you, versus writing to the market .

Can You Be a Multi-Genre Writer?

Contrary to many authors thinking or being told that they can’t be a romance author and a science fiction author, it is okay to be a multi-genre writer ! Yes, there are many writers who do stick to one genre, almost exclusively for marketing purposes, but you don’t have to stay in one genre for the entirety of your writing career.

Several authors have even been known to write in various genres (or sub-genres), sometimes under different pen names:

• Take fantasy author Carol Berg, who has published her more traditional fantasy works under her real name but used the pseudonym Cate Glass for her contemporary fantasy trilogy, The Chimera .
• You know traditionally published Eleanor Marie Robertson best as author Nora Roberts for her wildly popular romance books, and as J.D. Robb for her equally popular series of In Death mystery books.

As readers, as people , we love to indulge in a variety of genres, topics, and general interests, so why should we limit ourselves when we put on our writing hats?

Those who choose to pursue the path of being a multi-genre writer should keep these tips in mind:

Do Your Research on Genres

Understand the different genres you’re writing in. Contemporary romance is different from epic fantasy or hard-boiled detective fiction. Story structures may look the same, or similar themes may be expressed, but everything from the cover of these books to the titles or tropes they use, to the general mood of them, will be different in order to meet the expectations of various reading audiences.

Consider Using a Pen Name

Pen names abound in the literary world, and authors—both traditionally and independently published—have been using them for as long as books have been written. Author Rob Boffard (who you probably know better as Jackson Ford), is known for science fiction stories. When he wrote his contemporary speculative fiction series, the Frost Files , he opted to publish it under a pen name to market the series better.

Communicate Clearly With Readers

In the 70s and 80s, Stephen King decided to publish new books under the pseudonym, Richard Bachman, without saying anything, essentially so that he could write more books. At the time, it wasn’t standard for an author to publish more than one book a year. The books under his pen name sold moderately well, but when it came out that he was the author, book sales increased to be “more in line with what publishers would expect from a King title.”

Readers tend to be more willing to buy books from authors they’re already familiar with, so it’s worth it to let them know when you write under a different name or in a different genre.

Deciding to write in multiple genres ultimately depends on you and your goals. Your most diehard readers will follow you wherever you go, and you’ll find new readers along the way, too. But if you’re on the fence, perhaps indie author J. Dianne Dotson can inspire you with this tweet :

And, well, I couldn’t agree more with her.

Writing Genre: In Conclusion

As we’ve seen, the definition of genre definitely comes with a complexity to it that has been adapted over time to fit various contexts. And it continues to change as we express new ideas in our stories today.

The lines of genre blend further—on one hand, we welcome genre distinctions; on another, we want to reject them.

While it is important that we have these easy-to-reference categories for our stories, both to consistently find books we love to read, as well as write books to an audience of expectant readers, don’t let the perceived boundaries of genre hold back your creativity.

If you want to write a romantic, yet suspenseful space opera, with a terrifying eldritch monster waiting in the pits of a planet, you do you. We can’t wait to read it.

Write or Left

(6 reviews)

Sybil Priebe, North Dakota State College of Science

Copyright Year: 2016

Last Update: 2022

ISBN 13: 9798783934094

Publisher: Sybil Priebe

Language: English

Formats Available

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Learn more about reviews.

Reviewed by Corinne Ehrfurth, CE Instructor, Rochester Community & Technical College on 2/10/23

Priebe's book evocatively pushes the definition of "creative writing" to teach beyond the typical genres and modes. read more

Comprehensiveness rating: 5 see less

Priebe's book evocatively pushes the definition of "creative writing" to teach beyond the typical genres and modes.

Content Accuracy rating: 5

All the content looks accurate as well as engaging and thought-provoking.

Relevance/Longevity rating: 4

Leading with tweets could easily be replaced if this social media platform goes under after all the hullabaloo with Musk at the helm.

Clarity rating: 5

While Priebe's book plays off older texts with the ABCs, theses notes--such as the B, "inclusivity" (pg. 12), frames the textbook on a progressive scale that reaches outside notions of the pre-1980s literary canon. This textbook would not fit instructors concerned with a legacy and historical approach to creative writing.

Consistency rating: 5

The pattern of exercises, student examples, questions, tips or feedback continues throughout the entire textbook to provide modeling of habits, reasoning, and qualities of the genres of creative writing while also inviting classes of students to push the boundaries.

Modularity rating: 5

Hyper-modular with sound-bite like inclusions of tweets, call-out quotes, and other breaks in the text itself. The table of contents subdivides the last chapter into subheadings that the rest of the chapters could also be split into right away. Since the author cites herself (see a blog post on pg. 24 for example), some self-referential moments occur.

Organization/Structure/Flow rating: 5

The genre-based chapters provide a familiarity to long-time instructors of creative writing while also being student-friendly for writers who want to dive right away into something particular.

Interface rating: 4

The primary font choice becomes increasingly distracting the longer one reads, as it looks as if it's from a typewriter. Students with dyslexia might have greater issues reading this text when compared with other options.

Grammatical Errors rating: 4

Chapter titles and subtitles are not capitalized, which personally bothers me but fits the trendy style that might draw in younger students and less mature writers.

Cultural Relevance rating: 3

The more one reads this textbook, the less it makes good on its promise to include diverse voices since it features Walt Whitman and other typical canonical writers' excerpts as well as white people's or organization's tweets.

I especially enjoy how interactive this textbook would feel for writing students who want to hone and practice their craft.

Reviewed by Rachele Salvini, Emerging Writer Lecturer, Gettysburg College on 11/7/22

I decided to adopt Write or Left: an OER Book for Creative Writing Classes for my Introduction to Creative Writing classes for multiple reasons. The clarity and conciseness of the textbook makes it an excellent tool for college students who are... read more

I decided to adopt Write or Left: an OER Book for Creative Writing Classes for my Introduction to Creative Writing classes for multiple reasons. The clarity and conciseness of the textbook makes it an excellent tool for college students who are approaching writing creatively for the first time. I have used a few commercial textbooks and anthologies throughout the years, and while I found them to be extremely detailed and exhaustive, students seem to struggle with theoretical sections and they expressed difficulty understanding some of the anthologized readings. While most creative writing textbooks and anthologies might be extremely helpful for teachers, some of the selected readings might not be particularly accessible for students who are approaching reading literature as writers for the first time. However, the editors of Write or Left chose readings that seem to align with the taste and aesthetic that young writers find enjoyable or at least approachable.

Content Accuracy rating: 4

Introduction to Creative Writing is a class mostly based on workshops and lively discussions, but the students also need a foundational element — they need to familiarize themselves with a vocabulary that allows them to discuss writing. Write or Left provides brief and concise definitions that help the students navigate the vocabulary surrounding the particularities of poetry, fiction, creative nonfiction, and dramatic writing.

Relevance/Longevity rating: 3

While the book does not provide a wide or particularly updated range of readings for each genre, it covers the main concepts that students need to know to start talking about writing and workshopping each other’s work — which is, I think, the main purpose of the basic Introduction to Creative Writing course.

Write or Left is an excellent tool for students who are approaching creative writing for the first time and need to familiarize themselves with the most important terms to use during reading discussion and workshop. Notably, this book also covers more innovative aspects of creative writing — flash fiction and multimodal writing — to avoid a banal and cut-and-dry institutionalization of the four main genres, and show once again the fluid, regenerating, and ever-shifting nature of creative writing.

The textbook offers very clear and consistent definitions of terms that students of creative writing should get familiar with during an introductory course.

I am very excited with the briefness of the "theoretical" chapters, as students usually struggle with long chapters that break down the elements of craft in the four genres of creative writing. I would be happy to assign a whole chapter for the introductory class of each genre (each module).

I found it hard to make most commercial textbooks approachable for the students, who seem often confused by the readings or bored with the lengthy theoretical explanations of creative writing terms. This textbook might be implemented with readings chosen by the instructor, allowing the course to benefit from a personalized, unique approach to creative writing, which might feel more dynamic and adventurous than following a textbook or an anthology page by page. Write or Left might be a great tool for sections of Introduction to Creative Writing with a high student count, as instructors might struggle to find the time to workshop every student in each genre, and also cover the readings from a commercial textbook to make it worthwhile for students who spent a lot of money on it. In fact, a lot of Introduction to Creative Writing students might have to take Creative Writing as a requirement and not an elective course, so having them buy expensive textbooks that they might not really use throughout the semester and then ever again might be a waste.

Interface rating: 5

The textbook is extremely easy to access. I think the students will be very happy to access their book online for free.

Grammatical Errors rating: 5

I haven't found any grammatical errors.

Cultural Relevance rating: 4

The readings used as example might represent a wider range of experiences and identities, but overall I'm satisfied.

Reviewed by Yelizaveta Renfro, Assistant Professor of English, Saint Mary's College on 5/5/22

This book’s ambitious attempt to cover so much ground—fiction, poetry, nonfiction, drama, experimental fiction, and specialized genres like fantasy, science fiction, horror, and romance—is ultimately its biggest weakness. There is no way a single... read more

Comprehensiveness rating: 3 see less

This book’s ambitious attempt to cover so much ground—fiction, poetry, nonfiction, drama, experimental fiction, and specialized genres like fantasy, science fiction, horror, and romance—is ultimately its biggest weakness. There is no way a single textbook can adequately cover all of these areas (and especially a slim volume like this one). As a result, the book is only the most cursory exploration of these multiple creative forms, barely scratching the surface of the field of creative writing. I could not imagine assigning this book in any course that I teach at the college level. Even my introduction to creative course—which covers fiction, poetry, and creative nonfiction in one semester—requires a text that goes more deeply into these genres and that offers more substantial content.

I would like to see more precision and thoughtful wording, especially in defining terms. For example, the glossary definition of “fantasy” that is offered at the end of the book is, “the kind of writing that cannot take place in real life.” This is imprecise and even potentially confusing; doing the simplest internet search will yield a much a better definition. For much of the book, the information is not so much inaccurate as it is general and incomplete.

The general topics included in the book are certainly relevant, but an instructor using this text would need to supplement every step along the way. Not only are the explanations in some of the chapters too basic and brief, but the examples (when they exist at all) leave much to be desired, being limited mostly to older texts (nineteenth-century texts like an excerpt from Frankenstein or a story by Kate Chopin) or texts written by the instructor’s students (which are very typical of works produced by beginning creative writers). What students need most are high-quality, recent models for their own work. There are thousands of such works available online. While I understand that Priebe cannot reproduce these texts in her book, readers could still be pointed towards online literary journals that publish excellent creative writing.

Clarity rating: 4

The writing is generally clear, though as I noted elsewhere, definitions of terms could be more precise. The tone of the book is informal and friendly, making it easy to follow. I think that most student would find the book clear and accessible.

Consistency rating: 3

The book seems somewhat inconsistent in the depth of treatment it gives to different genres. For example, in the chapter on drama, there is an exhaustive discussion of the proper way to format a screenplay (the correct font and margins, rendering action and dialogue, and so forth), which makes up the majority of the chapter and strikes me as an unnecessary level of detail for beginning students (and the student example that is offered at the end of the chapter does not even adhere to these “proper formatting” rules). Meanwhile, other chapters are woefully lacking in necessary content. In the poetry chapter, for example, the poetic “forms” that are included seem arbitrary, and there is no real discussion of poetic meter. An introduction to poetry is incomplete without a basic overview of metrical feet.

Modularity rating: 4

In principle, it would be possible to use any of the chapters in this book as stand-alone readings for a course. Instructors could easily switch the order of the chapters around to suit their own progression through genres. The most useful chapter, in my option, is Chapter 10: Assignment and Project ideas, which offers a sizable collection of writing prompts, reading response activities, and portfolio ideas. While these are of varying usefulness and I would not offer them all as options for my students, some do stand out as excellent exercises.

Organization/Structure/Flow rating: 3

I did question the order of some of the chapters. For example, why does the chapter on flash fiction (a sub-genre of fiction) come before the general fiction chapter? And why does flash fiction have a chapter of its own, when there is barely any content? (The chapter is all of two and a half pages long.)

Interface rating: 3

The font in the pdf version that I read is not at all reader friendly and is hard on the eyes, in my opinion. I also found the screenshots of Tweets that lead off most chapters to be distracting and confusing, and the text offers no explanation or discussion of these, which adds to the impression that the book is a superficial hodgepodge, dropping in content without engaging with it.

Grammatical Errors rating: 3

While Priebe’s portion of the text is largely free of errors, the student texts that she includes do sometimes contain grammatical errors. While I understand the urge to present student writing as it is written, in a textbook I would expect writing that has been proofread.

This is a book that is at least aware of diversity/and inclusivity. In the opening chapter, Priebe lists the steps she has taken: “Most of the he/she pronouns have been flipped for they/them pronouns,” “‘White-sounding’ names have been replaced by more diverse ones,” “‘Husband’ or ‘wife’ have been replaced by ‘partner,’” and “The majority of examples in this book, by students or otherwise, are not written by white, heterosexual, cisgender men.” While I commend Priebe for her efforts, some of these moves strike me as cosmetic fixes, and the example published and student-written texts do not obviously reflect diverse perspectives (that is, they don’t explicitly tackle issues of race, gender, sexual orientation, ability, etc.). I would imagine that as Priebe continues to gather more information for future editions of this book, the diversity of voices represented will increase.

While I would not use this book in my college courses in its present form, I do think that is has a lot of potential and that future iterations of the book are likely to have enhanced content. As Priebe collects more student writing samples and as students fill in the numerous empty “Questions/Activities” sections that occur at the end of many chapters, this book may very well grow into a rich resource for creative writing instructors. I am planning to revisit this book in future editions to see what new material it has to offer.

Reviewed by Megan Green, Assistant Teaching Professor, Bowling Green State University on 4/25/22

This book offers a useful, concise guide for beginning creative writers. While many of the topics could be expanded upon, it fulfills its promise to offer only condensed snapshots of each subject. It would make a helpful addition to readings... read more

This book offers a useful, concise guide for beginning creative writers. While many of the topics could be expanded upon, it fulfills its promise to offer only condensed snapshots of each subject. It would make a helpful addition to readings chosen by a professor and to selective texts about elements that may require more insightful approaches and in-depth discussions. Chapters that may require additional readings for most introductory classes include the chapters about flash fiction and drama.

The content offers accurate, up-to-date information about creative writing.

Relevance/Longevity rating: 5

The chapter topics are highly relevant and up-to-date. I particularly enjoyed that the author chose to incorporate a chapter on multimodal works, which is something I have found numerous authors either glance over or fail to explore. Likewise, the choice to conclude with a section about how to get published offers relevant and significant points that students should be made aware of at an early stage.

Priebe implements small doses of humor throughout the book that are engaging (I do wish there were more, though!) and utilizes Plain Language to make the reading accessible.

Each chapter is structured identically, beginning with readings about the chapter's topics and ending with exercises.

Each chapter is short and could, in itself, be an easy reading assignment. However, chapters have smaller reading sections that can be assigned. Instructors should be aware that many exercises are written as thoughts to instructors rather than students and, thus, may require editing.

Each chapter offers concise readings over topics followed by exercises. Multiple exercises are listed so teachers can find one or two they would like to employ, and many are creative and effective at reiterating learning objectives.

The book is offered in multiple formats, including PDF, Word, and Google Doc. In the PDF version I perused, there were no interface issues.

There are a very few small mechanical and/or grammatical mistakes.

Cultural Relevance rating: 5

The author makes it a point to offer a variety of works in this textbook rather than canonical works that are oftentimes the labor of White male authors. Non-binary language also makes the text more inclusive.

The strongest element of this work is its suggested exercises, many of which may be used as in-class activities to further explore topics.

Reviewed by Clifford Buttram, Assistant Professor of Management, University of Saint Francis on 3/22/22

The discussion of key writing areas is organized in a smoothly flowing manner. From Poetry to Experimental and Children's Literature, the content was well organized and indexed efficiently for understanding and analysis. The book is neither too... read more

The discussion of key writing areas is organized in a smoothly flowing manner. From Poetry to Experimental and Children's Literature, the content was well organized and indexed efficiently for understanding and analysis. The book is neither too long or too short (page length) to still be quite effective.

While I'm not a Creative Writing expert, I found the book quite accurate regarding the elements of idea formation and flow from an author or writer's perspective. I've written three historical fiction books and am currently working on a ten novella set in the same category. In choosing to review this book, I found it's accuracy in how an author thinks, organizes, and creates scenarios to be very helpful. The many quotes and references helped me greatly in forming new ideas and writing strategies, even in one chapter or sub chapter of my current book. I found no bias in any chapters, however, the informative proved was both relevant and useful.

I feel this book is not only relevant, but highly useful as a handbook companion piece. Although the title refers to a textbook, I found its organization to be formatted in a more usable sense as a handbook. A reader could focus on one chapter, a few chapters, or the entire book as a strong and handy reference. Although I read the entire book, a particular focus for me were the Fiction, Drama, and Flash Fiction chapters. Each provided much needed guidance and advice for idea creation and tips to improve elemental writing.

