how to write a essay about a novel

How to Write an Essay about a Novel – Step by Step Guide

Writing about literature used to scare the heck out of me. I really couldn’t wrap my mind around analyzing a novel. You have the story. You have the characters. But so what? I had no idea what to write.

Luckily, a brilliant professor I had as an undergrad taught me how to analyze a novel in an essay. I taught this process in the university and as a tutor for many years. It’s simple, and it works. And in this tutorial, I’ll show it to you. So, let’s go!

Writing an essay about a novel or any work of fiction is a 6-step process. Steps 1-3 are the analysis part. Steps 4-6 are the writing part.

Step 1. create a list of elements of the novel .

Ask yourself, “What are the elements of this book?”

Well, here is a list of elements present in any work of fiction, any novel:

Here is a table of literary elements along with their descriptions. 

In this step, you simply pick 3-6 elements from the list I just gave you and arrange them as bullet points. You just want to make sure you pick elements that you are most familiar or comfortable with.

For example, you can create the following list:

This is just for you to capture the possibilities of what you can write about. It’s a very simple and quick step because I already gave you a list of elements. 

Step 2. Pick 3 elements you are most comfortable with

In this step, we’ll use what I call The Power of Three . You don’t need more than three elements to write an excellent essay about a novel or a book. 

Just pick three from the list you just created with which you are most familiar or that you understand the best. These will correspond to three sections in your essay. 

If you’re an English major, you’ll be a lot more familiar with the term “metaphor” than if you major in Accounting. 

But even if you’re a Math major, you are at least probably already familiar with what a story or a character is. And you’ve probably had a takeaway or a lesson from stories you’ve read or seen on screen.

Just pick what you can relate to most readily and easily. 

For example, you can pick Characters , Symbols , and Takeaways . Great!

You Can Also Pick Examples of an Element 

Let’s say that you are really unfamiliar with most of the elements. In that case, you can just pick one and then list three examples of it.

For example, you can pick the element of Characters . And now all you need to do is choose three of the most memorable characters. You can do this with many of the elements of a novel.

You can pick three themes , such as Romance, Envy, and Adultery. 

You can pick three symbols , such as a rose, a ring, and a boat. These can represent love, marriage, and departure. 

Okay, great job picking your elements or examples of them. 

For the rest of this tutorial, I chose to write about a novel by Fedor Dostoyevskiy, The Brothers Karamazov. This will be our example. 

It is one of the greatest novels ever written. And it’s a mystery novel, too, which makes it fun. 

So now, let’s choose either three elements of this novel or three examples of an element. I find that one of the easiest ways to do this is to pick one element – Characters – and three examples of it. 

In other words, I’m picking three characters. And the entire essay will be about these three characters.

Now, you may ask, if I write only about the characters, am I really writing an essay about the novel? 

And the answer is, Yes. Because you can’t write about everything at once. You must pick something. Pick your battles. 

And by doing that, you will have plenty of opportunities to make a statement about the whole novel. Does that make sense? 

Just trust the process, and it will all become clear in the next steps. 

Let’s pick the three brothers – Alexei, Dmitriy, and Ivan. 

And don’t worry – I won’t assume that you have read the book. And I won’t spoil it for you if you’re planning to. 

So we have the three brothers. We’re ready to move on to the next step.

Step 3. Identify a relationship among these elements

In this step, you want to think about how these three elements that you picked are related to one another. 

In this particular case, the three brothers are obviously related because they are brothers. But I want you to dig deeper and see if there is perhaps a theme in the novel that may be connecting the elements.

And, yes, I am using another element – theme – just to help me think about the book. Be creative and use whatever is available to you. It just so happens that religion is a very strong theme in this novel. 

What do the three brothers have in common? 

• They have the same father.
• Each one has a romantic interest (meaning, a beloved woman).
• All three have some kind of a relationship with God. 

These are three ways in which the brothers are related to one another. All we need is one type of a relationship among them to write this essay. 

This is a religious novel, and yes, some of the characters will be linked to a form of a divinity. In this case, the religion is Christianity.

Note: there are many ways in which you can play with elements of a novel and examples of them. Here’s a detailed video I made about this process:

Let’s see if we can pick the best relationship of those we just enumerated.  

They all have the same father. 

This relationship is only factual. It is not very interesting in any way. So we move on to the next one.

They all have women they love.

Each brother has a romantic interest, to use a literary term. We can examine each of the brothers as a lover. 

Who is the most fervent lover? Who is perhaps more distant and closed? This is an interesting connecting relationship to explore. 

One of them is the most passionate about his woman, but so is another one – I won’t say who so I don’t spoil the novel for you. The third brother seems rather intellectual about his love interest. 

So, romantic interest is a good candidate for a connecting relationship. Let’s explore the next connection candidate. 

They all relate to God in one way or another. 

Let’s see if we can put the brothers’ relationships with God in some sort of an order. Well, Alexei is a monk in learning. He lives at the monastery and studies Christianity. He is the closest to God.

Dmitriy is a believer, but he is more distant from God due to his passionate affair with his woman. He loses his head many times and does things that are ungodly, according to the author. So, although he is a believer, he is more distant from God than is Alexei.

Finally, Ivan is a self-proclaimed atheist. Therefore, he is the farthest away from God.

It looks like we got ourselves a nice sequence, or progression, which we can probably use to write this essay about this novel. 

What is the sequence? The sequence is: 

Alexei is the closest to God, Dmitriy is second closest, and Ivan is pretty far away.

It looks like we have a pattern here. 

If we look at the brothers in the book and watch their emotions closely, we’ll come to the conclusion that they go from blissful to very emotionally unstable to downright miserable to the point of insanity.

Here’s the conclusion we must make: 

The closer the character’s relationship with God, the happier he is, and the farther away he is from God, the more miserable he appears to be.

Wow. This is quite a conclusion. It looks like we have just uncovered one of Dostoyevskiy’s main arguments in this novel, if not the main point he is trying to make.