The chapter organization was clear throughout the book. Each chapter utilized an introduction of the key topic, self-questions, reading strategies, and exercises. I also enjoyed the dispersed quotes throughout the chapters that helped to support the key points within the chapter.

As noted above, the consistency of each chapter (organization) helped ensure a stronger understanding and immersion into the specific area of writing by chapter. The author cleverly injects quotes, references, and definitions to combine an effort to improve the reader's ability to apply these concepts. Additionally, this allows for a more even flow of information, even in chapters that may not be in the reader's interest.

Each chapter is distinct, however, the coordination and organization of the entire book creates a crescendo effect for the reader. Although each chapter is specific, it can be both compartmentalized and utilized as a complete handbook. This modularity further enables a reader to use the book as a specific reference or a complete handbook/guide.

The book was well organized and logical. The reading was made easier by the flow of information and the combination of data, quotes, and references used throughout the book.

I did not note any interface issues.

I did not note any grammatical errors.

The text is neither culturally insensitive or offensive. I noted that the character/third person student examples were mostly benign which helped to decipher the author's intent. In Chapter 2, a section noted as 'Your Voice' spoke to holes in diversity when writing. I found this helpful for students to understand that not all areas of writing interest are not interesting to everyone. However, one should write to increase the value to the audience and the writer. I found this to be excellent advice and guidance.

I found the book to be an excellent resource for a creative writer. The final chapter discussed Children's Literature and how the previous chapters were applicable to this specific genre. The final chapter (Assignment and Project Ideas) was quite useful for a writer experiencing a block or one simply working a new idea. One recommendation would be to title the book as a Handbook or Reference Guide as the Table of Contents and structure is formatted to provide specific and detailed information on specific creative writing elements. At 168 pages, it has the length for a small textbook, but a better fit as a Handbook for creative writers of all genres. There are many ideas, strategies, and helpful tips throughout the book to help most writers think and write more clearly and effectively.

Reviewed by Justine Jackson Stone, Special Purpose Faculty, Radford University on 3/8/22

The book’s overall intention is to present condensed chapters on the various genres of creative writing, and while condensed, the content is too terse. Chapters one through eight are generalized approaches that provide basic information with some... read more

Comprehensiveness rating: 2 see less

The book’s overall intention is to present condensed chapters on the various genres of creative writing, and while condensed, the content is too terse. Chapters one through eight are generalized approaches that provide basic information with some examples few and far between. The chapter on flash fiction is brief, only lasting from pages 53-57. The textbook also appears to be incomplete, missing student writing examples in addition to other literary recommendations. In chapter nine, the large overview of different genres such as horror, young adult, etc. provides some recommended writers for students, but this is not consistent throughout the textbook. In order for students to improve their creative writing skills, they need to read. A recommended reading list would make this textbook more effective. The index is well-done and easy to read. The glossary could benefit from additional terms added, but it’s a good start for students to grasp the terminology.

The content is accurate. For a college-level course, however, some of the content is quite juvenile. For example, a writing prompt on page 100 asks the writer to “Tell the story of a dragon who owns a jelly bean factory in an experimental way.” This prompt seems far more appropriate for elementary and middle school students. If the author suggested this prompt as an activity for how to write a children’s book, I could understand its inclusion.

The content of the book is expansive but basic. Overall, the textbook will remain relevant, though a teacher using this book would need to find supplemental material to increase student understanding of the different categories of creative writing. In addition, chapter nine briefly discusses publication opportunities and includes instructions on how to publish directly through Amazon. I found this to be an odd inclusion and question if it is necessary.

Clarity rating: 3

The author uses a conversational and informal tone throughout, which students tend to appreciate. Terms are well-defined for a basic understanding, though more context or examples would deepen student learning. The author tends to share more of her own personal experiences with writing rather than those of her students, which I think misses the mark for her intended audience. In addition, her humor ranges from childish to lewd, which I found at times to be off-putting.

Consistency rating: 4

Terminology is included in each chapter, though due to the condescending nature of the textbook, instructors may consider using supplemental material. In chapter two, the author covers a few fundamentals of creative writing such as point of view, character, setting, etc. For an introduction to creative writing class, it may be necessary to expand these definitions as some students may not have prior knowledge of understanding of these terms. The framework is fairly solid though lacking in student examples. I do appreciate the ample inclusion of creative writing prompts as students tend to find these useful and fun.

Modularity rating: 3

The author effectively uses subheadings to organize information. Information was well-displayed, avoiding larger blocks of text. Each chapter was clearly laid out, and the index was easy to follow. The text is very self-referential to the author. In example 2 of chapter zero, one of the activities states the following: “When we write, we’re using the alphabet. Duh. Yet, how many times have we used these letters to organize or brainstorm? Try using the alphabet to brainstorm different things characters could say in different pieces of fiction and drama and nonfiction.” The author uses herself in this example, including statements such things as, ‘J = “Jeezus Marth and Mary… will you please hurry up?’ (p. 16). I think the exercise would have been more effective if a character bio was given and then examples were provided rather than assuming the reader knows anything about the author. In addition, phrases like ‘Duh’ and other slang can be confusing for students who do not speak English as a first language.

I do not think the chapters are effectively organized. The fiction chapter should come before the flash fiction chapter, and I would personally place nonfiction after fiction instead of drama coming next. In chapter two of the review of the elements, I would personally discuss character first before point of view. I also ponder if it would be better to know these terms first before doing creative exercises to have a basic foundation before students start writing.

Interface rating: 1

The inclusion of Twitter screen captures at the beginning of each chapter is grossly unnecessary. They do not add anything to the chapter context and do not fit well into the design. Without a caption to explain these pictures' inclusion, I do think students could find them confusing. As far as I can tell, there’s no text over the image or note that the images are decorative. The charts included in chapter zero may be useful to some, but I did not find them overly beneficial. Finally, I found the textbook fonts to be hard on the eyes while reading.

The text was mostly free of grammatical errors. The author sometimes uses internet text speech or ALL CAPS, which I find to be inappropriate for a college textbook. In one of the dialogue examples, the author writes, “’Oh.My.God. For real?’” (p. 16). In another example, the author writes, “Writer’s block can happen to ANYONE” (p. 22). There are other ways to create emphasis, and if we want students to be published, they should know how to emphasize their work without gimmicks.

The book does contain adult language which may not be appropriate for all readers. As far as inclusion goes, the author has made a point to be inclusive, stating on page 12: “'White-sounding’ names have been replaced by more diverse ones … ‘husband’ or ‘wife’ have been replaced by ‘partner’ … and ‘the majority of examples in this book, by students or otherwise, are not written by white, heterosexual, cisgender men.’” In addition, the author discusses “holes in diversity” in chapter two, which is an incredibly important topic to address.

Write or Left: an OER textbook for creative writing classes is the kitchen sink of creative writing books, and unfortunately, is too broad in scope to be effective. While the author clearly states this is an introductory textbook for creative writing classes “with condensed chapters,” the notion that a student should learn poetry, flash fiction, fiction, drama, nonfiction, and experimental writing in a single semester is haphazard. Rather than developing a solid foundation of each type of creative writing, students and teachers alike are expected to blitz through each chapter, complete some creative writing prompts, and miraculously be competent. Combine this with the notion that students shouldn’t be assigned grades for their creative writing (p. 13), and it’s no wonder academia often sneers at creative writing as a field of study. While I do applaud the author’s efforts to make this textbook more diverse and inclusive in its examples, I found the overall book greatly lacking in content to be effective in the classroom.

Table of Contents

• Chapter 1: Intro to Creative Writing
• Chapter 2: Review of Elements
• Chapter 3: Poetry 
• Chapter 4: Flash Fiction
• Chapter 5: Fiction 
• Chapter 6: Drama 
• Chapter 7: Nonfiction   
• Chapter 8: Experimental Literature
• Chapter 9: Final Chapter
• Chapter 10: Assignment and Project Ideas

Ancillary Material

About the book.

In this book, we'll go over some of the general principles of writing practices as well as advice and tips on how to write creatively, but mainly, you’ll be introduced to as many genres and categories as possible. We won’t get bogged down in doing the writing process “perfectly” or creating “perfect literature.” The goal is to learn about as many genres as possible, practice writing in those genres, and get feedback.

About the Contributors

Sybil Priebe lives in the upper Midwest with her partner-in-crime and crabby old cat. She teaches various composition courses at the North Dakota State College of Science in Wahpeton, ND. She likes books, bicycles, and blasphemy.

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Exploring Genre in Creative Writing

Creative writing, as a kaleidoscopic realm of expression, finds its essence in the diverse tapestry of genres that span the literary landscape. The exploration of genre is a dynamic journey, where writers navigate through the nuances of form, style, and thematic elements to craft narratives that captivate, provoke, and resonate with readers. This exploration delves into the myriad ways in which genres shape storytelling, influencing the tone, structure, and character dynamics within a narrative. In this journey, writers embark on a quest to understand the conventions, expectations, and unique attributes that define each genre, while also pushing the boundaries to create innovative and hybrid literary experiences. As we venture into the realm of exploring genre in creative writing, we unravel the threads that connect us to the traditions of storytelling, while also opening doors to new possibilities and perspectives that breathe life into literature. Through this exploration, writers not only hone their craft but also contribute to the rich and ever-evolving tapestry of literary expression, showcasing the power of genre to shape, challenge, and transcend the boundaries of imagination.

How does the choice of genre impact the overall tone and mood of a piece of writing

The choice of genre wields a profound influence on the overall tone and mood of a piece of writing, serving as a narrative compass that guides readers through the emotional landscape crafted by the author. Each genre, whether it be mystery, romance, science fiction, or horror, carries its own set of conventions, themes, and expectations, which inherently contribute to the atmosphere of the narrative.

For instance, a Gothic horror story may employ dark, ominous tones, creating an eerie mood that instills a sense of suspense and foreboding. On the other hand, a romantic comedy may evoke lightheartedness, infusing the narrative with a playful and joyful tone. The conventions associated with a chosen genre act as cues for readers, signaling the kind of emotional journey they can anticipate.

Moreover, the choice of genre determines the author’s stylistic decisions, affecting elements such as language, pacing, and imagery. A crime thriller might utilize terse, fast-paced prose to heighten tension, while a historical drama could employ rich, descriptive language to transport readers to a specific time and place.

In essence, the genre becomes a key collaborator in shaping the emotional and tonal architecture of a narrative, influencing not only the writer’s creative decisions but also how readers interpret and engage with the story. Through the careful selection and manipulation of genre elements, writers can masterfully craft the desired emotional resonance, leaving a lasting imprint on the reader’s experience.

What elements define a specific genre, and how can they be effectively incorporated into a story

Each genre possesses distinct elements that characterize and define its unique identity. Incorporating these genre-specific elements effectively into a story requires a thoughtful understanding of the conventions and expectations associated with that particular literary category. Here are some common elements and strategies for incorporating them into a narrative;

• Definition:  The time and place where the story unfolds.
• Incorporation:  Ground the narrative in a setting typical of the chosen genre. For example, a fantasy story may include magical realms, while a historical fiction piece should reflect the time period accurately.
• Definition:  Archetypes and characteristics typical of the genre.
• Incorporation:  Introduce characters that align with genre expectations. A science fiction story may feature futuristic protagonists, while a mystery novel could include a detective or investigator.

Plot Structure

• Definition:  The sequence of events and story arcs.
• Incorporation:  Follow the established plot structures of the chosen genre. For instance, a romance novel often includes a development of romantic tension leading to a resolution, while a thriller may involve escalating tension and a climax.
• Definition:  Central ideas or motifs explored in the narrative.
• Incorporation:  Infuse the story with themes commonly associated with the genre. A dystopian novel may explore themes of societal control, while a comedy might revolve around misunderstandings and resolutions.

Tone and Style

• Definition:  The author’s attitude and how the story is told.
• Incorporation:  Adapt the tone and style to match the genre. A horror story may use dark and suspenseful language, while a comedy might employ humor and wit.

Conflict and Resolution

• Definition:  The challenges characters face and how they are resolved.
• Incorporation:  Develop conflicts that align with the genre. A fantasy epic might involve a battle between good and evil, while a mystery story hinges on solving a central puzzle.
• Definition:  The emotional or sensory backdrop of the narrative.
• Incorporation:  Create an atmosphere consistent with the genre. A gothic horror story may evoke a sense of dread, while a coming-of-age novel may cultivate nostalgia or introspection.

Incorporating these elements involves a delicate balance between adhering to genre conventions and injecting creativity and originality. Skillful writers can weave these elements seamlessly into their narratives, providing readers with a satisfying and authentic experience within the chosen genre.

How does the setting differ in various genres, and how does it contribute to the story’s atmosphere

The setting plays a pivotal role in shaping the atmosphere of a story, and its portrayal varies significantly across different genres. Each genre has distinct expectations regarding the time, place, and context of the narrative, contributing to the overall tone and mood. Here’s how the setting differs across various genres and its impact on the story’s atmosphere;

Science Fiction

• Setting:  Often in the future, on other planets, or in advanced technological societies.
• Contribution:  Creates a sense of wonder, potential danger, and exploration. Futuristic settings allow for the exploration of speculative ideas and advanced technologies, influencing the atmosphere with a sense of awe or apprehension.
• Setting:  Magical realms, mythical worlds, or alternate realities.
• Contribution:  Evokes a sense of enchantment, mystery, and escapism. The fantastical setting introduces magical elements that shape the atmosphere, fostering a sense of wonder and often providing a backdrop for epic adventures.

Historical Fiction

• Setting:  Takes place in a specific historical time period, often with attention to historical accuracy.
• Contribution:  Establishes a sense of authenticity, nostalgia, and cultural context. The historical setting immerses readers in a bygone era, influencing the atmosphere with the customs, language, and societal norms of the time.

Mystery/Thriller

• Setting:  Often in urban environments, crime scenes, or locations conducive to suspense.
• Contribution:  Generates tension, suspicion, and a sense of danger. The setting in mystery and thriller genres is carefully chosen to heighten suspense, creating an atmosphere of uncertainty and anticipation.
• Setting:  Typically in isolated, eerie, or supernatural locations.
• Contribution:  Instills fear, dread, and a sense of the unknown. The horror genre often relies on atmospheric settings to create a chilling environment that intensifies the emotional impact of the story.
• Setting:  Can vary widely, but often in picturesque or emotionally resonant locations.
• Contribution:  Enhances the romantic atmosphere, contributing to the mood of love, passion, or heartbreak. The setting in romance novels is chosen to evoke emotions and complement the evolving relationships within the narrative.
• Setting:  Depicts a future world with oppressive governments or societal collapse.
• Contribution:  Creates a sense of despair, tension, and rebellion. The dystopian setting is crucial in conveying the bleakness and challenges faced by the characters, contributing to the overall atmosphere of societal disarray.

Realistic Fiction

• Setting:  Reflects contemporary, real-world environments.
• Contribution:  Establishes a relatable atmosphere, grounding the narrative in familiar surroundings. The realistic setting allows for the exploration of everyday life and interpersonal relationships, shaping the atmosphere with authenticity and relevance.

The setting serves as a powerful tool for authors to evoke specific emotions and convey the essence of their chosen genre. Whether transporting readers to distant galaxies, historical epochs, or mysterious landscapes, the setting establishes the narrative’s foundation, influencing the overall atmosphere and enhancing the reader’s immersive experience.

In what ways do character archetypes vary across different genres

Character archetypes, the recurring and universally recognizable character types, undergo variation and adaptation across different genres. The nuances of each archetype are shaped by the conventions, themes, and expectations specific to the genre in which they appear. Here’s how character archetypes may vary across different genres;

Hero/Heroine

• Fantasy:  Often the chosen one on a quest, possessing magical abilities.
• Science Fiction:  Maybe a space explorer or a protagonist grappling with advanced technology.
• Mystery/Thriller:  A detective or investigator solving crimes.
• Romance:  Can be a charismatic and charming figure, overcoming relationship obstacles.
• Fantasy:  Maybe a dark sorcerer, mythical creature, or power-hungry ruler.
• Science Fiction:  Often an evil genius, corrupt corporation, or oppressive government.
• Mystery/Thriller:  The antagonist might be a criminal mastermind or a person with a hidden agenda.
• Horror:  This could be a supernatural entity, monster, or malevolent force.

Sidekick/Companion

• Fantasy:  May include magical creatures, loyal companions, or mentors.
• Science Fiction:  Could be a robotic companion, alien ally, or fellow space traveler.
• Mystery/Thriller:  Often a partner or assistant aiding in investigations.
• Adventure:  Might be a fellow adventurer, providing support and camaraderie.
• Fantasy:  A wise wizard, elder, or a figure with mystical knowledge.
• Science Fiction:  An experienced scientist, explorer, or guide with advanced knowledge.
• Adventure:  An experienced traveler or guide leading the way.
• Coming-of-Age:  A teacher, family member, or wise friend helping the protagonist navigate life.