Now that we’ve identified our three elements (examples) and a strong connecting relationship among them, we can move on to Step 4.

Step 4. Take a stand and write your thesis statement

Now we’re ready to formulate our thesis statement. It consists of two parts:

• Your Thesis (your main argument)
• Your Outline of Support (how you plan to support your main point)

By now, we have everything we need to write a very clear and strong thesis statement. 

First, let’s state our thesis as clearly and succinctly as possible, based on what we already know:

“In his novel Brothers Karamazov , Dostoyevskiy describes a world in which happiness is directly proportional to proximity to God. The closer to God a character is, the happier and more emotionally stable he is, and vice versa.”

See how clear this is? And most importantly, this is clear not only to the reader, but also to you as the writer. Now you know exactly what statement you will be supporting in the body of the essay. 

Are we finished with the thesis statement? Not yet. The second part consists of your supporting points. And again, we have everything we need to write it. Let’s do it.

“Alexei’s state of mind is ultimately blissful, because he is a true and observant believer. Dmitriy’s faith is upstaged by his passion for a woman, and he suffers a lot as a result. Ivan’s renunciation of God makes him the unhappiest of the brothers and eventually leads him to insanity.”

Guess what – we have just written our complete thesis statement. And it’s also our whole first paragraph. 

We are ready for Step 5. 

Step 5. Write the body of the essay

Again, just like in the previous step, you have everything you need to structure and write out the body of this essay.

How many main sections will this essay have? Because we are writing about three brothers, it only makes sense that our essay will have three main sections.

Each section may have one or more paragraphs. So, here’s an important question to consider:

How many words or pages do you have to write? 

Let’s say your teacher or professor wants you to write 2,000 words on this topic. Then, here is your strategic breakdown:

• Thesis Statement (first paragraph) = 100 words
• Conclusion (last paragraph) = 100 words
• Body of the Essay = 1,800 words

Let me show you how easy it is to subdivide the body of the essay into sections and subsections.

We already know that we have three sections. And we need 1,800 words total for the body. This leads us to 600 words per main section (meaning, per brother). 

Can we subdivide further? Yes, we can. And we should.

When discussing each of the brothers, we connect two subjects: his relationship with God AND his psychological state. That’s how we make those connections. 

So, we should simply subdivide each section of 600 words into two subsections of 300 words each. And now all we need to do is to write each part as if it were a standalone 300-word essay.

Does this make sense? See how simple and clear this is?

Writing Your Paragraphs

Writing good paragraphs is a topic for an entire article of its own. It is a science and an art.

In essence, you start your paragraph with a good lead sentence in which you make one point. Then, you provide reasons, explanations, and examples to support it. 

Here is an article I wrote on how to write great paragraphs .

Once you’ve written the body of the essay, one last step remains. 

Step 6. Add an introduction and a conclusion 

Introductions and conclusions are those little parts of an essay that your teachers and professors will want you to write. 

Introduction

In our example, we already have a full opening paragraph going. It’s our thesis statement. 

To write an introduction, all you need to do is add one or two sentences above the thesis statement. 

Here is our thesis statement:

“In his novel Brothers Karamazov, Dostoyevskiy describes a world in which happiness is directly proportional to proximity to God. The closer to God a character is, the happier and more emotionally stable he is, and vice versa. Alexei’s state of mind is ultimately blissful, because he is a true and observant believer. Dmitriy’s faith is upstaged by his passion for a woman, and he suffers a lot as a result. Ivan’s renunciation of God makes him the unhappiest of the brothers and eventually leads him to insanity.”

As you can see, it is a complete paragraph that doesn’t lack anything. But because we need to have an introduction, here is a sentence with which we can open this paragraph:

“Dostoyevskiy is a great Russian novelist who explores the theme of religion in many of his books.”

And then just proceed with the rest of the paragraph. Read this sentence followed by the thesis statement, and you see that it works great. And it took me about 30 seconds to write this introductory sentence. 

You can write conclusions in several different ways. But the most time-proven way is to simply restate your thesis. 

If you write your thesis statement the way I teach, you will have a really strong opening paragraph that can be easily reworded to craft a good conclusion. 

Here is an article I wrote (which includes a video) on how to write conclusions .

Congratulations!

You’ve made it to the end, and now you know exactly how to write an essay about a novel or any work of fiction!

Tutor Phil is an e-learning professional who helps adult learners finish their degrees by teaching them academic writing skills.

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Book Reviews

What this handout is about.

This handout will help you write a book review, a report or essay that offers a critical perspective on a text. It offers a process and suggests some strategies for writing book reviews.

What is a review?

A review is a critical evaluation of a text, event, object, or phenomenon. Reviews can consider books, articles, entire genres or fields of literature, architecture, art, fashion, restaurants, policies, exhibitions, performances, and many other forms. This handout will focus on book reviews. For a similar assignment, see our handout on literature reviews .

Above all, a review makes an argument. The most important element of a review is that it is a commentary, not merely a summary. It allows you to enter into dialogue and discussion with the work’s creator and with other audiences. You can offer agreement or disagreement and identify where you find the work exemplary or deficient in its knowledge, judgments, or organization. You should clearly state your opinion of the work in question, and that statement will probably resemble other types of academic writing, with a thesis statement, supporting body paragraphs, and a conclusion.

Typically, reviews are brief. In newspapers and academic journals, they rarely exceed 1000 words, although you may encounter lengthier assignments and extended commentaries. In either case, reviews need to be succinct. While they vary in tone, subject, and style, they share some common features:

• First, a review gives the reader a concise summary of the content. This includes a relevant description of the topic as well as its overall perspective, argument, or purpose.
• Second, and more importantly, a review offers a critical assessment of the content. This involves your reactions to the work under review: what strikes you as noteworthy, whether or not it was effective or persuasive, and how it enhanced your understanding of the issues at hand.
• Finally, in addition to analyzing the work, a review often suggests whether or not the audience would appreciate it.

Becoming an expert reviewer: three short examples

Reviewing can be a daunting task. Someone has asked for your opinion about something that you may feel unqualified to evaluate. Who are you to criticize Toni Morrison’s new book if you’ve never written a novel yourself, much less won a Nobel Prize? The point is that someone—a professor, a journal editor, peers in a study group—wants to know what you think about a particular work. You may not be (or feel like) an expert, but you need to pretend to be one for your particular audience. Nobody expects you to be the intellectual equal of the work’s creator, but your careful observations can provide you with the raw material to make reasoned judgments. Tactfully voicing agreement and disagreement, praise and criticism, is a valuable, challenging skill, and like many forms of writing, reviews require you to provide concrete evidence for your assertions.

Consider the following brief book review written for a history course on medieval Europe by a student who is fascinated with beer:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600, investigates how women used to brew and sell the majority of ale drunk in England. Historically, ale and beer (not milk, wine, or water) were important elements of the English diet. Ale brewing was low-skill and low status labor that was complimentary to women’s domestic responsibilities. In the early fifteenth century, brewers began to make ale with hops, and they called this new drink “beer.” This technique allowed brewers to produce their beverages at a lower cost and to sell it more easily, although women generally stopped brewing once the business became more profitable.

The student describes the subject of the book and provides an accurate summary of its contents. But the reader does not learn some key information expected from a review: the author’s argument, the student’s appraisal of the book and its argument, and whether or not the student would recommend the book. As a critical assessment, a book review should focus on opinions, not facts and details. Summary should be kept to a minimum, and specific details should serve to illustrate arguments.

Now consider a review of the same book written by a slightly more opinionated student:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 was a colossal disappointment. I wanted to know about the rituals surrounding drinking in medieval England: the songs, the games, the parties. Bennett provided none of that information. I liked how the book showed ale and beer brewing as an economic activity, but the reader gets lost in the details of prices and wages. I was more interested in the private lives of the women brewsters. The book was divided into eight long chapters, and I can’t imagine why anyone would ever want to read it.

There’s no shortage of judgments in this review! But the student does not display a working knowledge of the book’s argument. The reader has a sense of what the student expected of the book, but no sense of what the author herself set out to prove. Although the student gives several reasons for the negative review, those examples do not clearly relate to each other as part of an overall evaluation—in other words, in support of a specific thesis. This review is indeed an assessment, but not a critical one.

Here is one final review of the same book:

One of feminism’s paradoxes—one that challenges many of its optimistic histories—is how patriarchy remains persistent over time. While Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 recognizes medieval women as historical actors through their ale brewing, it also shows that female agency had its limits with the advent of beer. I had assumed that those limits were religious and political, but Bennett shows how a “patriarchal equilibrium” shut women out of economic life as well. Her analysis of women’s wages in ale and beer production proves that a change in women’s work does not equate to a change in working women’s status. Contemporary feminists and historians alike should read Bennett’s book and think twice when they crack open their next brewsky.

This student’s review avoids the problems of the previous two examples. It combines balanced opinion and concrete example, a critical assessment based on an explicitly stated rationale, and a recommendation to a potential audience. The reader gets a sense of what the book’s author intended to demonstrate. Moreover, the student refers to an argument about feminist history in general that places the book in a specific genre and that reaches out to a general audience. The example of analyzing wages illustrates an argument, the analysis engages significant intellectual debates, and the reasons for the overall positive review are plainly visible. The review offers criteria, opinions, and support with which the reader can agree or disagree.

Developing an assessment: before you write

There is no definitive method to writing a review, although some critical thinking about the work at hand is necessary before you actually begin writing. Thus, writing a review is a two-step process: developing an argument about the work under consideration, and making that argument as you write an organized and well-supported draft. See our handout on argument .

What follows is a series of questions to focus your thinking as you dig into the work at hand. While the questions specifically consider book reviews, you can easily transpose them to an analysis of performances, exhibitions, and other review subjects. Don’t feel obligated to address each of the questions; some will be more relevant than others to the book in question.

• What is the thesis—or main argument—of the book? If the author wanted you to get one idea from the book, what would it be? How does it compare or contrast to the world you know? What has the book accomplished?
• What exactly is the subject or topic of the book? Does the author cover the subject adequately? Does the author cover all aspects of the subject in a balanced fashion? What is the approach to the subject (topical, analytical, chronological, descriptive)?
• How does the author support their argument? What evidence do they use to prove their point? Do you find that evidence convincing? Why or why not? Does any of the author’s information (or conclusions) conflict with other books you’ve read, courses you’ve taken or just previous assumptions you had of the subject?
• How does the author structure their argument? What are the parts that make up the whole? Does the argument make sense? Does it persuade you? Why or why not?
• How has this book helped you understand the subject? Would you recommend the book to your reader?

Beyond the internal workings of the book, you may also consider some information about the author and the circumstances of the text’s production:

• Who is the author? Nationality, political persuasion, training, intellectual interests, personal history, and historical context may provide crucial details about how a work takes shape. Does it matter, for example, that the biographer was the subject’s best friend? What difference would it make if the author participated in the events they write about?
• What is the book’s genre? Out of what field does it emerge? Does it conform to or depart from the conventions of its genre? These questions can provide a historical or literary standard on which to base your evaluations. If you are reviewing the first book ever written on the subject, it will be important for your readers to know. Keep in mind, though, that naming “firsts”—alongside naming “bests” and “onlys”—can be a risky business unless you’re absolutely certain.

Writing the review

Once you have made your observations and assessments of the work under review, carefully survey your notes and attempt to unify your impressions into a statement that will describe the purpose or thesis of your review. Check out our handout on thesis statements . Then, outline the arguments that support your thesis.

Your arguments should develop the thesis in a logical manner. That logic, unlike more standard academic writing, may initially emphasize the author’s argument while you develop your own in the course of the review. The relative emphasis depends on the nature of the review: if readers may be more interested in the work itself, you may want to make the work and the author more prominent; if you want the review to be about your perspective and opinions, then you may structure the review to privilege your observations over (but never separate from) those of the work under review. What follows is just one of many ways to organize a review.