Fool/Jester

• Fantasy:  A whimsical or humorous character with a unique perspective.
• Comedy:  Often a character providing comic relief or a source of humor.
• Historical Fiction:  This may include jesters, entertainers, or characters with a lighthearted demeanor.
• Dystopian:  A character who questions societal norms or provides a satirical commentary.
• Crime/Noir:  A morally ambiguous character involved in illegal activities.
• Fantasy:  A protagonist with dark tendencies or a troubled past.
• Science Fiction:  Could be a rogue space traveler or a character operating outside the law.
• Thriller:  A character with a complex moral code navigating a web of intrigue.

Love Interest

• Romance:  The central figure in a romantic relationship, often with a focus on emotional depth.
• Adventure:  Maybe a partner in the hero’s journey, providing emotional support.
• Fantasy:  This could involve magical or otherworldly elements in a romantic relationship.

These variations in character archetypes across genres highlight how storytelling conventions and themes influence the roles and characteristics of characters. While certain archetypes maintain core traits, their expressions and roles are malleable, adapting to the unique demands and expectations of each genre. This adaptability allows authors to create diverse and engaging characters within the framework of their chosen storytelling style.

How does the pacing of a narrative differ between genres, and what effect does it have on reader engagement

The pacing of a narrative varies significantly across genres, influencing the rhythm, tempo, and intensity with which the story unfolds. Each genre has its own set of expectations regarding pacing, and the manipulation of this element plays a crucial role in shaping reader engagement. Here’s how pacing differs between genres and its effects on reader engagement:

Thriller/Mystery

• Pacing:  Fast-paced with frequent twists and turns, keeping readers on the edge of their seats.
• Effect on Engagement:  Creates a sense of urgency and suspense, driving readers to eagerly turn pages to unravel mysteries and uncover secrets.

Science Fiction/Action

• Pacing:  Often rapid and dynamic, especially during action sequences or moments of technological advancement.
• Effect on Engagement:  Generates excitement and a sense of adventure, compelling readers to stay engaged through the thrilling and visually vivid narrative.
• Pacing:  Tends to be moderate, allowing for the gradual development of relationships and emotional connections.
• Effect on Engagement:  Builds anticipation and emotional investment as readers follow the evolving romantic dynamics, enhancing the satisfaction of emotional payoffs.
• Pacing:  Can vary, but is often characterized by a measured and immersive pace, allowing readers to absorb historical details.
• Effect on Engagement:  Fosters a sense of time and place, inviting readers to savor the richness of historical settings and immerse themselves in the cultural context.
• Pacing:  Varied, with slower, atmospheric moments and faster-paced action sequences.
• Effect on Engagement:  Balances world-building and character development with moments of high-stakes action, providing a captivating and immersive reading experience.
• Pacing:  Typically intense and fast-paced, reflecting the urgency and tension of dystopian settings.
• Effect on Engagement:  This creates a sense of unease and urgency, compelling readers to stay engrossed in the narrative as characters navigate oppressive societies.

Literary Fiction

• Pacing:  Can be slower, allowing for in-depth exploration of characters' emotions, thoughts, and relationships.
• Effect on Engagement:  Encourages contemplation and reflection, drawing readers into the nuanced and often profound aspects of the characters' inner lives.
• Pacing:  Often brisk, with a focus on humor and witty dialogue.
• Effect on Engagement:  Generates laughter and a light-hearted atmosphere, making the narrative enjoyable and entertaining for readers.

The impact of pacing on reader engagement is significant. Well-managed pacing enhances the emotional resonance of a story, maintaining reader interest and investment. It creates a rhythm that matches the genre’s expectations, providing moments of tension, release, and revelation that keep readers eagerly progressing through the narrative. An adept balance of pacing ensures that readers remain captivated, experiencing a seamless flow that aligns with the thematic elements of the chosen genre.

What role do cultural and historical contexts play in shaping and influencing different genres

Cultural and historical contexts play a fundamental role in shaping and influencing different genres of literature. These contexts provide the backdrop against which stories unfold, influencing themes, settings, character dynamics, and even the tone of the narrative. Here’s how cultural and historical contexts impact various genres;

• Influence:  Historical events, social structures, and cultural norms directly shape the narrative.
• Example:  A novel set during the Renaissance may explore the impact of art and humanism on society.
• Influence:  Reflects societal attitudes toward technology, progress, and the unknown.
• Example:  Cold War-era science fiction often explored fears of nuclear warfare and the consequences of unchecked scientific advancements.
• Influence:  Draws inspiration from cultural myths, folklore, and historical legends.
• Example:  The Arthurian legends influencing fantasy literature or the incorporation of cultural mythology in works like “The Lord of the Rings.”
• Influence:  Reflects contemporary fears and anxieties about societal issues.
• Example:  Dystopian novels often emerge during times of political unrest or social upheaval, exploring worst-case scenarios based on current concerns.
• Influence:  Cultural attitudes toward love, relationships, and societal expectations shape romantic narratives.
• Example:  The portrayal of gender roles and expectations in romance novels reflects cultural shifts and evolving perspectives on relationships.
• Influence:  Draws from real-world crime, legal systems, and societal fears.
• Example:  Legal thrillers may reflect changing attitudes toward justice and explore the impact of legal decisions on individuals.
• Influence:  Reflects cultural attitudes, societal norms, and the human condition, often with a humorous twist.
• Example:  Satirical comedies often use humor to comment on contemporary political or social issues.
• Influence:  Explores the complexities of human experiences within specific cultural and historical contexts.
• Example:  Novels like “To Kill a Mockingbird” address societal issues such as racism within the cultural framework of the American South.
• Influence:  Taps into societal fears and anxieties, often influenced by cultural taboos.
• Example:  Horror stories may draw on cultural myths or legends to create chilling and culturally resonant narratives.
• Influence:  Cultural attitudes toward exploration, heroism, and conquest shape adventure narratives.
• Example:  Exploration literature from different historical periods reflects societal attitudes toward the unknown.

Understanding the cultural and historical contexts of a particular genre provides depth and resonance to the storytelling. Authors draw on these influences to create narratives that resonate with readers, offering insights into the values, fears, and aspirations of a given society or period. Moreover, exploring different genres from various cultural and historical perspectives contributes to the diversity and richness of the literary landscape.

How can authors blend genres to create a unique and innovative storytelling experience

Blending genres allows authors to create unique and innovative storytelling experiences that defy traditional boundaries, captivate diverse audiences, and breathe new life into familiar tropes. Here are several strategies for authors to successfully blend genres;

• Understand Genre Conventions:  Gain a solid understanding of the conventions, themes, and expectations of the genres you plan to blend. This foundation will enable you to intelligently weave elements together.
• Identify Common Ground:  Look for common themes or elements shared by the genres you want to blend. Finding common ground provides a natural transition between genres and creates a cohesive narrative.
• Establish a Strong Core Genre:  Choose a primary or core genre as the foundation for your story. This will anchor the narrative and provide a recognizable framework for readers.
• Layer Genres Gradually:  Introduce elements of the secondary genre gradually to allow readers to acclimate. This can build anticipation and create a seamless transition between genres.
• Create Synergy:  Ensure that the blended genres enhance each other rather than compete. Seek ways in which the combination creates a richer, more complex narrative.
• Explore Genre Hybrids:  Consider blending genres that are not commonly paired. This can lead to truly unique and unexpected storytelling experiences.
• Develop Multi-Dimensional Characters:  Craft characters with depth and complexity that allow them to navigate the nuances of different genres. Well-developed characters can anchor the narrative in various settings and situations.
• Experiment with Narrative Structure:  Play with non-linear timelines, multiple perspectives, or unconventional structures. Experimenting with narrative structure can amplify the impact of genre blending.
• Utilize Setting to Create Atmosphere:  Leverage settings that complement both genres. A carefully chosen setting can enhance the atmosphere and seamlessly integrate diverse elements.
• Embrace Genre Parody or Satire:  Blend genres with a sense of humor or satire. This approach can provide commentary on genre conventions while entertaining readers.
• Consider Subverting Genre Expectations:  Challenge and subvert traditional genre expectations. This can keep readers engaged by defying predictability and offering fresh perspectives.
• Maintain Consistent Tone:  Strive for a consistent tone that aligns with the overall mood of the blended genres. This coherence ensures a harmonious reading experience.
• Seek Inspiration from Other Art Forms:  Draw inspiration from film, music, or visual arts where genre blending is common. Translating these techniques into literature can result in innovative storytelling.
• Focus on Themes:  Identify overarching themes that transcend individual genres. Themes can serve as a unifying thread, connecting disparate elements into a cohesive narrative.
• Seek Reader Feedback:  Beta readers can provide valuable insights into how well your genre-blending experiment works. Their feedback can help refine and polish the narrative.

By thoughtfully combining genres, authors have the opportunity to create stories that resonate with a broad audience and defy categorization. The key lies in maintaining a balance that enhances the strengths of each genre while contributing to a fresh and inventive narrative.

What are the key conventions and expectations readers have for specific genres, and how can writers either adhere to or subvert them

Understanding the key conventions and expectations of specific genres is crucial for writers, as it allows them to engage with readers' preconceptions and use them creatively. Here are some common genres along with their key conventions and strategies for writers to either adhere to or subvert them;

• Conventions:  Intriguing plot twists, a central mystery, and suspenseful pacing.
• Adhere to:  Maintain a gripping plot with clues and red herrings.
• Subvert:  Reveal the resolution early, then explore the consequences.
• Conventions:  Central love story, emotional connection, and a satisfying resolution.
• Adhere to:  Develop a strong romantic arc with tension and resolution.
• Subvert:  Introduce unconventional pairings, and explore non-traditional relationship dynamics.
• Conventions:  Futuristic settings, advanced technology, speculative concepts.
• Adhere to:  Craft a well-thought-out world with plausible scientific elements.
• Subvert:  Focus on character relationships in a futuristic setting rather than advanced technology.
• Conventions:  Magical elements, mythical creatures, epic quests.
• Adhere to:  Create a richly detailed and immersive fantasy world.
• Subvert:  Present magical elements more realistically or subtly.
• Conventions:  Accurate portrayal of historical settings, attention to period details.
• Adhere to:  Research historical contexts thoroughly for authenticity.
• Subvert:  Introduce fictional elements or alternate history within the historical framework.
• Conventions:  Atmosphere of fear, supernatural or psychological elements.
• Adhere to:  Build tension and deliver frightening moments.
• Subvert:  Humanize the ‘monster’ or provide unexpected resolutions to horror elements.
• Conventions:  Oppressive societies, bleak futures, social commentary.
• Adhere to:  Explore societal issues and consequences of dystopian settings.
• Subvert:  Present a dystopian world with unexpected positive elements or a hopeful resolution.
• Conventions:  Humorous situations, witty dialogue, and light-hearted tone.
• Adhere to:  Infuse humor into various aspects of the narrative.
• Subvert:  Incorporate dark humor or explore serious themes in a comedic way.
• Conventions:  Exploration, danger, and a quest for a goal.
• Adhere to:  Develop an exciting and adventurous journey.
• Subvert:  Shift the focus from external adventure to internal character growth.
• Conventions:  Character-driven narratives, exploration of human experiences.
• Adhere to:  Emphasize character development and introspective storytelling.
• Subvert:  Incorporate elements of other genres into character-driven narratives.

Adhering to genre conventions provides a sense of familiarity and comfort for readers while subverting them can offer freshness and surprise. Skillful writers often find a balance, respecting genre expectations while introducing innovative twists that challenge and engage their audience in unexpected ways. The key is to be intentional in the choice to adhere or subvert, ensuring that it serves the narrative purpose and enhances the overall reading experience.

How does the choice of genre impact the narrative point of view, and what are the implications for the reader’s perspective

The choice of genre significantly influences the narrative point of view, which, in turn, shapes the reader’s perspective and experience. Different genres often lend themselves to specific narrative perspectives that enhance the storytelling and immerse readers in the intended atmosphere. Here’s how the choice of genre impacts the narrative point of view and its implications for the reader’s perspective;

• First Person
• Genre Impact:  Common in genres like mystery, thriller, and young adult fiction.
• Implications:  Creates a direct and intimate connection between the reader and the narrator. Readers experience events through the narrator’s subjective lens, gaining deep insight into their thoughts and emotions.
• Third Person Limited
• Genre Impact:  Widely used in various genres, including fantasy, science fiction, and literary fiction.
• Implications:  Offers a focused perspective on one character’s thoughts and experiences. Provides a balance between intimacy and objectivity, allowing readers to connect with the protagonist while maintaining a broader view of the narrative.
• Third Person Omniscient
• Genre Impact:  More common in classic literature, epic fantasy, and historical fiction.
• Implications:  Provides a panoramic view of the story, offering insights into multiple characters' thoughts and motivations. Allows for a comprehensive understanding of the narrative, often suitable for expansive, multi-character plots.
• Second Person
• Genre Impact:  Rare, but occasionally used in experimental or avant-garde literature.
• Implications:  Engages readers directly by addressing them as if they are part of the story. Creates a unique and immersive experience, but its use is limited due to its unconventional nature.
• Epistolary (Letter Form)
• Genre Impact:  Often found in historical fiction, gothic novels, and literary fiction.
• Implications:  Presents the narrative through letters, diary entries, or other written forms. Provides a sense of immediacy and authenticity, allowing readers to connect intimately with the characters' reflections.
• Multiple Perspectives
• Genre Impact:  Frequently used in contemporary fiction, mystery, and ensemble-cast genres.
• Implications:  Offers varying viewpoints from different characters, providing a more comprehensive understanding of the story. Enhances complexity and allows for the exploration of diverse experiences.
• Stream of Consciousness
• Genre Impact:  Common in modernist and experimental literature.
• Implications:  Delivers an unfiltered flow of a character’s thoughts and feelings, providing an intimate and subjective experience. Often used to portray the internal struggles or psychological depth of a character.
• Objective/Impersonal
• Genre Impact:  Found in literary fiction, philosophical novels, and certain types of mystery.
• Implications:  Maintains a detached and observational tone, focusing on external events without delving deeply into characters' thoughts and emotions. Creates a sense of objectivity and distance.

The choice of narrative point of view in a specific genre shapes how readers perceive and engage with the story. It influences the depth of character exploration, the degree of reader immersion, and the overall atmosphere of the narrative. Authors carefully select the point of view to align with their storytelling goals and to create the desired impact on readers' perspectives.

How can the genre be used as a tool for social commentary or exploration of contemporary issues

Genre, by its very nature, comes with built-in expectations and conventions. These offer a unique platform for social commentary and exploring contemporary issues in creative and thought-provoking ways. Here’s how the genre can be a powerful tool;

Leveraging Genre Conventions

• Subversion and Irony:  Play with the expectations of a genre to deliver your message. A lighthearted rom-com might tackle gender stereotypes, while a dystopian sci-fi could critique environmental neglect. The contrast between expected tropes and your commentary amplifies its impact.
• Metafiction:  Draw attention to the limitations or biases inherent in the genre itself. This self-awareness can spark discussions about societal norms and hidden assumptions within the genre and beyond.
• Allegory and Satire:  Use recognizable genre elements to construct fictional worlds that mirror real-world issues. An allegorical fantasy might explore systemic racism, while a satirical detective story could criticize political corruption. These indirect approaches encourage critical thinking and interpretation.

Exploring Specific Genres

• Science Fiction:  Imagine future scenarios influenced by climate change, technological advancements, or social conflicts. This allows you to explore the potential consequences of current issues in a controlled setting.
• Dystopian Fiction:  Exaggerate societal problems like wealth disparity, surveillance, or political extremism to create cautionary tales that spark reflection on our reality.
• Historical Fiction:  Revisit past events through a modern lens, highlighting parallels to contemporary struggles and questioning historical narratives.
• Realistic Fiction:  Ground your commentary in everyday life, allowing readers to connect with relatable characters and situations that mirror their own experiences.

Additional Tips

• Maintain Authenticity:  While using genre conventions, ensure your characters and story feel genuine. Social commentary that feels forced or preachy can alienate readers.
• Offer Nuance:  Avoid simplistic solutions or one-dimensional portrayals. Present complex issues with diverse perspectives, encouraging critical thinking and open dialogue.
• Spark Action:  Don’t just diagnose problems; suggest solutions or inspire hope. Empower readers to engage with the issues you raise, even if it’s through small actions.

By thoughtfully utilizing genre conventions and exploring contemporary issues in creative ways, you can craft stories that entertain, enlighten, and inspire positive change.

What role does symbolism play in different genres, and how can it be utilized effectively in creative writing

Symbolism plays a vital role in enriching and deepening stories across all genres, but its implementation varies based on the genre’s conventions and goals. Here’s a breakdown;

Common Roles of Symbolism

• Adding Depth and Layers:  Symbols can hint at underlying themes, and emotions, or foreshadow future events, creating a richer reading experience.
• Universal Connections:  Symbols can tap into shared human experiences and evoke emotions beyond the literal meaning of the text.
• Memorable Storytelling:  Powerful symbols can stick with readers long after they finish the story, prompting contemplation and discussion.

Genre-Specific Uses

• Literature:  Symbolism is heavily employed in literary genres like poetry, magical realism, and historical fiction. Think of the red rose symbolizing passion in poetry, magical objects representing desires in magical realism, or historical settings symbolizing broader societal issues.
• Genre Fiction:  Fantasy and sci-fi often use symbols to represent complex systems of magic, technology, or social structures. Think of the One Ring symbolizing power and corruption in LOTR or the Force representing balance in Star Wars.
• Mystery and Thriller:  Clues and red herrings can be symbolic of deeper truths or hidden motivations. Think of a stormy night symbolizing emotional turmoil or a ticking clock representing impending danger.
• Romance:  Symbols of love, desire, and commitment are abundant. Think of roses for love, doves for peace, or broken mirrors for shattered relationships.

Utilizing Symbolism Effectively

• Choose Meaningful Symbols:  Select symbols that resonate with your theme and connect with your readers' understanding. Avoid cliches and ensure your symbols fit organically within the story world.
• Be Consistent:  Once you establish a symbol’s meaning, use it consistently throughout the story. Don’t introduce new meanings arbitrarily, as it can confuse readers.
• Show, Don’t Tell:  Let the actions, descriptions, and character interactions convey the symbolic meaning subtly. Avoid heavy-handed explanations that take away the power of the symbol.
• Layer Your Symbols:  Use multiple symbols that intertwine and complement each other, creating a web of deeper meaning for the story.

Symbolism is a tool, not a magic wand. Use it thoughtfully to enhance your story, not just impress readers with your knowledge of literary devices. With effective implementation, symbols can elevate your creative writing to new heights, leaving readers with a lasting impact.

How do themes vary across genres, and what impact does this have on the overall message or moral of a story

Themes, the core ideas explored in a story, definitely vary across genres, and this variation plays a significant role in shaping the overall message and moral. Here’s how;

Genre Conventions and Themes

• Prevalent Themes:  Each genre has its own set of “expected” themes. For example, love and overcoming obstacles are common in romance, while self-discovery and battling evil are staples of fantasy. These themes resonate with readers' expectations and create a sense of familiarity within the genre.
• Variations and Subversions:  However, genres are not rigid. Authors can subvert expectations by exploring familiar themes in new ways or introducing unexpected ones. A sci-fi novel might explore love through the lens of artificial intelligence, while a mystery might delve into the theme of redemption through the killer’s perspective.

Impact on Message and Moral

• Genre Shapes Interpretation:  The chosen genre influences how readers interpret the themes. A coming-of-age story exploring self-discovery in a realistic setting might convey a different message than a similar theme explored through the fantastical lens of a magical journey.
• Moral Nuance and Complexity:  Genre can also impact the moral of the story. A thriller might present a clear-cut message of good versus evil, while a literary fiction piece might explore the complexities of morality, leaving readers to grapple with shades of gray.
• Emotional Resonance:  The genre’s conventions and expectations set the emotional tone, influencing how readers connect with the themes and their implications. A horror story exploring grief might evoke fear and catharsis, while a historical fiction piece tackling war might evoke empathy and reflection.
• Comparing Revenge:  A revenge story in a Western might emphasize justice and retribution, while a revenge story in a psychological thriller might delve into the destructive nature of vengeance.
• Love and Loss:  A love story in a rom-com might focus on overcoming obstacles to achieve “happily ever after,” while a love story in a literary drama might explore the complexities of love and loss, leaving the ending open to interpretation.
• Themes are not limited to individual genres, and they can overlap and intertwine across different categories.
• The most impactful stories often push the boundaries of expected themes within a genre, offering fresh perspectives and challenging readers' preconceived notions.
• Ultimately, the success of a story’s message and moral lies in its ability to resonate with readers on an emotional level, regardless of genre conventions.

Can genre influence the development of a character’s voice and dialogue in a story

 Genre plays a crucial role in shaping a character’s voice and dialogue in several ways;

Genre Expectations:  Each genre comes with expectations about how characters speak and interact. This influences vocabulary, sentence structure, slang, and even the overall tone of their communication.

• Formal vs. Informal:  Literary fiction characters might use more complex vocabulary and sentence structures, while characters in thrillers might be more direct and action-oriented in their speech.
• Genre-Specific Dialects:  Fantasy characters might speak in a pseudo-medieval dialect, while sci-fi characters might use technical jargon or futuristic slang.
• Emotional Tone:  Horror characters might speak in hushed whispers or frantic outbursts, while romance characters might use flowery language and passionate declarations.

Character Background and Social Context:  Beyond genre conventions, consider the character’s individual background and social context.

• Age and Education:  A young character might use simpler language and slang, while an older, educated character might be more articulate.
• Social Status and Profession:  A noble might speak differently than a peasant, and a doctor might use different terminology than a mechanic.
• Regional Influences:  Characters from different regions might have distinct accents or use specific idioms.

Genre Tropes and Subversions:  You can utilize genre tropes to establish character voice quickly, but also subvert them to create unique individuals.

• The Gruff Detective:  While the hard-boiled detective trope exists, your detective could be witty instead of stoic, or introspective instead of cynical.
• The Wise Mentor:  The wise mentor in a fantasy story might not be an old hermit but a young prodigy who challenges traditional views.
• Authenticity is Key:  While adhering to genre conventions, prioritize creating genuine characters with voices that feel true to their personalities and backgrounds.
• Show, Don’t Tell:  Use the character’s speech patterns, word choices, and even silences to reveal their personality and motivations, instead of explicitly stating them.
• Consistency is Crucial:  Maintain consistency in a character’s voice throughout the story unless deliberate changes are part of their development.

How does genre affect the use of literary devices such as foreshadowing, irony, or symbolism

The genre has a significant impact on how literary devices like foreshadowing, irony, and symbolism are used in storytelling. Here’s how;

Foreshadowing

• Expectations:  Different genres set different expectations for the level of foreshadowing. Thrillers and mysteries often heavily foreshadow plot twists, while literary fiction might use subtler hints.
• Methods:  Genres also influence the methods of foreshadowing. Sci-fi might use technological advancements, while fantasy might rely on prophecies or recurring motifs.
• Suspense and Pacing:  The use of foreshadowing can vary depending on the desired pacing and suspense. Horror might build dread with ominous hints, while romance might use foreshadowing to create anticipation for a happy ending.
• Genre Tropes:  Some genres rely heavily on specific types of irony. Situational irony is common in comedies, while dramatic irony is often used in tragedies.
• Subverting Expectations:  Genre conventions can be subverted for ironic effect. A seemingly perfect hero in a romance might betray their partner, creating dramatic irony.
• Social Commentary:  Irony can be used for social commentary, highlighting inconsistencies or contradictions within a genre’s themes or conventions.
• Shared Symbols:  Some symbols have widely recognized meanings across genres (e.g., red for passion, darkness for evil). Genres can build upon these shared symbols or introduce unique ones relevant to their themes.
• Genre-Specific Symbolism:  Fantasy might use specific symbols like dragons or magic wands, while historical fiction might use symbolic objects or settings related to the historical period.
• Depth and Ambiguity:  Depending on the genre, symbolism can be used to add depth and ambiguity or provide clear-cut meanings to support the story’s message.
• Foreshadowing in Sci-Fi:  A recurring malfunction in a spaceship foreshadows a major disaster in the climax.
• Irony in Romance:  A character known for their cynicism falls deeply in love, creating situational irony.
• Symbolism in Mystery:  A locked door symbolizes hidden secrets and the protagonist’s struggle to uncover the truth.
• The effectiveness of these devices depends on their execution and alignment with the genre’s conventions and expectations.
• Experimenting with these devices can create unique effects and enhance the reader’s experience within the genre.
• It’s crucial to avoid clichés and ensure the devices serve the story’s overall purpose and message.

In what ways can genre influence the structure and organization of a story

Genre plays a powerful role in shaping the structure and organization of a story in several fascinating ways;

Meeting Reader Expectations:  Each genre has established conventions about pacing, plot points, and narrative arcs. Readers come to expect certain things from different genres, and following these expectations creates a satisfying reading experience.

• Thrillers:  They typically build suspense with rising action, culminating in a climax and often a twist ending. Chapters might end on cliffhangers to keep readers engaged.
• Romance:  They often follow a three-act structure with a meet-cute, obstacles to love, and a happily-ever-after ending. Chapters might focus on building emotional connections between characters.
• Fantasy:  They might employ a cyclical structure with quests, challenges, and victories repeated throughout the hero’s journey. Chapters might introduce fantastical elements and world-building details.

Experimentation and Subversion:  While adhering to expectations, authors can also subvert or experiment with structure to create originality and surprise readers.

• Non-linear Narratives:  Mystery novels might utilize flashbacks or fragmented timelines to keep readers guessing.
• Dual Perspectives:  Romance novels might offer alternating chapters from both protagonists' viewpoints, adding depth and complexity.
• Open Endings:  Literary fiction might challenge traditional structures with ambiguous conclusions, prompting reader interpretation.

Genre-Specific Pacing:  Different genres require specific pacing to maintain reader engagement.

• Fast-paced Action:  Thrillers and adventure stories rely on quick transitions and short chapters to build momentum.
• Gradual Character Development:  Coming-of-age stories and literary fiction often employ slower pacing to delve into characters' inner lives and emotions.
• World-Building:  Fantasy and sci-fi might dedicate chapters to introducing complex fictional worlds and their rules.

Organization and Information Delivery:  The way information is revealed and secrets are unveiled varies across genres.

• Clues and Red Herrings:  Mysteries dole out clues chapter by chapter, keeping readers guessing until the final reveal.
• Character Reveals:  Romance novels might gradually reveal characters' motivations and hidden feelings throughout the story.
• Plot Twists:  Thrillers often utilize shocking plot twists at key points to keep readers on edge.

How do genres evolve, and what cultural or societal factors contribute to these changes

Genres, like living organisms, are constantly evolving! They adapt and change based on a complex interplay of cultural, societal, and even technological factors. Here’s a breakdown of how this happens;

Cultural Shifts

• Changing Values and Beliefs:  As societal values and beliefs evolve, genres reflect and respond to them. Think of the rise of dystopian fiction mirroring anxieties about environmental collapse or surveillance.
• Social Movements and Events:  Major social movements and events can leave their mark on genres. The Civil Rights Movement influenced the themes of race and identity in literature, while the rise of technology sparked the cyberpunk genre.
• Diversification of Voices:  As marginalized groups gain wider representation, new genres emerge or existing ones diversify to encompass their unique perspectives. This can be seen in the growth of Afrofuturism and LGBTQ+ romance novels.

Technological Advancements

• New Forms of Storytelling:  New technologies like film, radio, and the internet create new mediums for storytelling, leading to the birth of new genres like cinema, radio drama, and webtoons.
• Accessibility and Distribution:  Digital platforms make niche genres more accessible, fostering communities and allowing them to evolve and experiment.
• Blurring of Lines:  Technology enables cross-pollination between genres, creating hybrids like science fantasy or techno-thrillers.

Authorial Innovation

• Pushing Boundaries:  Creative authors experiment with existing formulas, injecting new ideas and blending elements from different genres. This can lead to the creation of subgenres or entirely new literary landscapes.
• Responding to Reader Preferences:  Authors cater to evolving reader tastes, creating narratives that resonate with current interests and desires. This can be seen in the rise of “grimdark” fantasy or “new adult” fiction.
• Genre evolution is rarely linear or singular. It’s a complex interplay of factors, often unpredictable and messy.
• While some genres fade away, others endure and adapt, becoming timeless vessels for exploring the human experience.
• Understanding these forces can not only help you appreciate the rich tapestry of genres but also inspire you to contribute to their exciting evolution.

How can writers effectively balance genre expectations with the need for originality and creativity

Balancing genre expectations with originality and creativity is a constant tightrope walk for writers. On one hand, adhering to genre conventions provides readers with a familiar and satisfying experience. On the other hand, injecting originality keeps your work fresh and avoids feeling derivative. Here are some tips to achieve this balance;

Understanding the Genre

• Dive Deep:  Immerse yourself in the genre you’re working in. Read widely, analyze successful works, and identify the core conventions, themes, and reader expectations.
• Know the Tropes:  Understand the common tropes and clichés associated with the genre. Decide which ones you want to embrace, subvert, or avoid altogether.

Injecting Originality

• Unique Voice and Style:  Don’t be afraid to infuse your story with your unique voice, writing style, and perspective. Even within conventions, your personal touch can stand out.
• Fresh Characters:  Craft characters who feel genuine and distinct, even if they fulfill certain archetypes within the genre. Give them unique motivations, flaws, and personalities.
• Unconventional Twists:  While respecting the core structure, surprise readers with unexpected plot developments, world-building elements, or thematic explorations.

Finding the Sweet Spot

• Subvert with Purpose:  Don’t subvert expectations just for the sake of being different. Ensure your deviations serve the story and enhance the reader’s experience.
• Plant Your Flag:  Within the genre, carve out your own niche. What unique perspective or theme can you bring to the table?
• Play with Expectations:  Use familiar tropes in unexpected ways, creating a sense of comfortable surprise for your readers.
• Get Feedback:  Seek feedback from beta readers familiar with the genre. They can help you identify areas where you’re adhering too closely to conventions or where your originality shines.
• Read Across Genres:  Explore different genres for inspiration. You might find techniques or ideas that you can adapt to your own work while staying true to your chosen genre.
• Trust Your Gut:  Ultimately, the best balance comes from trusting your instincts and writing a story you’re passionate about. If your passion shines through, readers will connect with your work, even if it breaks some conventions.

What challenges and opportunities arise when transitioning from one genre to another within the same piece of writing

Transitioning between genres within a single piece of writing can be a powerful tool for creating unique and engaging narratives. However, it also presents its own set of challenges and opportunities. Here are some key points to consider;

• Maintaining Cohesion:  Blending different genres seamlessly can be tricky. Ensuring the transition feels organic and the overall story retains a coherent tone and message can be difficult.
• Meeting Genre Expectations:  Juggling the expectations of multiple genres can be demanding. You might need to satisfy the desires of readers accustomed to both styles, which can feel conflicting at times.
• Balancing Depth and Clarity:  Integrating elements from different genres can risk overloading the story with information or confusing readers who are unfamiliar with one or both styles.
• Justifying the Transition:  Establishing the reason for the genre shift within the narrative is crucial. It shouldn’t feel arbitrary or forced, but rather serve a specific purpose in advancing the plot or character development.

Opportunities

• Unique Storytelling:  Genre-bending can create fresh and unexpected narratives that surprise and engage readers. It allows you to break free from conventions and explore new literary territory.
• Enriched World-Building:  Transitioning genres can expand the scope and depth of your fictional world, offering diverse experiences and perspectives within the same story.
• Engaging Different Audiences:  By incorporating elements from multiple genres, you can potentially attract a wider readership with diverse tastes and preferences.
• Thematic Exploration:  Shifting genres can be a powerful tool for exploring complex themes from different angles and highlighting their multifaceted nature.

Tips for Success

• Start with a Strong Premise:  Ensure the reason for the genre shift is well-defined and serves the story’s core message.
• Research both Genres:  Deeply understand the conventions, expectations, and potential pitfalls of each genre you’re incorporating.
• Execute Seamlessly:  Craft smooth transitions between genres, using narrative elements, setting changes, or character actions to guide the reader.
• Consider Your Audience:  Who are you trying to reach with this story? Ensure the blended genres resonate with their expectations and interests.
• Seek Feedback:  Get feedback from readers familiar with both genres to gauge their understanding and reaction to the transitions.

How does genre impact the relationship between author and reader, and what role does familiarity or novelty play in this dynamic

Genre plays a fascinating role in shaping the relationship between author and reader. Here’s how;

Familiarity and Expectations

• Comfort and Connection:  Shared genre understanding creates a foundation of familiarity and shared expectations. Readers know what to expect and can connect with the author’s storytelling choices within that framework. This familiarity can foster trust and enjoyment.
• Anticipation and Surprise:  Within genre conventions, authors can still surprise and delight readers with unexpected twists, character development, or thematic explorations. This balance between familiarity and novelty keeps the relationship engaging.

Authorial Voice and Experimentation

• Genre as a Canvas:  Authors use genre conventions as a springboard to express their unique voices and explore themes in their own way. Readers who appreciate the specific genre can connect with the author’s individuality within that framework.
• Pushing Boundaries:  Some authors experiment with blurring genre lines or subverting expectations. This can challenge readers, prompting them to re-evaluate their understanding of the genre and engage with the author’s unique vision.

Interpretation and Community

• Shared Language:  Genre provides a shared language of symbols, motifs, and references that the author and reader can understand and interpret. This fosters discussions, analysis, and a sense of community among readers who enjoy the same genre.
• Open-Ended Interpretations:  Even within genre conventions, individual readers bring their own perspectives and experiences, leading to diverse interpretations of the author’s work. This can create a dynamic and enriching dialogue between the author and the reader.