Introduction

Since most reviews are brief, many writers begin with a catchy quip or anecdote that succinctly delivers their argument. But you can introduce your review differently depending on the argument and audience. The Writing Center’s handout on introductions can help you find an approach that works. In general, you should include:

• The name of the author and the book title and the main theme.
• Relevant details about who the author is and where they stand in the genre or field of inquiry. You could also link the title to the subject to show how the title explains the subject matter.
• The context of the book and/or your review. Placing your review in a framework that makes sense to your audience alerts readers to your “take” on the book. Perhaps you want to situate a book about the Cuban revolution in the context of Cold War rivalries between the United States and the Soviet Union. Another reviewer might want to consider the book in the framework of Latin American social movements. Your choice of context informs your argument.
• The thesis of the book. If you are reviewing fiction, this may be difficult since novels, plays, and short stories rarely have explicit arguments. But identifying the book’s particular novelty, angle, or originality allows you to show what specific contribution the piece is trying to make.
• Your thesis about the book.

Summary of content

This should be brief, as analysis takes priority. In the course of making your assessment, you’ll hopefully be backing up your assertions with concrete evidence from the book, so some summary will be dispersed throughout other parts of the review.

The necessary amount of summary also depends on your audience. Graduate students, beware! If you are writing book reviews for colleagues—to prepare for comprehensive exams, for example—you may want to devote more attention to summarizing the book’s contents. If, on the other hand, your audience has already read the book—such as a class assignment on the same work—you may have more liberty to explore more subtle points and to emphasize your own argument. See our handout on summary for more tips.

Analysis and evaluation of the book

Your analysis and evaluation should be organized into paragraphs that deal with single aspects of your argument. This arrangement can be challenging when your purpose is to consider the book as a whole, but it can help you differentiate elements of your criticism and pair assertions with evidence more clearly. You do not necessarily need to work chronologically through the book as you discuss it. Given the argument you want to make, you can organize your paragraphs more usefully by themes, methods, or other elements of the book. If you find it useful to include comparisons to other books, keep them brief so that the book under review remains in the spotlight. Avoid excessive quotation and give a specific page reference in parentheses when you do quote. Remember that you can state many of the author’s points in your own words.

Sum up or restate your thesis or make the final judgment regarding the book. You should not introduce new evidence for your argument in the conclusion. You can, however, introduce new ideas that go beyond the book if they extend the logic of your own thesis. This paragraph needs to balance the book’s strengths and weaknesses in order to unify your evaluation. Did the body of your review have three negative paragraphs and one favorable one? What do they all add up to? The Writing Center’s handout on conclusions can help you make a final assessment.

Finally, a few general considerations:

• Review the book in front of you, not the book you wish the author had written. You can and should point out shortcomings or failures, but don’t criticize the book for not being something it was never intended to be.
• With any luck, the author of the book worked hard to find the right words to express her ideas. You should attempt to do the same. Precise language allows you to control the tone of your review.
• Never hesitate to challenge an assumption, approach, or argument. Be sure, however, to cite specific examples to back up your assertions carefully.
• Try to present a balanced argument about the value of the book for its audience. You’re entitled—and sometimes obligated—to voice strong agreement or disagreement. But keep in mind that a bad book takes as long to write as a good one, and every author deserves fair treatment. Harsh judgments are difficult to prove and can give readers the sense that you were unfair in your assessment.
• A great place to learn about book reviews is to look at examples. The New York Times Sunday Book Review and The New York Review of Books can show you how professional writers review books.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Drewry, John. 1974. Writing Book Reviews. Boston: Greenwood Press.

Hoge, James. 1987. Literary Reviewing. Charlottesville: University Virginia of Press.

Sova, Dawn, and Harry Teitelbaum. 2002. How to Write Book Reports , 4th ed. Lawrenceville, NY: Thomson/Arco.

Walford, A.J. 1986. Reviews and Reviewing: A Guide. Phoenix: Oryx Press.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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Blog • Perfecting your Craft

Last updated on May 20, 2024

How to Write a Novel: Steps From a Bestselling Writer

As an editor and publisher, Tom has worked on several hundred titles, again including many prize-winners and international bestsellers. 

Writing a novel is an exhilarating and daunting process. How do you go about transforming a simple idea into a powerful narrative that grips readers from start to finish? Crafting a long-form narrative can be challenging, and it requires skillfully weaving together various story elements.

In this article, I will break down the major steps of novel writing into manageable pieces, organized into three categories — before, during, and after you write your manuscript.

How to write a novel in 13 steps:

1. Pick a story idea with novel potential

2. develop your main characters, 3. establish a central conflict and stakes, 4. write a logline or synopsis, 5. structure your plot, 6. pick a point of view, 7. choose a setting that benefits your story , 8. establish a writing routine, 9. shut out your inner editor, 10. revise and rewrite your first draft, 11. share it with your first readers, 12. professionally edit your manuscript, 13. publish your novel.

Every story starts with an idea.

You might be lucky, like JRR Tolkien, who was marking exam papers when a thought popped into his head: ‘In a hole in the ground there lived a hobbit.’ You might be like Jennifer Egan, who saw a wallet left in a public bathroom and imagined the repercussions of a character stealing it, which set the Pulitzer prize-winner A Visit From the Goon Squad in process. Or you might follow Khaled Hosseini, whose The Kite Runner was sparked by watching a news report on TV.

Many novelists I know keep a notebook of ideas both large and small 一 sometimes the idea they pick up on they’ll have had much earlier, but whatever reason, now feels the time to write it. Certainly, the more ideas you have, the more options you’ll have to write. 

✍️ Need a little inspiration? Check our list of 30+ story ideas for fiction writing , our list of 300+ writing prompts , or even our plot generator .

Is your idea novel-worthy?

How do you know if what you’ve got is the inspiration for a novel, rather than a short story or a novella ? There’s no definitive answer here, but there are two things to look out for 

Firstly, a novel allows you the space to show how a character changes over time, whereas a short story is often more about a vignette or an individual moment. Secondly, if an idea is fit for a novel, it’ll nag away at you: a thread asking to be pulled to see where it goes. If you find yourself coming back to an idea, then that’s probably one to explore.

I expand on cultivating and nurturing your ‘idea seeds’ in my free 10-day course on novel writing. 

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How to Write a Novel

Author and ghostwriter Tom Bromley will guide you from page 1 to the finish line.

Another starting point (or essential element) for writing a novel will come in the form of the people who will populate your stories: the protagonists. 

My rule of thumb in writing is that a reader will read on for one of two reasons: either they care about the characters , or they want to know what happens next (or, in an ideal world, both). Now different people will tell you that character or plot are the most important element when writing. 

In truth, it’s a bit more complicated than that: in a good novel, the main character or protagonist should shape the plot, and the plot should shape the protagonist. So you need both core elements in there, and those two core elements are entwined rather than being separate entities. 

Characters matter because when written well, readers become invested in what happens to them. You can develop the most brilliant, twisty narrative, but if the reader doesn’t care how the protagonist ends up, you’re in trouble as a writer. 

As I said above, one of the strengths of the novel is that it gives you the space to show how characters change over time. How do characters change? 

Firstly, they do so by being put in a position where they have to make decisions, difficult decisions, and difficult decisions with consequences . That’s how we find out who they really are. 

Secondly, they need to start from somewhere where they need to change: give them flaws, vulnerabilities, and foibles for them to overcome. This is what makes them human — and the reason why readers respond to and care about them.

🗿 Need more guidance? Look into your character’s past using these character development exercises , or give your character the perfect name using this character name generator .

As said earlier, it’s important to have both a great character and an interesting plot, which you can develop by making your character face some adversities.

That drama in the novel is usually built around some sort of central conflict . This conflict creates a dramatic tension that compels the reader to read on. They want to see the outcome of that conflict resolved: the ultimate resolution of the conflict (hopefully) creates a satisfying ending to the narrative.

A character changes, as I said above, when they are put in a position of making decisions with consequences. Those consequences are important. It isn’t enough for a character to have a goal or a dream or something they need to achieve (to slay the dragon): there also needs to be consequences if they don’t get what they’re after (the dragon burns their house down). Upping the stakes heightens the drama all round.

Now you have enough ingredients to start writing your novel, but before you do that, it can be useful to tighten them all up into a synopsis. 

So far, you’ve got your story idea, your central characters, and your sense of conflict and stakes. Now is the time to distill this down into a narrative. Different writers approach this planning stage in different ways, as we’ll come to in a moment, but for anyone starting a novel, having a clear sense of what is at the heart of your story is crucial. 

There are a lot of different terms used here 一 pitch, elevator pitch , logline, shoutline, or the hook of your synopsis 一 but whatever the terminology the idea remains the same. This is to summarize your story in as few words as possible: a couple of dozen words, say, or perhaps a single sentence. 

This exercise will force you to think about what your novel is fundamentally about. What is the conflict at the core of the story? What are the challenges facing your main protagonist? What do they have at stake? 

📚 Check out these 48 irresistible  book hook examples  and get inspired to craft your own.

If you need some help, as you go through the steps in this guide, you can fill in this template:

My story is a [genre] novel. It’s told from [perspective] and is set in [place and time period] . It follows [protagonist] , who wants [goal] because [motivation] . But [conflict] doesn’t make that easy, putting [stake] at risk.

It's not an easy thing to write this summarising sentence or two. In fact, they might be the most difficult sentences to get down in the whole writing process. But it is really useful in helping you to clarify what your book is about before you begin. When you’re stuck in the middle of the writing, it will be there for you to refer back to. And further down the line, when you’ve finished the novel, it will prove invaluable in  pitching to agents , publishers, and readers. 

📼 Learn more about the process of writing a logline from professional editor Jeff Lyons. 

Another particularly important step to prepare for the writing part, is to outline your plot into different key story points. 

There’s no right answer here as to how much planning you should do before you write: it very much depends on the sort of writer you are. Some writers find planning out their novel before start gives them confidence and reassurance knowing where their book is going to go. But others find this level of detail restrictive: they’re driven more by the freedom of discovering where the writing might take them. 

This is sometimes described as a debate between ‘planners’ and ‘pantsers’ (those who fly by the seat of their pants). In reality, most writers sit somewhere on a sliding scale between the two extremes. Find your sweet spot and go from there!

If you’re a planning type, there’s plenty of established story structures out there to build your story around. Popular theories include the Save the Cat model and Christopher Vogler’s Hero’s Journey . Then there are books such as Christopher Booker’s The Seven Basic Plots , which suggests that all stories are one of, well, you can probably work that out.

Whatever the structure, most stories follow the underlying principle of having a beginning, middle and end (and one that usually results in a process of change). So even if you’re ‘pantsing’ rather than planning, it’s helpful to know your direction of travel, though you might not yet know how your story is going to get there. 

Finally, remember what I said earlier about plot and character being entwined: your character’s journey shouldn’t be separate to what happens in the story. Indeed, sometimes it can be helpful to work out the character’s journey of change first, and shape the plot around that, rather than the other way round. 

Now, let’s consider which perspective you’re going to write your story from. 

However much plotting you decide to do before you start writing, there are two further elements to think about before you start putting pen to paper (or finger to keyboard). The first one is to think about which point of view you’re going to tell your story from. It is worth thinking about this before you start writing because deciding to change midway through your story is a horribly thankless task (I speak from bitter personal experience!)

Although there might seem a large number of viewpoints you could tell your story from, in reality, most fiction is told from two points of view 一 first person (the ‘I’ form) and third person ‘close’ (he/she/they). ‘Close’ third person is when the story is witnessed from one character’s view at a time (as opposed to third person ‘omniscient’ where the story can drop into lots of people’s thoughts).