The Impact of Novelty

• Freshness and Excitement:  Introducing novel elements within a familiar genre can invigorate the relationship, keeping readers engaged and excited to see where the author takes them.
• Alienation and Confusion:  Pushing boundaries too far can alienate readers unfamiliar with the new elements or who value the core genre conventions. Balancing innovation with clarity is crucial.

Key Takeaways

• The author-reader relationship is a two-way street. Authors consider reader expectations while also pushing boundaries and expressing their individuality.
• Familiarity and novelty aren’t mutually exclusive. They can coexist and complement each other to create a rich and engaging reading experience.
• Ultimately, the goal is to foster a connection between author and reader through storytelling, regardless of genre.

How can writers use genre to explore and challenge preconceptions or stereotypes within literature

Writers can wield genre as a powerful tool to explore and challenge preconceptions and stereotypes within literature. Here are some effective ways to achieve this;

Subverting Expectations

• Playing with Tropes:  Identify common tropes associated with your chosen genre and twist them on their head. A damsel in distress could become a fierce warrior, a brooding hero might struggle with vulnerability or a dystopian society could offer unexpected pockets of hope.
• Shifting Perspectives:  Challenge stereotypical portrayals by giving voice to marginalized characters or offering fresh perspectives on familiar narratives. Instead of a white male detective, consider a disabled woman of color solving crimes, or explore a historical event from the viewpoint of a previously silenced group.
• Genre Mash-up:  Blend elements from different genres to create a unique world that defies categorization. This can disrupt reader expectations and spark new ways of thinking about familiar themes.

Reimagining Familiar Worlds

• Historical Fiction with a Twist:  Revisit a historical period through a contemporary lens, highlighting previously ignored voices or questioning traditional narratives. Imagine a feminist retelling of the Arthurian legend or a coming-of-age story set during the Civil War from the perspective of a young slave.
• Fairy Tales Reimagined:  Deconstruct the traditional messages of classic fairy tales, exploring darker themes or giving agency to characters typically silenced. Imagine a Snow White who rejects the prince and builds her own kingdom or a Red Riding Hood who outsmarts the wolf and uses her cunning to survive.
• Mythology with a Modern Twist:  Reinterpret traditional myths and legends with contemporary relevance, addressing current social issues or exploring the complexities of human nature. Imagine a sci-fi retelling of the Icarus myth or a dystopian society built upon the foundation of a creation myth.

Adding Depth and Nuance

• Beyond Stereotypes:  Avoid portraying characters as one-dimensional representatives of a stereotype. Instead, explore their complexities, motivations, and flaws, challenging readers to see beyond preconceived notions.
• Multiple Perspectives:  Offer contrasting viewpoints within your story, forcing readers to confront their own biases and consider different interpretations of events.
• Moral Gray Areas:  Avoid clear-cut heroes and villains. Present characters and situations with moral ambiguity, prompting readers to question their own assumptions about right and wrong.
• Challenging stereotypes effectively requires careful consideration and thoughtful execution. Avoid falling into harmful tropes or perpetuating stereotypes in the name of subversion.
• Research and representation are crucial. Ensure your portrayals of marginalized groups are respectful and authentic, avoiding appropriation or harmful generalizations.
• The goal is to spark critical thinking, empathy, and understanding by offering fresh perspectives that challenge the status quo within a genre.

Types of Writing Genres: A Short Guide

• Post author By admin
• October 11, 2022

In this blog, we will discuss the different types of writing genres. Every genre of writing has its mindset and set of expectations. Genres are the tool for creativity and provide various perspectives to tell your story in different ways. 

As a writer, your work will fit into a certain genre whether you want it or not, and that is purely based on what you are creating. On one side, some work may fit into one Genre. On the other hand, some may have different genres.

There are three different types of writing genres that we will take a look at in this blog. We have separated writing genres like Professional Writing, Literary Writing, and, lastly, Academic Writing.

If you’re wondering which one is right for you then this is the right place for you. 

Here we will discover different writing genres that you need to know!

So, without further ado, let’s dive into it!

Table of Contents

What is the Need for Types of Writing Genres?

They Help Writers Sort Out Their Ideas and Feelings : When writers know what kind of writing they are doing, they can use the rules of that kind of writing to help them organize their writing. This can speed up the writing process and help writers make work simpler and more sense.

They Help People Know What to Expect From a Piece of Writing : When a reader knows the genre of a piece of writing, they can guess what they know about it to guess what the piece is about. This can help people read faster and better understand what they are reading.

They Help Writers Connect With the People Who Read Their Work : When writers choose the right type for their readers, their writing is easier to understand and more interesting to read. This can help writers connect with their readers and reach their goals for dialogue.

Aside From These General Benefits: there are other reasons to use different types of writing. For example, expository writing can help writers explain complicated ideas clearly, while descriptive writing can help writers paint detailed pictures in the minds of their readers. Narrative writing can help writers tell stories that entertain and teach, while persuasive writing can help writers persuade readers to do something.

They Can Help a Writer Find His or Her Voice : By trying different types of writing, writers can find the type that fits their style and attitude the best. This can help writers find their style, which will help them connect with their readers.

They Can Help Writers Come Up With Better Ideas : Writers can stretch their creative skills and develop new ideas if they try to write in different styles. This can make writers more creative and help them develop more original ideas.

They Can Help Writers Get Better at What They Do :  Writers can improve their skills by learning the rules of different types of writing. This can help writers write better and make their work look more polished.

In the end, there are different types of writing because they are used for different things. If writers know the rules for each type, they can choose the right one for their purpose and audience. This will help them write in a clear, powerful, and interesting way.

What are Writing Genres?

The writing Genre is mostly called the name of Literary Genre. It is a type of narrative that can be used or written. Mostly, it is used for one purpose only to share emotions, ideas, and news with other people. Writing Genre is used to tell the story interestingly. 

Writing within each Genre will reflect a whole new story and share several features like rhyme, image, and stylistic devices. The main focus of each Genre is to describe the events, theory, and several ideas in certain ways. In other words, the aim of each writing genre is how the elements are conveyed and described. 

What are the Different Types of Writing Genres?

Three main types of Writing Genres are as follows:

• Professional Writing.
• Literary Writing.
• Academic Writing.

Professional Writing Genre (Types of Writing Genres)

Social media .

Social Media is a growing genre in business communication. The level of discussion in social media may vary depending on the topic and audience. Well-considered successful post on social media to help understand how it’s used to reach a wider target audience.

Business Letters

It can be both formal and informal. A perfectly written business letter shows the reader why it is important. If you want successful communication, then a structured approach is very important.

Memos 

Well, Memos provide a clear summary, and the most crucial information is given at the beginning, but Paper Memos are no longer used nowadays. A positive tone is used to help the reader understand what the author is trying to say, making it appropriate for the users. 

In the past, memos were considered the best business correspondence. The Main Guideline of the memo still exists, even if the median of the paper memo has been changed. 

Meeting Minutes

Meeting Minutes include dates, times, attendees, and location. This is the standard format of Meeting Minutes. It is also important to record the most crucial details to avoid any misunderstanding later.

As a result, there are many ways involved in recording meeting minutes. The minutes should be uniform with the location and names. Unnecessary information should be avoided so that it can not cause any difficulty later.

This is the end of the Professional writing genre. Now we move to the Literary writing genre, and lastly, we will continue with the Academic Genre. 

Literary Writing Genre (Types of Writing Genres)

Mystery .

This Genre is mostly associated with crime, mainly murder, but it does have to be. Any story which involves the unraveling of a secret or mystery would be considered within this Genre. 

This Genre often describes a criminal investigation or legal case. Well, the most popular novel is The Sherlock Holmes Story. Mystery novels are a genre that typically has a problem to solve. 

Category of Mystery Genre:

• Locked-room mysteries.
• Historical mysteries.
• Police procedural whodunit. ( A story about a murder in which the identity of the murderer is hidden at the end )

Literary nonfiction

Literary nonfiction is all about real events and people. Nonfiction can be found in magazines like The Atlantic, The New York, and Harper’s Magazine. 

This type of Genre is associated with creating feelings of fear and dread. Some of you might think of this Genre as full of “blood and gore”. Anything which creates negative feelings about something will come under the category of Horror. 

Horror is the genre of film, literature, and TV shows. The main aim of the horror genre is to create fear. 

Gothic novels are an example of ancient horror literature. On the other hand, Stephen King is considered the father of modern horror literature. Well, nowadays, new writers have pushed the boundaries of horror stories. Writers include John Langan, Stephen Graham Jones, and many more.

In the Historical Genre, the story takes place in the past. Sometimes real people are included to interact with the fictional character to create a sense of realism. 

Romance 

This Genre deals with the love stories between two people. The element of romance can be found in many types of literature. Romance has been there since ancient times, but time travels so fast, and the paranormal romances have become more popular nowadays. 

Science Fiction

As the name suggests, Science Fiction is the genre that deals with science and technology in society. Science fiction is a special type of Genre that includes elements of time travel, futuristic societies, and space. People often call Science Fiction ( Sci-Fi ) . 

Magical realism

Magical realism is a type of literature in which the real world is depicted with an influence of magic and fantasy. In magical realism, the stories may occur in the real world but with some supernatural elements. Magical realism has close ties with Latin American Authors. Magical realism is used by literature from around the globe.

Fantasy novels are fiction stories that are set in imaginary universes. This Genre is inspired by folklore and mythology that is enjoyed by both children and adults 

Dystopian novels are about futuristic and oppressive societies. In other words, the Dystopian novel features some political and social unrest. It can help us examine real types of fear like mass surveillance by the government.

Graphic Fiction

Graphic Fiction is the category of Graphic Novels and Comic Books.

Short Stories

Well, this type of Genre may fit into any number of genres. In Short stories, there is only one plot to it, no subplot in this Genre. 

Tall Tales stories are not realistic or don’t try to become realistic. 

Academic Writing Genre (Types of Writing Genres)

Analytical writing.

In Analytical writing, the author has a chance to include persuasive writing. A common layout uses the structure of methods, results, introduction, summary, and discussion. 

Professional Writing 

Professional Writing is a wide category that includes emails, studies, reports, business letters, and summaries. If you are writing for a client, then it is beneficial for you to follow the style rule of the company. 

Argumentative Writing

Argumentative writing is a type of academic essay. In this, the writer breaks down an idea into its parts and then offers evidence for each part. This writing is mostly based on understanding and reading fiction or nonfiction texts. 

Argumentative writing has three sections:

• Evidence or supporting point.
• Conclusion.

Most Common Types of Writing Genres That You Should Know

Descriptive writing .

In Descriptive writing, the author writes about every aspect of the person, place, or event and describes all aspects in detail. 

Example of Descriptive Writing:

• Narrative Nonfiction.
• Fictional Stories.

Expository Writing

Expository writing is used to educate the reader. So the main goal of expository writing is to teach the reader rather than entertainment.

Example of Expository Writing:

• Technical Writing.
• Recipes writing.

Narrative Writing

Narrative Writing is used to tell people what happens somewhere or with someone. Narrative Writing includes Fiction and nonfiction. Whereas nonfiction is based on real events, and fiction writing is completely made up. 

Example of Narrative Writing:

• Short-story.
• Presentations
• Speeches, and many more.

Persuasive Writing

Persuasive writing is used to convince the reader about something. This type of writing is written when the author has a strong opinion on something. It is used to encourage people to take action regarding any issue. 

Example of Persuasive Writing:

• An opinion piece in the newspaper.
• Sales writing.

Read more about writing styles: Different Types Of Writing Styles

Now you know the different types of writing genres and their most used forms. So which Genre or form is close to you, and which one do you use the most. In this blog, we provide you with a short guide to types of writing genres, with the most common Genre that you should know. 

I hope you like it!

Frequently Asked Questions

Q1.what are the seven styles of writing.

The seven most common types of essay writing Narrative Descriptive Expository Persuasive Compare  Reflective Personal

Q2. What are the three main genres of literature?

The three major genres are: Drama Poetry Prose

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Recent Posts

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

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

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

Read:  List of top 10 Online Dictionaries for Writers.

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

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

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

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

• Point of views

• Character

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

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

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

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

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

• Dialogues

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

• Narration

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

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

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

• Structure

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

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

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

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

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

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

• Point of Views

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

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

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

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

Read:  List of Most Prestigious Literary Awards in 2022

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

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2.2: Elements of Creative Nonfiction

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• Page ID 40374

• Heather Ringo & Athena Kashyap
• City College of San Francisco via ASCCC Open Educational Resources Initiative

The main elements of creative nonfiction are setting, descriptive imagery, figurative language , plot , and character . The overarching element or requirement that distinguishes creative nonfiction from any other genre of writing is that while other literary genres can spring from the imagination, creative nonfiction is, by definition, true. As you complete the assigned readings in this chapter, keep track of the following elements as they arise in your readings: see if you can identify each of them. Learning these elements now will form a solid foundation for the rest of the class.

Each story has a setting. The setting is the place where the story takes place. Usually, an effective story establishes its setting early in the story: otherwise readers will have a difficult time visualizing the action of the story. Below is an example of how a writer might establish setting in a way which immerses the reader: by showing rather than telling.

Which of the above lakes would you want to visit? Which one paints a more immersive picture, making you feel like you are there? When writing a story, our initial instinct is usually to make a list of chronological moments: first I did this, then I did this, then I did that, it was neat-o. That might be factual, but it does not engage the reader or invite them into your world. It bores the reader. Ever been stuck listening to someone tell a story that seems like it will never end? It probably was someone telling you a story rather than using the five senses to immerse you . In the example above, the writer uses visual (sight), auditory (sound), olfactory (smell), tactile (touch), or gustatory (taste) imagery to help the reader picture the setting in their mind. By the final draft, the entire story should be compelling and richly detailed. While it's fine to have an outline or first draft that recounts the events of the story, the final draft should include dialogue, immersive description, plot twists, and metaphors to capture your reader's attention as you write.

"Eibsee Lake" by barnyz , 2 August 2011, published on Flickr CC BY-NC-ND 2.0

Descriptive Imagery

You have probably encountered descriptive imagery before. Basically, it is the way the writer paints the scene, or image, in the mind of the reader. It usually involves descriptions of one or more of the five senses: sight, sound, smell, touch, or taste. For example, how would you describe a lemon to a person who has never seen one before?

activity: describe a lemon

"Lemon" by André Karwath (2005) is licensed CC BY-SA 2.5

Imagine you are describing a lemon to someone who has never seen one before. How would you describe it using all five senses?

One might describe a lemon as yellow, sour-smelling and tasting, and with a smooth, bumpy skin. They might describe the sound of the lemon as a thump on the table if it is dropped, or squelching if it is squished underfoot. By painting a picture in the reader's mind, it immerses them in the story so that they feel they are actually there.

Figurative Language

As a counterpart to descriptive imagery, figurative language is using language in a surprising way to describe a literary moment. Figurative language can take the form of metaphor, such as saying "the lemon tree was heavy with innumerable miniature suns." Since the lemons are not actually suns, this is figurative. Figurative language can also take the form of simile: "aunt Becky's attitude was as sour as a lemon." By comparing an abstract concept (attitude) to an object (lemon), it imparts a feeling/meaning in a more interesting way.

Plot is one of the basic elements of every story: put simply, plot refers to the actual events that take place within the bounds of your narrative. Using our rhetorical situation vocabulary, we can identify “plot” as the primary subject of a descriptive personal narrative. Three related elements to consider are scope, sequence, and pacing.

The term scope refers to the boundaries of plot. Where and when does the story begin and end? What is its focus? What background information and details does the story require? I often think about narrative scope as the edges of a photograph: a photo, whether of a vast landscape or a microscopic organism, has boundaries. Those boundaries inform the viewer’s perception.

The way we determine scope varies based on rhetorical situation, but I can say generally that many developing writers struggle with a scope that is too broad: writers often find it challenging to zero in on the events that drive a story and prune out extraneous information.

Consider, as an example, how you might respond if your friend asked what you did last weekend. If you began with, “I woke up on Saturday morning, rolled over, checked my phone, fell back asleep, woke up, pulled my feet out from under the covers, put my feet on the floor, stood up, stretched…” then your friend might have stopped listening by the time you get to the really good stuff. Your scope is too broad, so you’re including details that distract or bore your reader. Instead, focus on the most exciting or meaningful moment(s) of your day: "I woke up face-down to the crunch of shattered glass underneath me. When I wobbled to my feet I realized I was in a large, marble room with large windows overlooking the flashing neon lights of the Las Vegas strip. I had no idea how I got there!" Readers can expect this story will focus on how the storyteller arrived in Las Vegas, and it is much more interesting than including every single detail of the day.

The sequence of your plot—the order of the events—will determine your reader’s experience. There are an infinite number of ways you might structure your story, and the shape of your story is worth deep consideration. Although the traditional forms for a narrative sequence are not your only options, let’s take a look at a few tried-and-true shapes your plot might take.