Both of these viewpoints have advantages and disadvantages. First person is usually better for intimacy and getting into character’s thoughts: the flip side is that its voice can feel a bit claustrophobic and restrictive in the storytelling. Third person close offers you more options and more space to tell your story: but can feel less intimate as a result. 

There’s no right and wrong here in terms of which is the ‘best’ viewpoint. It depends on the particular demands of the story that you are wanting to write. And it also depends on what you most feel comfortable writing in. It can be a useful exercise to write a short section in both viewpoints to see which feels the best fit for you before starting to write. 

Besides choosing a point of view, consider the setting you’re going to place your story in.

The final element to consider before beginning your story is to think about where your story is going to be located . Settings play a surprisingly important part in bringing a story to life. When done well, they add in mood and atmosphere and can act almost like an additional character in your novel.

There are many questions to consider here. And again, it depends a bit on the demands of the story that you are writing. 

Is your setting going to a real place, a fictional one, or a real place with fictional elements? Is it going to be set in the present day, the past, or at an unspecified time? Are you going to set your story in somewhere you know, or need to research to capture properly? Finally, is your setting suited to the story you are telling, and serve to accentuate it, rather than just acting as a backdrop?

If you’re writing a novel in genres such as fantasy or science fiction , then you may well need to go into some additional world-building as well before you start writing. Here, you may have to consider everything from the rules and mores of society to the existence of magical powers, fantastic beasts, extraterrestrials, and futuristic technology. All of these can have a bearing on the story, so it is better to have a clear setup in your head before you start to write.

Whether your story is set in central London or the outer rings of the solar system, some elements of the descriptive detail remain the same. Think about the use of all the different senses — the sights, sounds, smells, tastes, and textures of where you’re writing about. Those sorts of small details can help to bring any setting to life, from the familiar to the imaginary. 

Alright, enough brainstorming and planning. It’s time to let the words flow on the page. 

Having done your prep — or as much prep and planning as you feel you need — it’s time to get down to business and write the thing. Getting a full draft of a novel is no easy task, but you can help yourself by setting out some goals before you start writing.

Firstly, think about how you write best. Are you a morning person or an evening person? Would you write better at home or out and about, in a café or a library, say? Do you need silence to write, or musical encouragement to get the juices flowing? Are you a regular writer, chipping away at the novel day by day, or more of a weekend splurger?

I’d always be wary of anyone who tells you how you should be writing. Find a routine and a setup that works for you . That might not always be the obvious one: the crime writer Jo Nesbø spent a while creating the perfect writing room but discovered he couldn’t write there and ended up in the café around the corner.

You might not keep the same way of writing throughout the novel: routines can help, but they can also become monotonous. You may need to find a way to shake things up to keep going.

Deadlines help here. If you’re writing a 75,000-word novel, then working at a pace of 5,000 words a week will take you 15 weeks (Monday to Friday, that’s 1000 words a day). Half the pace will take twice as long. Set yourself a realistic deadline to finish the book (and key points along the way). Without a deadline, the writing can end up drifting, but it needs to be realistic to avoid giving yourself a hard time. 

In my experience, writing speeds vary. I tend to start quite slowly on a book, and speed up towards the end. There are times when the tap is open, and the words are pouring out: make the most of those moments. There are times, too, when each extra sentence feels like torture: don’t beat yourself up here. Be kind to yourself: it’s a big, demanding project you’re undertaking.

Speaking of self-compassion, a word on that harsh editor inside your mind…

The other important piece of advice is to continue writing forward. It is very easy, and very tempting, to go back over what you’ve written and give it a quick edit. Once you start down that slippery slope, you end up rewriting and reworking the same scene and never get any further forwards in the text. I know of writers who spent months perfecting their first chapter before writing on, only to delete that beginning as the demands of the story changed.

The first draft of your novel isn’t about perfection; it’s about getting the words down. One writer I work with calls it the ‘vomit draft’ — getting everything out and onto the page. It’s only once you’ve got a full manuscript down that you can see your ideas in context and have the capacity to edit everything properly. So as much as your inner editor might be calling you, resist! They’ll have their moment in the sun later on. For now, it’s about getting a complete version down, that you can go on to work with and shape. 

By now, you’ve reached the end of your first draft (I might be glossing over the hard writing part just a little here: if you want more detail and help on how to get through to the end of your draft, our How to Write A Novel course is warmly recommended). 

Reaching the end of your first draft is an important milestone in the journey of a book. Sadly for those who feel that this is the end of the story, it’s actually more of a stepping stone than the finish line.

In some ways, now the hard work begins. The difference between wannabe writers and those who get published can often be found in the amount of rewriting done. Professional writers will go back and back over what they’ve written, honing what they’ve created until the text is as tight and taut as it is possible to be.

How do you go about achieving this? The first thing to do upon finishing is to put the manuscript in a drawer. I leave it for a month or six weeks before you come back to it. That way, you’ll return the script with a fresh pair of eyes. Read it back through and be honest about what works and what doesn’t. As you read the script, think in particular about pace: are there sections in the novel that are too fast or too slow? Avoid the trap of the saggy middle . Then consider: is your character arc complete and coherent? Look at the big-picture stuff first before you tackle the smaller details. 

Edit your novel closely

On that note, here are a few things you might want to keep an eye out for:

Show, don’t tell. Sometimes, you just need to state something matter-of-factly in your novel, that’s fine. But, as much as you can, try to illustrate a point instead of just stating it . Keep in mind the words of Anton Chekhov: “Don’t tell me the moon is shining. Show me the glint of light on broken glass."

“Said” is your friend. When it comes to dialogue, there can be the temptation to spice things up a bit by using tags like “exclaimed,” “asserted,” or “remarked.” And while there might be a time and place for these, 90% of the time, “said” is the best tag to use. Anything else can feel distracting or forced. 

Stay away from purple prose. Purple prose is overly embellished language that doesn’t add much to the story. It convolutes the intended message and can be a real turn-off for readers.

Once you feel it’s good enough for others to examine it, you should ask for feedback.

Writing a novel is a two-way process: there’s you, the writer, and there’s the intended audience, the reader. The only way that you can find out if what you’ve written is successful is to ask people to read and get feedback.

Think about when to ask for feedback and who to ask it from. There are moments in the writing when feedback is useful and others where it gets in the way. To save time, I often ask for feedback in those six weeks when the script is in the drawer (though I don’t look at those comments until I’ve read back myself first). The best people to ask for feedback are fellow writers and beta readers : they know what you’re going through and will also be most likely to offer you constructive feedback. 

Also, consider working with sensitivity readers if you are writing about a place or culture outside your own. Friends and family can also be useful but are a riskier proposition: they might be really helpful, but equally, they might just tell you it’s great or terrible, neither of which is overly useful.

Feedbacking works best when you can find at least a few people to read, and you can pool their comments. My rule is that if more than one person is saying the same thing, they are probably right. If only one person is saying something, then you have a judgment call to make as to whether to take those comments further (though usually, you’ll know in your gut whether they are right or not.)

Overall, the best feedback you can receive is that of a professional editor…

Once you’ve completed your rewrites and taken in comments from your chosen feedbackers, it’s time to take a deep breath and seek outside opinions. What happens next here depends on which route you want to take to market:

If you want to go down the traditional publishing route , you’ll probably need to get a literary agent, which we’ll discuss in a moment.

If you’re going down the self-publishing route , you’ll need to do what would be done in a traditional publishing house and take your book through the editing process. This normally happens in three stages. 

Developmental editing. The first of these is to work with a development editor , who will read and critique your work primarily from a structural point of view. 

Copy-editing. Secondly, the book must be copy-edited , where an editor works more closely, line-by-line, on the script. 

Proofreading. Finally, usually once the script has been typeset, then the material should be professionally proofread , to spot any final mistakes or orrors. Sorry, errors!

Finding such people can sound like a daunting task. But fear not! Here at Reedsy, we have a fantastic fleet of editors of all shapes, sizes, and experiences. So whatever your needs or requirements, we should be able to pair you with an editor to suit.

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Learn how Reedsy can help you craft a beautiful book.

Now that you’ve ironed out all the wrinkles of your manuscript, it’s time to release it into the wild.

For those thinking about going the traditional publishing route , now’s the time for you to get to work. Most trade publishers will only accept work from a literary agent, so you’ll need to find a suitable literary agent to represent your work. 

The querying process is not always straightforward: it involves research, waiting and often a lot of rejections until you find the right person (I was rejected by 24 agents before I found my first agent). Usually, an agent will ask to see a synopsis and the first three chapters (check their websites for submission details). If they like what they read, they’ll ask to see the whole thing. 

If you’re self-publishing, you’ll need to think about getting your finished manuscript to market. You’ll need to get it typeset (laid out in book form) and find a cover designer . Do you want to sell printed copies or just ebooks? You’ll need to work out how to work Amazon , where a lot of your sales will come from, and also how you’ll market your book .

For those picked up by a traditional publisher, all the editing steps discussed will take place in-house. That might sound like a smoother process, but the flip side can be less control over the process: a publisher may have the final say in the cover or the title, and lead times (when the book is published) are usually much longer. So, it’s worth thinking about which route to market works best for you.

Finally, you’re a published author! Congratulations. Now all you have to do is think about writing the next one… 

8 responses

Sasha Winslow says:

14/05/2019 – 02:56

I started writing in February 2019. It was random, but there was an urge to the story I wanted to write. At first, I was all over the place. I knew the genre I wanted to write was Fantasy ( YA or Adult). That has been my only solid starting point the genre. From February to now, I've changed my story so many times, but I am happy to say by giving my characters names I kept them. I write this all to say is thank you for this comprehensive step by step. Definitely see where my issues are and ways to fix it. Thank you, thank you, thank you!

Evelyn P. Norris says:

30/10/2019 – 14:18

My number one tip is to write in order. If you have a good idea for a future scene, write down the idea for the scene, but do NOT write it ahead of time. That's a major cause of writer's block that I discovered. Write sequentially. :) If you can't help yourself, make sure you at least write it in a different document, and just ignore that scene until you actually get to that part of the novel

Allen P. Wilkinson says:

28/01/2020 – 04:51

How can we take your advice seriously when you don’t even know the difference between stationary and stationery? Makes me wonder how competent your copy editors are.

↪️ Martin Cavannagh replied:

29/01/2020 – 15:37

Thanks for spotting the typo!

↪️ Chris Waite replied:

14/02/2020 – 13:17

IF you're referring to their use of 'stationery' under the section '1. Nail down the story idea' (it's the only reference on this page) then the fact that YOU don't know the difference between stationery and stationary and then bother to tell the author of this brilliant blog how useless they must be when it's YOU that is the thicko tells me everything I need to know about you and your use of a middle initial. Bellend springs to mind.

Sapei shimrah says:

18/03/2020 – 13:59

Thanks i will start writing now

Jeremy says:

25/03/2020 – 22:41

I’ve run the gamut between plotter and pantser, but lately I’ve settled on in-depth plotting before my novels. It’s hard for me to do focus wise, but I’m finding I’m spending less time in writer’s block. What trips me up more is finding the right voice for my characters. I’m currently working on a sci-fi YA novel and using the Save the Cat beat sheet for structure for the first time. Thank you for the article!

Nick Girdwood says:

29/04/2020 – 10:32

Can you not write a story without some huge theme?

Comments are currently closed.

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How to Write a Novel Study: A Complete Guide for Students & Teachers

What Is a Novel Study?

A novel study is essentially the process of reading and studying a novel closely. There are three formats the novel study can follow, namely:

• The whole-class format
• The small group format
• The individual format

Each of these formats comes with its own advantages and disadvantages. Which you will use in your classroom will depend on several variables, including the novel study’s purpose, class demographics, time constraints, etc. 