Freytag's Pyramid is in the public domain

Freytag's Pyramid: Chronological

A. Exposition : Here, you’re setting the scene, introducing characters, and preparing the reader for the journey.

B. Rising action : In this part, things start to happen. You (or your characters) encounter conflict, set out on a journey, meet people, etc.

C. Climax : This is the peak of the action, the main showdown, the central event toward which your story has been building.

D. Falling action : Now things start to wind down. You (or your characters) come away from the climactic experience changed—at the very least, you are wiser for having had that experience.

E. Resolution : Also known as dénouement, this is where all the loose ends get tied up. The central conflict has been resolved, and everything is back to normal, but perhaps a bit different.

In Medias Res

While Freytag's Pyramid tends to follow a linear or chronological structure, a story that begins in medias res begins in the middle of the action. In fact, the Latin translation for this term most literally means "in the middle of things." This is a more exciting way to start a story in that it grabs the readers' attention quickly.

There I was floating in the middle of the ocean, the sharks with laser beams attached to their heads circling hungrily, the red lights bouncing off of the floating disco ball upon which I clung to for dear life, when I thought back to the events which led to this horrifying situation...

The best In Medias Res beginnings make the reader go "WHAT THE HECK IS GOING ON HERE?" and want to continue reading. They will usually follow the following inversion of Freytag's Pyramid:

C. Climax : This is the peak of the action, the main showdown, the central event of the story where the conflict comes to a head. A. Exposition : Here, you’re setting the scene, introducing characters, and preparing the reader for the journey.

B. Rising action : In this part, things start to happen. You (or your characters) encounter conflict, set out on a journey, meet people, etc. C. Climax : the story briefly returns to the moment where it started, though usually not in a way which is redundant (not the exact same writing or details)

Nonlinear Narrative

A nonlinear narrative may be told in a series of flashbacks or vignettes. It might jump back and forth in time. Stories about trauma are often told in this fashion. If using this plot form, be sure to make clear to readers how/why the jumps in time are occurring. A writer might clarify jumps in time by adding time-stamps or dates or by using symbolic images to connect different vignettes.

While scope determines the boundaries of plot, and sequencing determines where the plot goes, pacing determines how quickly readers move through the story. In short, it is the amount of time you dedicate to describing each event in the story.

I include pacing with sequence because a change to one often influences the other. Put simply, pacing refers to the speed and fluidity with which a reader moves through your story. You can play with pacing by moving more quickly through events, or even by experimenting with sentence and paragraph length. Consider how the “flow” of the following examples differ:

A major requirement of any story is the use of characters. Characters bring life to the story. Keep in mind that while human characters are most frequently featured in stories, sometimes there are non-human characters in a story such as animals or even the environment itself. Consider, for example, the ways in which the desert itself might be considered a character in "Bajadas" by Francisco Cantú.

Characterization

Whether a story is fiction or nonfiction, writers should spend some time thinking about characterization: the development of characters through actions, descriptions, and dialogue. Your audience will be more engaged with and sympathetic toward your narrative if they can vividly imagine the characters as real people.

Like setting description, characterization relies on specificity. Consider the following contrast in character descriptions:

How does the “cry-smile” detail enhance the characterization of the speaker’s parent?

To break it down to process, characterization can be accomplished in two ways:

• Directly , through specific description of the character—What kind of clothes do they wear? What do they look, smell, sound like?—or,
• Indirectly , through the behaviors, speech, and thoughts of the character—What kind of language, dialect, or register do they use? What is the tone, inflection, and timbre of their voice? How does their manner of speaking reflect their attitude toward the listener? How do their actions reflect their traits? What’s on their mind that they won’t share with the world?

Thinking through these questions will help you get a better understanding of each character (often including yourself!). You do not need to include all the details, but they should inform your description, dialogue, and narration.

Point of View

The position from which your story is told will help shape your reader’s experience, the language your narrator and characters use, and even the plot itself. You might recognize this from Dear White People Volume 1 or Arrested Development Season 4, both Netflix TV series. Typically, each episode in these seasons explores similar plot events, but from a different character’s perspective. Because of their unique vantage points, characters can tell different stories about the same realities.

This is, of course, true for our lives more generally. In addition to our differences in knowledge and experiences, we also interpret and understand events differently. In our writing, narrative position is informed by point-of-view and the emotional valences I refer to here as tone and mood.

point-of-view (POV): the perspective from which a story is told.

• This is a grammatical phenomenon—i.e., it decides pronoun use—but, more importantly, it impacts tone, mood, scope, voice, and plot.

Although point-of-view will influence tone and mood, we can also consider what feelings we want to convey and inspire independently as part of our narrative position.

tone: the emotional register of the story’s language.

• What emotional state does the narrator of the story (not the author, but the speaker) seem to be in? What emotions are you trying to imbue in your writing?

mood: the emotional register a reader experiences.

• What emotions do you want your reader to experience? Are they the same feelings you experienced at the time?

A Non-Comprehensive Breakdown of POV

Typically, you will tell your story from the first-person point-of-view, but personal narratives can also be told from a different perspective; I recommend “Comatose Dreams” to illustrate this at work. As you’re developing and revising your writing, try to inhabit different authorial positions: What would change if you used the third person POV instead of first person? What different meanings would your reader find if you told this story with a different tone—bitter instead of nostalgic, proud rather than embarrassed, sarcastic rather than genuine?

Furthermore, there are many rhetorical situations that call for different POVs. (For instance, you may have noticed that this book uses the second-person very frequently.) So, as you evaluate which POV will be most effective for your current rhetorical situation, bear in mind that the same choice might inform your future writing.

dialogue: communication between two or more characters. For example...

"Hate to break it to you, but your story is boring."

"What? Why do you say that?" he stuttered as his face reddened.

"Because you did not include any dialogue," she laughed.

Think of the different conversations you’ve had today, with family, friends, or even classmates. Within each of those conversations, there were likely pre-established relationships that determined how you talked to each other: each is its own rhetorical situation. A dialogue with your friends, for example, may be far different from one with your family. These relationships can influence tone of voice, word choice (such as using slang, jargon, or lingo), what details we share, and even what language we speak.

Good dialogue often demonstrates the traits of a character or the relationship of characters. From reading or listening to how people talk to one another, we often infer the relationships they have. We can tell if they’re having an argument or conflict, if one is experiencing some internal conflict or trauma, if they’re friendly acquaintances or cold strangers, even how their emotional or professional attributes align or create opposition.

Often, dialogue does more than just one thing, which makes it a challenging tool to master. When dialogue isn’t doing more than one thing, it can feel flat or expositional, like a bad movie or TV show where everyone is saying their feelings or explaining what just happened. For example, there is a difference between “No thanks, I’m not hungry” and “I’ve told you, I’m not hungry.” The latter shows frustration, and hints at a previous conversation. Exposition can have a place in dialogue, but we should use it deliberately, with an awareness of how natural or unnatural it may sound. We should be aware how dialogue impacts the pacing of the narrative. Dialogue can be musical and create tempo, with either quick back and forth, or long drawn out pauses between two characters. Rhythm of a dialogue can also tell us about the characters’ relationship and emotions.

Contributors and Attributions

• Adapted from "Chapter 2: Telling a Story" from EmpoWord by Shane Abrams, Chapter 2, licensed CC BY NC 4.0 by Portland State University

10 Impactful Elements of Creative Writing

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

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

Table of Contents

The Elements of Creative WritingYou Should Know

Characterization.

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

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

Plot and Structure

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

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

Setting and Atmosphere

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

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

Dialogue and Voice

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

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

Theme and Symbolism

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

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

Emotional Resonance

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

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

Language and Style

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

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

Foreshadowing and Pacing

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

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

Suspense and Tension

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

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

Originality and Innovation

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

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

Understanding Elements with the Help of a Creative Writing Example

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

The Creative Writing Piece

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

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

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

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

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

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

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

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

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

Breaking Down Elements of Creative Writing from the Story

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

Element 1: Idea Generation

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

Element 2: Character Development

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

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

Element 3: Plot and Structure

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

Element 4: Setting and Atmosphere

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

Element 5: Dialogue and Voice

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

Element 6: Theme and Symbolism

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

Element 7: Emotional Resonance

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

Element 8: Language and Style

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

Element 9: Foreshadowing and Pacing

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

Element 10: Originality and Innovation

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

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

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

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Part I: Construction

2. What Is Genre and How Is It Determined?

Webster’s Encyclopedic Unabridged Dictionary of the English Language defines genre as “a category of artistic, musical, or literary composition characterized by a particular style, form, or content.” 5

In other words, genre categorizes movies. Categorizing movies makes it easier for the viewer to discover what he or she likes and will want to see. Putting a movie into a particular genre or category does not diminish the quality of the movie by assuming that if it can be put into a genre, the movie is ordinary and lacks originality and creativity.

Genre consists of four elements or parts: character, story, plot and setting. An equation for remembering the genre is: S tory ( A ction) + P lot + C haracter + Se tting = G enre. This becomes an easy way to remember the elements of a genre.

The above elements of story, plot, setting, and character equal a specific category of movie. These elements are discussed regarding how their variations create a different category of movie.

Some genres may be as general as comedy but do not have sub-genres like comedy. The sub-genres of comedy differ from one another based on the fluctuations of the characters and the story.

Other genres are crime, war, Westerns, spy, adventure, science fiction, horror, fantasy, biography, and mystery. This is why this chapter is longer than the others because of the discussion of these variations.

Drama can be considered a genre, even though some critics do not consider it a genre because it is too general. If the movie elements are serious and cannot fit into a more limited genre, then it can be considered a drama.

Categorizing a movie indirectly assists in shaping the characters and the story of the movie. The shaping determines the plot and best setting to use.

Movies often have genres that overlap, such as adventure in a spy movie, or crime in a science fiction movie. But one genre is predominant.

Other movie labels cannot be considered genres. Film noir, thrillers, and action movies are not actually genres but a director’s style, which will be discussed in a later chapter. They are considered director’s style because their characteristics include cinematography and editing, which are not among the four elements that make up a genre. These labels reflect or accentuate the movie genre rather than defining the genre.

Likewise, musicals and animation are not considered genres but rather “treatments” as to how a particular movie genre is told, even though people, over generations, refer to these types of movies as genres.

You have to be very specific in the discussion of movie terminology, sticking within the particular definition of the terms. Some people will say that genres are labels that are given to stock movies, stating that these movies are routine. Being labeled in a genre is not a negative action.

Movies have their own personalities. Each movie is different. Having a movie labeled in a genre assists people to find a particular movie that they may be interested in watching. Many people like a specific genre or two and will only watch movies in those genres.

What People Like the Most about a Movie

People will state that a particular movie had a good plot or an intriguing story. What people are actually referring to is that they enjoyed the characters, the problems/conflict the characters got into, and how the characters got out of the problems and conflict.

People love a movie because they like to watch characters/people. How many people do you know who like to go to the mall, plaza, or beach and state that they like to people watch? How many people are nosey neighbors because they like to watch what is going on with the people around them?

People may like to watch crime movies or Westerns. They like characters within this particular type of story because of the amount of action or the time period setting. People may like Westerns because they wish they lived in the 19th century because it was considered a simpler time.

Let the Genres Begin

We will begin to discuss the different genres, and even the sub-genres, for certain genre types. I will give a hypothetical example of each so you will begin to see how different genres are formed.

Keep in mind with movie genre, it is the characters that make the movie, and this term is obvious enough that no explanation is needed.

The story is the situation that the characters are in and try to get out of, accomplish, conquer, or overcome. The story has a beginning, middle, and end. More discussion about those will be given in Chapter Three.

The plot is the outline or how the story is told. Remember when people state that they did not like the plot? What they are referring to is that they did not like the story. I will be referring to this concept over and over again throughout the book.

There are only a limited number of plots as the plot is a general outline for a story, like revenge. A particular plot describes how a story will begin, develop, and end. This type of story will have a different format than a plot such as man against nature or man versus the government.

In addition, as we progress through genres, we want to examine how the genre elements change.

You will be able to see that the background and actions of the characters change as the type of stories are different. The setting is dependent upon the story, but the plot remains the same.

I want to stress that we are going through the different genres so character and story development can be seen for each of the genres rather than just giving a general overview of the term genre. I want you to see how only certain elements are contained in a genre, and other elements outside of character, story, plot, and setting are not part of determining a genre.

Comedy Genre

We begin by discussing one of the most popular, general, and complicated genres—comedy.

The Merriam-Webster Dictionary defines comedy simply as “a play, movie, television program, novel, etc., that is meant to make people laugh.” 6 We will discuss comedy in a little more detail than that.

Everybody likes a comedy because everybody likes to laugh and feel good. People like to watch a comedy after a bad day, because once the movie has ended, you can deal with the negativity of the day easier. This is why even horrendous comedy movies can end up making a profit.

The characters and story for a comedy hinge on three areas: the unexpected, the unusual, and repetition. These three areas will generally make people laugh. Generally, a comedy will have a happy ending. Even though some people will deny it, everybody likes a happy ending because it makes them feel good. This is why comedies are so popular.

The complicated part of the comedy genre is that there are different types or sub-genres of comedy; depending upon how outrageous and impossible the characters and story are in the movie. Keep in mind that the plot is general, and the setting can be set in any time or any place.

We will discuss the comedy genre in terms of the different sub-genres of comedies and how the characters and story vary per sub-genre.

Comedies run a gamut, ranging from very physical to nonsensical to subtle to dark. We will discuss the sub-genres in that order, using the same hypothetical example but varying it to show how the different comedy sub-genres will change the characters’ personalities and actions and the story.

The sub-genres of comedy are slapstick, farce, satire, and dark. Any other genres are a variation of these four types. Comedy is actually a variation of physical action and ridicule. The only exception is screwball comedy.

Screwball comedy has many different traits that are outside of a genre. Screwball comedy, because it existed during the Great Depression, contains class conflict between the middle and lower classes and the upper class, along with other peculiarities that only existed during that time period.

Finally, “chick flicks” are generally comedy movies that star women. The Urban Dictionary defines chick flicks as “A film that indulges in the hopes and dreams of women and/or girls and has a happy, fuzzy, ridiculously unrealistic ending.” No doubt the concept of chick flicks goes back to what was previously mentioned; people like a particular type of movie because of the characters in the movie.

Slapstick Comedy

The Merriam-Webster Dictionary defines slapstick as comedy that involves physical action (such as falling down or hitting people). 7 Slapstick comedy, because of the physical action, which becomes extreme at times, has unrealistic characters in an unbelievable story or possibly a story linked together by episodes of the main character’s/protagonist’s life.

The plot is an inner conflict that builds and ends with these various comedic episodes. The setting can be any time or place that best exemplifies the comic antics that the characters go through.

Let’s take a look at an example that demonstrates these elements.

Jack is down on his luck. He helps a girl, Suzie, whose car broke down near where Jack works. He helps her, and then she leaves, but he cannot get her out of his mind.

Then he sees her in one of his classes. He is afraid to talk to her though. Every time he tries to go up to her, he either stumbles and falls or gets involved with helping someone with disastrous consequences. The last time someone asked him to hold onto one of the ropes of the theatre rigging system where the backdrops were attached, too many stage weights attached to the rigging resulted in Jack flying into the air because he did not let go of the rope.

As luck always has it in a slapstick comedy, Suzie is still driving the old broken down car. She breaks down again in almost the same locations as last time. Jack swallowed what little pride he had left, and went to help her. He got her car started, but she did not drive away immediately after getting it fixed but stayed to talk to Jack. They talk, kiss, and accidentally turn the outside sprinkler system on, getting soaking wet in the romantic conclusion.

From this example, you can see that slapstick comedy is all about the characters and the episodic situations that they get into, resulting in physical comedy. The plot is inner conflict where Jack, the protagonist, wants to turn his life around. This then becomes the story. The story has a climax between Jack and Suzie. The setting is a college campus.

The Merriam-Webster Dictionary defines farce as “a funny play or movie about ridiculous situations and events.” 8

Plot has more prominence in farce than in slapstick because there is a satirical story. In other words, the story concerns a topic that is ridiculed in an extreme way. We can adjust the last example quite easily to demonstrate this.

Jack and Suzie are college students, and Alec is a well-known actor coming to the campus to play a role in the theatrical production at the college. This event has been arranged so the college theatre department can make money. Jack takes a dislike to Alec, but Suzie finds him fascinating. Alec finds himself fascinating. Slapstick is shown by the over-the-top acting that Alec does.

Jack has a difficult time wondering why Alec is famous. Suzie soon finds disenchantment with Alec because he is only concerned about himself. Jack and Suzie and the other theatre majors decide to take the actions of the play to the extreme to humiliate and humble Alec.

In a water scene, where Alec is supposed to pantomime having water thrown on him, real water is used. This drives Alec into a hysterical rage, and he chases Jack and Suzie on stage, off the stage, around the theatre, and out the theatre doors. Alec winds up accidently knocking himself unconscious. Jack states that the most natural acting that Alec has done is being knocked out.

Next, Jack develops a hair-brained scheme so the theatre department can make money. Jack and Suzie make a list of the wealthiest men and women in the area. They invite as many of these wealthy people in the area to participate in an auction. There will be five male winners and five female winners. The prize is that they win Jack and Suzie for a day to act as their slaves.

You can see that a farce has more of a story than slapstick comedy. The plot has an inner conflict of the protagonists, Jack and Suzie, needing money. This creates a story where college theatre students try outrageous ways to make money to save the theatre department. The story ridicules colleges, actors, and theatres in general. The actions of the characters are very slapstick with physical comedy throughout the movie.

The Merriam-Webster Dictionary defines satire as “a way of using humor to show that someone or something is foolish, weak, bad, etc.: humor that shows the weaknesses or bad qualities of a person, government, society, etc.” 9

Satire is subtler than farce or slapstick in the actions of the characters. The plot develops an inner conflict, but the story is more realistic and may, at times, not even appear to be a comedy.

In this example, the setting can remain as a college campus.

Jack and Suzie, once again, are college students. Alec, though, is the instructor, who has a drinking problem, and he is directing a class that Jack and Suzie have to take as a requirement of their theatre major. Alec tries to convince the students that there is no right or wrong way to direct, act, or design. In his mind, theatre is all done with emotion. If it feels right, then do it. In order to help them understand and develop their talents as directors, Alec gives the same answer to any question Jack and Suzie ask: “If it feels right, then do it.”

Jack struggles to try and comprehend what Alec’s statement means. He does not understand why he has to go through four years of college if he just has to recognize what feels right. Jack asks Alec for more of a discussion on what feels right. Alec then tells him, “You’ll know.” This frustrates Jack even more because it does not take four years in college to put to use nine words that do not mean anything specific in regard to studying theatre. He questions the college administration as to why they are paying so much for Alec. The college administration retorts that Alec is one of the best in his field. Jack states that Alec teaches absolutely nothing of any value. The administration states, “That shows how good he is; you do not even realize the education you are receiving.”

Defeated, Jack goes to see Suzie, his last hope. Suzie tells him not to be too quick to judge. Suzie states that she believes she understands what Alec is driving at with his ideas. Suzie tries to demonstrate the statements that Alec has mentioned. After a few hours Suzie becomes frustrated and states the both of them must go to see Alec.

After two hours with Alec, Jack and Suzie are delirious. Being delirious, they finally fathom what Alec means. They both run out of Alec’s house and down the street shouting, “We have identified what it is!”

From this discussion of the characters and story, physical actions do not enter as a predominant element that they do in straight slapstick or farce. The satire is an obvious ridicule of theatre as a major and the type of people in theatre.

A more subtle satire would be Jack and Suzie acting as a clique and by being prima donnas. They mock a new theatre major, Alec, who wants to do a good job. Alec starts to develop his talent under strenuous and often humorous situations with consequences to the amazement of Jack and Suzie. But then he realizes what he has to give up for it. He quits for his own self-respect.

The above are two demonstrations of satire.

The first example, depending on the treatment, could become either a farce, if Jack’s, Suzie’s, or Alec’s actions become too outrageous, exaggerated, and over-the-top, or it could become a satire. The line of demarcation between farce and satire are, as with anything that is analytical, left up to an individual’s judgment. When does extreme satire become farce? A good way to judge farce or satire is how much unrealistic physical comedy is in the movie.

Dark Comedy or Black Comedy

Dictionary.com defines dark humor or black comedy as “in literature and drama, combining the morbid and grotesque with humor and farce to give a disturbing effect and convey the absurdity and cruelty of life.” 10 11

Dark humor and black comedy are terms that make fun of or ridicule taboo topics like death. The characters are involved in a story that goes to the point of being grotesque and not being funny.

With this example of a college theatre as the setting, and the plot being the inner conflict of the main character, how can the characters and story become absurd, morbid, and grotesque when discussing the taboo topic of death? Quite easily actually!

Insecure about his acting ability and visibly showing this in public auditions, Jack does not obtain the role on stage that he desires, Henry V or “Hank 5,” which is Jack’s nickname for him. In order to relieve himself of his frustrations, Jack tortures and kills everyone who receives this part in the most brutally visual ways imaginable. He does this in hopes of eventually receiving this specific coveted role. Jack, though, is the only one who believes this role is so desirable and sought after.

Jack kills the first person who is given the role, Alec, by drawing and quartering him before he hangs him.

The second person to be given the role is Suzie, which really angers and infuriates Jack that a woman would get the role before him. This action adds absurdity to the story.

This is a dark humor movie rather than a serious movie because of the reasons, background, and extreme actions in the story. The characters act realistically based on their personalities, which are all unusual. The physical action is real so this scenario cannot be considered slapstick.

Screwball Comedy

This comedy sub-genre is named after a baseball pitch, the screwball, which was perfected by baseball pitcher Carl Hubbell in the 1930s. Screwball comedy only lasted from 1934, when the Great Depression was in full swing, to 1941, when World War II began.

Screwball comedy was based on reverse class snobbery where it is more noble to be poor than rich. The rich were portrayed as eccentric and wasteful fools. Romance is one of the key elements of screwball comedy. With the two classes of upper and lower or middle class working together, screwball comedies can be considered as recommending socialism. The story is a little different, but overall, it can be considered within the realm of satire because the current society was being ridiculed.

Screwball comedy also had the following attributes:

• The poor and middle class would go to the movies to see the rich get their comeuppance. This is why movies were one of the few industries of the period that made a profit. People felt a passion of hate toward the upper class because of the mess lower classes assumed the upper class made of the economy.
• Many of the most famous movie stars of the period appeared in screwball comedies.
• People went to the movies to see the elegant clothes, cars, and furniture, so they could wish they had those items.

Any referral to a movie as a screwball comedy after 1941 is inaccurate, even if it is a re-make of a movie released during the 1934-1941 period. A re-make does not have the same relevancy, power, or passion as the original movie.

A contemporary screwball-type comedy generally is fast paced with an eccentric character, but it does not have the class snobbery. Any class snobbery in the movie does not have the contemptable hatred toward the upper class as it did these movies during the Great Depression. The emotional rage cannot be duplicated.

Romantic Comedy

Dictionary.com defines romantic comedy as “a light and humorous movie, play, etc., whose central plot is a happy love story.” 12

Romantic comedy is contained in most comedies as a sub-story, such as The Front Page , which has an underlying romantic story of Hildy wanting to marry his fiancée and leave newspaper reporting. However, the overriding story of the movie concerns reporters and editors doing anything in order to get the story.

Comic romance is a big element in screwball comedy also, but other story lines are more dominant. Can you think of a movie that has the primary story line as being a romantic relationship? If you can, how did you like the movie?

Comedy Conclusion

Comedy is varied and complex. You can see how the stories, along with the personalities and actions of the characters, change, developing different sub-genres of the comedy being expressed. All comedy stems from either slapstick or satire.

Let’s move on to a new genre.

Crime Genre

Staying with the letter “C,” let’s move on to the crime genre.

The Merriam-Webster Dictionary defines crime as “an act or the commission of an act that is forbidden or the omission of a duty that is commanded by a public law and that makes the offender liable to punishment by that law” or more simply “a grave offense especially against morality.” 13 The definition gives us a lot to work with, so we will do our best to bring it into focus.

The first point is that every aspect of the crime genre is dramatic, so the elements are quite different than a comedy. The setting for crime genre can be any location in the world and any year, because crime is something that has always existed in society. We will try to narrow this down for our example.

The plot is an inner conflict for the criminal to succeed or for the “good guy” to succeed. The story is a series of developing incidents where the criminal or the “good guy” is the protagonist and a conflict has to be overcome. The characters develop from the story and plot.

Let’s demonstrate two examples with Jack being the protagonist in both situations. In the first situation, Jack is a criminal and the second one Jack is the “good guy.”

First situation: Jack is a nice, helpful individual at the beginning of the movie. He soon finds that he has to help a friend, Suzie, get out of a jam because she owes a lot of money to a gambling boss, Alec. Jack goes and begins to negotiate honestly in regard to paying Suzie’s debt. Alec laughs at him and is going to throw him out. Jack, even though he is a nice guy, has a very bad temper. This often is the situation in the crime genre. Jack becomes extremely angry with Alec laughing at him, and he kills Alec.

Alec’s men come in and Jack tells them he is their new boss. The men don’t like it, but they reserve any action for a later time. Suzie likes the new Jack and wants to be his girl. Suzie is aroused by the violence in Jack and cannot keep her hands off him.

Jack soon becomes more successful than Alec ever was, but he begins to become too egotistical. With his ego getting in the way, Jack makes a mistake when trying to take over a gambling casino. Jack is killed and the men kill Suzie. The most jealous, vindictive, right-hand man in the gang takes over the gambling empire.

Stories in the crime genre are often about people seeking power. Usually, the criminals want control over the city where the story takes place. Generally, they want to be in charge of the drug trade, gambling, liquor (depending upon the year), or they want to rise up in the family or gang. There are always periods of violent action with the protagonist trying to reach his/her goal.

Second situation: Jack is a police detective in a large city like New York City or Los Angeles. Jack is a hardworking, honest detective. He is dedicated to his job and his partner, Alec. Jack spends most of his free time with Alec and Alec’s family. Alec is murdered. Even though he wasn’t put on the case, because they were partners and friends, Jack spends his free time investigating who murdered Alec. During his investigation he meets Suzie. Suzie knew Alec and considered him a friend. Suzie asks if she can help with looking into the murder. Jack, after some convincing, agrees.

Suzie and Jack start to become close during the investigation, and Jack falls in love with her. This is often a foreshadowing as to how the story is going to end. After a few dead ends and blocked paths in the investigation, Jack picks up some information that leads him down an unsuspected path. Jack finds that Suzie was a little more than a friend to Alec, so Suzie has an ulterior motive for assisting Jack. Jack discovers that Suzie murdered Alec and was going to kill Jack, too. Jack arrests Suzie for Alec’s murder.

These are the elements and formats of the crime genre. The crime can be different than murder. Crimes encompass a wide variety of different actions. The main characters do not have to be crime bosses or police detectives, but they generally have a similar background. Very seldom do they lead a life like a factory worker or office employee. This is one reason why the crime genre is so popular. People want to watch characters that lead exciting lives different from theirs.

The stories in the crime genre are similar to the aforementioned two examples where the crime is more than a speeding ticket and provides an interesting and exciting story. The plot can be an inner conflict, once again, of the protagonist, and the setting is usually in the United States or Europe in modern times.

Western Genre

Because of the similarities between the Western and crime genres, I have included back-to-back discussions of the two genres.

The Merriam-Webster Dictionary defines Western simply as “of or relating to the American West.” 14 Keeping this in mind, we will begin by discussing the setting.

The setting provides the major difference between the crime genre and the Western genre. Instead of the characters and story occurring in the 1930s or the 1990s, the time for a Western is in the early to late 19th century or anytime through the 1820s to 1890s. Once the 20th century arrives, except for the beginning years, the feeling of the Old West is gone, which brings up the other aspect of the setting that defines the Western genre. The Western genre takes place in the West. Depending upon the year, the West could be Ohio in the 1820s, Missouri in the 1850s, or Nevada in the 1880s.

The main character or protagonist is an individualist, who rides into town for a specific reason, or he may run into trouble while in town, or he may be hired to do something like blaze a trail West. The characters and the stories are straightforward. The interest is the developing story and the action-filled problems that the protagonist faces as he tries to accomplish what he set out to do.

The plot can still be one of inner conflict as the protagonist tries to accomplish the specific goal, quell the trouble in town, or overcome the obstacles of nature as the main character blazes the trail West.

An example of the Western genre has Jack being the individualist, loner riding into town. He has come to town to avenge the death of his partner. Outside of the setting, the same type of character and story could be used in the crime genre. While Jack begins to ask questions about what happened to his partner, he falls into the middle of a range war; a typical Western story, between two ranches over the grazing rights of land. Alec owns the one ranch, and Suzie (a woman) owns the other, which is a rarity in the West.

Jack gets to know Suzie as his inquiries continue. He begins a relationship with her. During the relationship, Jack gives Suzie a helping hand in the range war. Alec is totally evil, underhanded, and despicable in his actions. Westerns, even more contemporary ones, have an outright bad person like Alec. You can see this in crime genre movies also.

Jack defeats Alec in the range war, and in the process, finds that Alec also killed Jack’s partner. In the Old West, there can only be one climax to the story. Jack and Alec shoot it out; Alec is killed, and Jack and Suzie fall in love.

The Merriam-Webster Dictionary defines war as “a state or period of fighting between countries or groups.” 15 With this definition being direct, we can discuss the genre in the same manner. The war genre is straightforward because the movie is very limited in its parameters.

The setting and the year is very specific regarding the year and the location. If the movie takes place from the United States’ perspective, World War I would be from 1917 to 1918; World War II would be from 1941 to 1945; and the Korean Conflict, Vietnam War, Desert Storm, and other Middle East conflicts follow the same procedure. The locations would be an area where the war occurred or in the United States to concentrate on how the home front was coping.

The plot is the inner conflict with dealing with war. The characters and story are based on a battle, trying to obtain overall victory at some point of the war, dealing with losing, dealing with death, dealing with fighting, being a prisoner, or coping at the home front or a location where the fighting is not taking place.

World War II encompasses the war genre. Jack is a soldier, who is a married teacher with two children. He is drafted by the United States shortly after World War II started late in 1941. Jack was told by his wife, Suzie, not to volunteer for any extra missions so he could come home alive to his family when the war is over. Of course, this is not going to be true because a war movie has to have a daring mission.

After being in Europe for about a year and losing many battles, Jack becomes frustrated because he knows the war is not going to end soon. Suzie dreads each day because of the emptiness in her life without Jack. To her, each day never appears to end. She is stressed because she has a continuous challenge to make ends meet.

Jack and seven other men are given a chance to go on a dangerous mission to blow up a German stronghold and capture a high-ranking German officer. These men are asked to go on this mission because of their intelligence and personalities. If they succeed in this mission, the war will likely be over quicker than expected, because of the information they will receive from this German officer. Jack remembers that his wife told him never to volunteer, but he knows he only has once choice. He volunteers. Suzie gets a feeling of foreboding and is suddenly afraid something bad is going to happen. She starts to become distant to her friends and even her children.

Jack goes on the mission. Everything is timed perfectly. The fortress is blown up and the German officer is captured. However, the trip back to the Allied lines did not go as planned. Half the men are killed, Jack is wounded, and the German officer is killed.

Suzie’s feeling of foreboding becomes so great that, at one point, she passes out with anxiety. The Christmas holidays are near, and Suzie is persuaded to take the children to church. As the service begins, Jack walks into the church and joins Suzie and the children. The story ends happily, but with a cost. In order to give the story a more realistic feel, the protagonist is not totally successful with what he had set out to do.

The Merriam-Webster Dictionary defines spy as “to watch secretly usually for hostile purposes” or “to search or look for intensively.” 16 I want to give two short definitions to emphasize the spy genre because it is a combination of watching and searching, but I do not want it to get confused with the next genre of adventure.

The spy genre sounds like it could cross over to the previous genres already discussed. But only the setting and the plot can be standard. The setting could be the same as the war, Western, or crime genres, but it does not make it a war, Western, or crime genre. You have to remember that the story makes the genre because it controls everything else.

In the spy genre, the main character generally works under an assumed identity in order to find something or destroy something of harm controlled by a nemesis. As in past genres, the plot is the inner conflict of the protagonist. In this situation, he or she has a strong inner conflict to succeed at what he or she is assigned to act upon.

Thus, if the movie has any of the aforementioned characteristics but takes place during World War II, the movie is primarily a spy movie rather than a war movie. Remember, the setting does not determine the genre but the story does. The story is interconnected to the characters and the plot. The setting helps add the must-needed background and specificity to the movie, but it is not as interconnected as the other three genres.

In recent times, a male of the strong virile type plays the protagonist spy. So, we will demonstrate that this does not always have to be that way in a movie. We will take a woman, named Suzie, who is the spy protagonist. We will set the example during World War II. Unlike Jack in the war genre discussion, Suzie is chosen because of her background in languages and her photographic memory, giving her the ability to memorize lists of facts immediately. She is requested to go behind enemy lines as a civilian and obtain data that will debilitate the enemy thus giving the Allies the advantage and shortening the war by possibly years.

In order to be able to do this, and to prepare her mentally for the task, she is set to train for three weeks with an Army officer named Jack. Jack is very skeptical that Suzie will be able to pull the task off. Jack states that it is not because she is a woman, but the movie viewers know that her being a woman is exactly the reason.

Jack begins a rigorous training program just to say that he told her so. However, Suzie really masters everything Jack throws at her. After about a week, Jack sees this and starts to admire her strength and fortitude. Jack makes the training less rigorous because he only trains her to get behind enemy lines, get back to the Allied lines, and how to mentally survive torture. By the end of the three weeks, they begin to fall in love with each other, and Jack feels he should accompany her, but his command says that is impossible.

The time has arrived for Suzie to go. The French underground has managed to get her a clerical job where she can do some travelling including going to Normandy. Rather abruptly, Suzie plans a trip to Normandy. She studies the land and is able to secretly catch a glimpse of German maps showing where their military strength is in and around Normandy. Suzie rushes and gets the information off to the Allies before she is captured by the Germans. The Allies receive Suzie’s information, but they cannot help Suzie. The Germans find her guilty of being a spy and she is executed.

Can you see the difference between this example and the war genre example? Both have the same setting of World War II, but the spy genre example has a non-soldier searching for secret information, while the war genre had a group of soldiers going on a mission that was not secret. The war mission was behind enemy lines and in the war zone where the fighting was occurring. The spy genre does not occur in the war zone where there was fighting.

Do you see the differences in the stories?

The spy story has a lot less emotion and love between the main characters. The spy story has more suspense as Suzie is hunting for information. She is becoming involved in several tight situations where she barely misses getting caught by the Nazis. The war genre story has the one climatic battle that the whole conflict was moving toward.

Most of the time these two genres do not become this similar but these two examples make it easier to see the differences in the two genres.

Adventure Genre

The Merriam-Webster Dictionary defines adventure as “an undertaking usually involving danger and unknown risks” that is “an exciting or remarkable experience.” 17 From this definition, you can see that adventure is an action movie that overlaps with the spy genre with danger, risks, and excitement.

Both the adventure and spy genres can have exotic settings. The stories are normally about a person or group of people searching for something. During the journey of searching, dangerous situations are overcome by the main characters. The protagonist may end up getting involved in fighting to overcome social or moral injustices in the exotic location where he or she has journeyed.

The difference between this genre and the spy genre is, once again, the story. The spy genre has a story where something is searched for secretively, and the information itself contains secret information. This story has suspense based on timing and near misses.

The adventure genre’s suspense is found in the action and the chance that the protagonist may get killed without the espionage. The protagonist is an adventurer rather than a government employee.

Being bigger than life, the adventure genre contains a lot of explosive action throughout the movie. Remember that the story treatment, character background, and character development are big differentiations and distinctions that separate genres. The plot and the setting are also different between genres, and are reflective of the story and the types of characters.

Science Fiction Genre

Science fiction is linked to the previous genres of crime, Westerns, war, spy, and adventure by the basic theme. However, the genre elements are totally different.

The Merriam-Webster Dictionary defines science fiction as “fiction dealing principally with the impact of actual or imagined science on society or individuals or having a scientific factor as an essential orienting component.” 18 An example of science fiction is time travel, which has and is a popular topic.

Quite often, science fiction has a setting that takes place in the future. In this way, if the producer wants to comment on a particular problem in current society, the producer can set the problem in the future. The producer appears critical about the problem but not about the current society. The outcome of that problem, if it continues, shows how the future will look.

For science fiction, we can still stay with the plot of inner conflict, which can always be the plot, because a conflict is needed. The characters and the story can be the same as any other genre with variations, as we will demonstrate in the example.

In our example, Jack and Suzie, along with several hundred other people, are fed up with the crime and violence that exists where they live. No specific location is mentioned, so it can be anywhere in the world or universe.

In this movie, many of Jack and Suzies’ group are engineers who work endlessly to build several space ships that to travel to a new galaxy, away from the crime and chaos.  Researchers in this group toil endlessly to find a new galaxy that is livable for humans. Together they all dream of pioneering and developing this new world so there is no violence and everyone can live in harmony.

By seeing the people’s action of building space ships, the audience learns that the time is the future.

The space ships are finally finished and they are sent off. They find and arrive in the new world that is named New Earth. The people set up a colony and draft laws so there is no anarchy. Everything is great for two generations. The people live in harmony and enjoy each day to the utmost.

However, one day, someone is found dead and robbed. Everyone is left shocked. Because so much time has passed without violence, the police are unprepared. But they review the crime scene, and conclude that it was murder.

Since they have never investigated a murder, they  are unsure what should they do to find the murderer and how should they to go about doing it. They arrive at a procedure and find the murderer. The murder was an accident. The murderer was surprised as everyone else. The people realize a murder or accidental death can always happen, so the society has to be prepared and set up to handle it. Even though the story is fantastical in many ways, it can still make comments and raise questions about society and morality.

Science fiction genre, like any genre, can cross over at some point or points to another genre. This example crossed over to the crime genre. However, to determine the main genre, review the story, characters, plot, and setting together. In this situation, these elements are most geared toward the science fiction genre.

Fantasy Genre

The Merriam-Webster Dictionary defines fantasy as “something that is produced by the imagination: an idea about doing something that is far removed from normal reality.” 19

In other words, a fantasy movie has no limits. The setting could be anywhere at any time with characters who appear and act in any way the script writer wants. The story could be about anything. So let’s stick with one constant, the plot. The plot will be inner conflict.

According to Wikipedia, fantasy stays away from scientific and macabre story aspects, so it does not become a piece of science fiction or horror. You can see how all three genres: science fiction, fantasy, and horror are similar but different.

What would a fantasy example be like?

A group of misfits are given a task by a wizard to find the perfect person. They must do this in order to save their friend, who is terminally ill and will die shortly. The wizard tells them that their friend is not terminally ill but under an evil spell that he can break. The perfect person is the wizard’s fee for breaking the spell. The characters are Jack, Suzie, and Alec, who are misfits because they are the outcasts from their home village, which is in a fictional country. The wizard gives them a clue to look where no one has looked or would think of looking.

Jack, Suzie, and Alec think that the perfect place to find the perfect person is in a graveyard because nobody would think of looking there. But how would the perfect person appear in a graveyard? After searching through several cemeteries, they become frustrated because they find nothing unusual and do not know what the wizard was talking about. They finally find a cemetery where they can enter a new world that is built upon their imaginations. Using their imaginations mean, as they discuss a trait or physical appearance, they can build the person using their minds. What they imagine can become reality.

Using their imaginations, they begin to discuss what the perfect person would look like and act. What would the person’s personality be like? They cannot decide because the traits that they imagined as a perfect person are foreign to them. Finally, they start talking about themselves, and what they like and do not like.

After a lengthy conversation that continues for days, Suzie stands up and yells that she has the answer. She states they should make three lists of their best physical and mental traits. That will be the perfect person. The perfect person is within them as it is within all people. They compile the perfect person using their imaginations and take it to the wizard.

Suzie explains to the wizard with the assistance of Jack and Alec that the perfect person was within them as it is within all people. The wizard states that they found the answer to the clue. As such, they are also able to break the spell over their friend. The spell is broken, and the four leave and live happily ever after.

You are only limited by your imagination. A wonderful theme can come from any genre.

Horror Genre

The Merriam-Webster Dictionary defines horror as “the quality of something that causes feelings of fear, dread, and shock: the horrible or shocking quality or character of something.” A horror show is “something that is difficult to deal with or watch because it is so bad, unpleasant, etc.” 20

The setting regarding where the movie takes place can be instrumental in a horror movie. Many times, horror movies take place in a historical area with big, old houses that hold many secrets. Secrets provide the basis of a story as the house is supposedly haunted because something gruesome happened there many years ago. However, the setting may not be unusual, but it can be a typical small town or city just like the one where you live.

The plot, once again, is inner conflict. The main character, Suzie, inherits the house, and she is determined—to the point of becoming obsessed—to prove that there is no such thing as a haunted house. However, she takes her boyfriend, Jack, with her to the house. After they become frightened by unearthly occurrences in the house, Jack asks his friend, Alec, to join them at the house to find a solution to what is going on.

Alec states that in order to make it a clean, healthy house again, they have to discover the problem and solve it. In order to do this, Alec recommends doing a séance. The three of them enter a room late in the evening and try to contact a spirit to identify the problem. They find, at one point, that the house was owned by a slave trader or human trafficker. Down in the basement, many bodies were buried.

Suzie cannot stand thinking that a relative was a human trafficker and nothing can really be done to solve this problem. The house was owned by an evil man who is suffering in the spirit world because of his past actions. Jack thinks that the only cure to these past heinous actions is to burn the house down, which would cremate the bodies that were buried in the basement and possibly put them at peace.

Suzie does not agree with that action, but Alec agrees with Jack in order to find a cure for the haunting. Possibly, after the burning, Suzie can build a different house. Suzie starts to act in an irrational manner, like she is becoming her past relative, who was the slaver. Alec and Jack burn the house. Suzie becomes completely enraged and has to be restrained until the house is completely burned down.

Once the house has finished burning, Suzie no longer acts like she is possessed. The whole area becomes quiet. Suzie speculates that they just need drive away from it. The three of them drive away.

The horror genre brings fear, and fear generally brings thrills and suspense. With a suspenseful scene, people like to scare themselves. The theme can always be “search for the truth,” rather than “do not be afraid of the unknown.”

Drama Genre

If a movie does not fit in one of the aforementioned genre categories, then it is a drama.

The Merriam-Webster Dictionary defines drama as “a play, movie, television show, or radio show that is about a serious subject and is not meant to make the audience laugh” and “a composition in verse or prose intended to portray life or character or to tell a story usually involving conflicts and emotions through action and dialogue.” 21

The four elements of the drama genre have to be serious, portray life, tell a story, and the characters have to have an inner conflict that brings out emotions at different times throughout the story. These are all points that we have been discussing with the other genres. The characters and the story are general, like everyday people and situations.

Somebody is dying, something has to be obtained, or something has to be accomplished are the three common stories for dramas. Jack is an accomplished musician, who is going to be playing at Carnegie Hall, and he finds out that he has a fatal illness after passing out during a rehearsal. Or, Jack lived in the slums and a teacher noticed something in him that could be cultivated. Jack becomes a renowned doctor, scientist, or mathematician. The movie covers Jack’s obstacles to achieve what is necessary for him to being on the road toward a renowned career.

Or, Suzie risks everything to find a cure for a disease that is killing many thousands of people on a Caribbean island. The viewer often knows what is going to happen but often the characters and their development is what makes a drama interesting.

The story is relatively simple, the plot is inner conflict, and the setting is inconsequential because the characters make the movie.

Did you find Cyrano de Bergerac to be a drama? Cyrano de Bergerac had a firm foundation in unrequited love, a very romantic element in the story. But Cyrano’s inner conflict of his feelings of inadequacies in his personal appearance, while being overconfident in other areas, present love in a dramatic genre.

Action, Thriller, Suspense Thriller, Biography, Film Noir, Neo Noir, and Mystery

Action, thriller, suspense-thriller, biography, film noir, neo noir, and mystery are terms that are often referred to as different genres. However, none of these are genres. They do not contain just the four basic elements of a genre—no matter how much people insist that they do. They contain the genre elements and other elements, like cinematography, that are not part of a genre.

Writers, educators, critics, historians, and others have stated that the above terms developed into being named a genre and that they can be accepted as a genre over time. How many of you heard or read the terms action genre, film noir genre, or suspense thriller genre? Just because they have been referred to by these terms, over the years, does not make them honorary genres. These terms, by themselves, still have the same meaning even if they have been named genres.

Most of these terms refer to specific cinematography when shooting the movie, or they refer to the way the movie was edited.

Action, thrillers, and suspense thrillers all have similar types of action in them. Adventure, spy, crime, war, and Westerns could all be action movies or thrillers or suspense thrillers. Action, thrillers, and suspense thrillers do not touch upon the four elements that make up a genre.

Film noir and neo noir are predominantly crime movies that have certain cinematography. They overlap both in the construction and production aspects of making a movie.

Film noir means “black film.” Film noir has many scenes occurring at night with many gritty, seedy city shots. The character types in film noir are loners and schemers, but they are reflective of the types of characters in crime movies.

Detour is a good example of film noir regarding the characters like Al and Vera. The voice-over narration of the protagonist describing the forward action, using black and white film, and many scenes occurring at night are examples of film noir. But voice-over narration, being in black and white, and a lot of the movie occurring at night does not determine the genre. The jaded characters, story, and plot of murder defines the movie as a member of the crime genre. The night scenes and voice-over narration are a directorial style. These decisions are characteristics that distinguish it as film noir.

Neo noir is the new noir for the later 20th and 21st centuries when most movies are made in color. The genres could be crime, science fiction, or drama but the cinematography is dark, gritty, and symbolic, similar in many respects to film noir.

Mystery refers to the way the story is shaped. Most mysteries are concerned with who stole something or who murdered someone. Most mysteries belong to the crime genre where the story and the editing keep the audience guessing until the final minutes of the movie.

Biography refers to a nonfiction movie that is about a historical or living person. The background, character, and setting of the movie may determine what other genre a biography might belong to. If the person is a war hero, the movie would be of the war genre; if the person was a criminal or detective, the movie would fit the crime genre, and so forth.

Documentary

Documentary, according to Dictionary.com , refers to movies and television features based on or re-creating an actual event, era, life story, etc., that purports to be factually accurate and contains no fictional elements. 22

Sheila Curran Bernard, 23 author of Documentary Storytelling , defines documentaries as:

Documentaries bring viewers into new worlds and experiences through the presentation of factual information about real people, places, and events, generally — but not always — portrayed through the use of actual images and artifacts. But factuality alone does not define documentary films; it’s what the filmmaker does with those factual elements, weaving them into an overall narrative that strives to be as compelling as it is truthful and is often greater than the sum of its parts.

From these two definitions, documentaries are a separate movie entity that is unto itself.

Final Thought

We covered a lot of area in discussing different genres. Even though genres are only considered labels for movies, the four elements of a genre are the basis of any movie. Besides categorizing, genres indirectly shape the movie’s characters and story.

Character, story, plot, and setting are how a movie is constructed. From this construction, the specific theme that is created by the screenwriter and the director can be realized and understood by the viewer.

The other chapters in the construction of a movie go into more detail and dissect these elements in order for a better understanding of the scope of these elements and how the theme of the movie is realized.

Further Viewing

With the completion of this chapter, the movies to watch that that are excellent examples of different genres are:

• It Happened One Night , 1934, directed by Frank Capra, starring Clark Gable and Claudette Colbert. This is an excellent example of screwball comedy. It is considered the first screwball comedy, and it won five Academy Awards for Best Picture, Best Actor, Best Actress, Best Director, and Best Adapted Screenplay.
• They Were Expendable , 1945, directed by John Ford, starring Robert Montgomery and John Wayne. This is a good example of the war genre. It is set during the beginning of World War II and demonstrates how the United States lost the war with dignity.
• All About Eve , 1950, directed by Joseph L. Mankiewicz, starring Bette Davis, Anne Baxter, and George Sanders. This is an excellent example of the drama genre.
• Goldfinger , 1964, directed by Guy Hamilton, starring Sean Connery, Gert Fröbe, and Honor Blackman. This is an excellent example of the spy genre that became popular as well as the gadgets that came along with it.
• Raiders of the Lost Ark , 1981, directed by Steven Spielberg, starring Harrison Ford as Indiana Jones. This is a good example of the adventure genre.

Jack is a school teacher, which is a job he loves. He wants to be the best teacher possible and serve his students well. Because of his desire to serve his students, he has a disdain for the school administration when they want to cut back on the education process while serving themselves with excessive raises. In addition, Jack had a bad family life when growing up. He is rather cold to his mother because of his upbringing. His mother was domineering to him and his father died at an early age. Jack’s bad family life is a big reason why he became a teacher. He wanted to make sure his students were treated better in school than he was at home.

Based on the above introduction, what genre or genres could this movie idea be developed into?

5 Webster’s Encyclopedic Unabridged Dictionary, 591.

6 “Comedy,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/comedy.

7 “Slapstick,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/slapstick.

8 “Farce,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/farce.

9 “Satire,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/satire.

10 “Dark Humor,” Dictionary.com, http://www.dictionary.com/browse/dark-humor?s=t.

11 “Black Comedy, Dictionary.com, http://www.dictionary.com/browse/black-comedy?s=t.

12 “Romantic Comedy,” Dictionary.com, http://www.dictionary.com/browse/romantic-comedy?s=t.

13 “Crime,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/crime.html.

14 “Western,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/western.html.

15 “War,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/war.html.

16 “Spy,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/spy.

17 “Adventure,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/adventure.

18 “Science Fiction,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/science %20fiction.

19 “Fantasy,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/fantasy.

20 “Horror,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/horror.

21 “Drama,” Merriam-Webster Dictionary, http://www.merriam-webster.com/dictionary/drama.

22 “Movies,” Dictionary.com, http://www.dictionary.com/browse/movies?s=t.

23 Sheila Curran Bernard, “Documentary Storytelling: Creative Nonfiction on Screen,” 3rd ed., (Burlington: Taylor & Francis, 2011).

Exploring Movie Construction and Production Copyright © 2017 by John Reich is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.