This article will look at activities you can use with your students in a novel study. Though the focus will primarily be on the whole-class format, the activities outlined below can easily be adapted for small-group and individual novel studies. 

But first, let’s take a look at some of the many considerable benefits of the novel study.

What Are the Benefits of a Novel Study?

The benefits of this type of learning are many and varied. Essentially, the novel itself serves as a jumping-off point for a diverse range of learning experiences that can benefit students’ learning in many ways. 

Here are just three of these benefits.

1. Encourages a Love of Reading

As teachers, we are well aware of how much literature can enrich our lives. However, for many of our students, reading is a chore in and of itself and is to be avoided whenever possible.

The novel study sets aside time in class to focus on reading in an engaging manner that not only encourages students to enjoy reading but helps them develop the tools and strategies required to get the most out of the books they read.

2. Builds a Wider Knowledge Base

Sharing books in this manner creates opportunities for students to become exposed to experiences far beyond those of their daily lives. Not only will they enter new and unfamiliar worlds through the portal of fiction, but they’ll also be exposed to the experiences and opinions of other students in the class. These experiences and opinions may differ markedly from their own.

It will also widen the student’s knowledge and understanding of text structure, vocabulary, punctuation, and grammar . Novel studies are an extremely effective way to practice comprehension skills and improve critical thinking.

3. Boosts Class Cohesion

Whole class novel studies help your students to flex their muscles of cooperation as they work their way through a text together. They also help students to understand each other, take on board the opinions of others, and learn to defend their own thoughts and opinions.

While reading is often viewed as a solitary activity, reading in this manner can become a social experience that helps students to bond as a class.

What Should I Do in a Novel Study?

There are many different ways to undertake a novel study in your classroom. 

For example, some teachers like to read the entire novel to their students first before going back through it as a class, focusing then on student interactions with the text.

Other teachers like to weave guided reading activities into their novel study sessions. However, this often works better with smaller groups where students can be grouped according to ability and assigned texts accordingly.

What shape a novel study takes in your classroom will depend on your student demographics and learning objectives. However, we can helpfully divide the various activities into pre-reading, during-reading, and post-reading. You can select those that suit your situation best. 

Now, let’s look at some of these.

How to Start a Novel Study

Your novel study begins even before the first page is read. The activities below will help students tune in to the book they are about to read. 

This is a crucial stage of the novel study, especially if the book is of historical significance or deals with historical events and where some background knowledge may be essential for understanding the novel. 

Prereading Activities

• Examine the Covers

Before opening the book, have students examine the covers closely, both front and back. What can they tell about the book before opening it based on:

• The cover illustration?
• The author’s name?
• The blurb on the back?

It’s useful to do this as a whole-class discussion to allow for sharing ideas. Ask questions to encourage reflection and get students to make predictions about the novel based on their answers and observations. For example:

• What information does the cover provide?
• Does the cover illustration intrigue you? Why?
• Does this novel remind you of any other books you’ve read? Why?
• Do you recognize the author’s name? What else have they written?

It can be pretty surprising just how much information you can glean from a novel’s covers.

• Generate a List of Questions

Once students have had a good chance to examine the novel’s covers in small groups, get them to generate questions they have about the book and its contents.

These questions may be based on their expectations in the first activity, but they may also be general questions related to common elements in all novels. For example:

• Where is the story set?
• When is it set?
• Who is the main character/protagonist in the novel?
• Who is the antagonist?
• What is the nature of the central conflict?
• What happens in the climax? Resolution? Etc.

While most of these questions will not be answered entirely until the students have read the novel, asking these questions will get the students thinking about the novel’s structure from the outset. This will be extremely useful for later activities.

• Take a Peek Inside

Now, it’s time to open the book to look closer. Task students to go ‘finger-walking’ through the book and, without reading the novel, explore the book’s pages for more surface information. For example:

• When was the book published? Why is this significant?
• Are there any illustrations inside? What impression do they make?
• Does the book have chapters? What do the chapter titles tell us about the story?
• Open a random page and read it. What language register does the writer use? What point of view is employed?

Encouraging students to work in small groups can be helpful here. You can also ask prompting questions to help students maintain focus during this activity.

During Reading Activities

The whole-class format is perhaps the most widely used in the classroom context. In this format, each student will usually have a copy of the text and follow along while the teacher or another student reads. 

The reading will pause at intervals to allow the students to engage in discussion, ask questions, or complete various activities supporting learning goals related to the text they have been reading.

In general, novel study activities will focus on:

• Building vocabulary
• Improving comprehension
• Making text-to-text connections
• Making text-to-self connections
• Making text-to-world connections

In the following section, we’ll look at each of these in turn.

Reading is a fantastic way to build vocabulary; when your students encounter new vocabulary while reading, encourage them to employ several strategies to decipher the word before resorting to their dictionaries.

Firstly, what clues to the word’s meaning can the students find in the word itself? Do students recognize the word’s root or affixes? Does it resemble any other words they already know the meaning of?

Secondly, students should look at the context in which the word is used, not just in the sentence itself but also in the preceding and following paragraphs. What clues can the students find to the word’s meaning?

After analyzing the parts of the word and exhausting context clues, students can look up the word in dictionaries. However, they will still need to do some legwork to make the new word stick. Some valuable ways of committing a new word to memory include:

• Sketching a visual interpretation of the word
• Making a list of synonyms of the word using a thesaurus to assist
• Apply the target words in personal contexts (in conversation/writing sentences)
• Reading Comprehension

Vocabulary is only one aspect of comprehension. Novel studies afford students a valuable opportunity to develop their deep comprehension abilities.

Beyond just understanding the meaning of the words in a novel, students will work on their understanding of skills such as:

• Identifying the central idea/themes
• Examining character/plot development
• Distinguishing between fact and opinion
• Summarizing
• Inferencing
• Comparing and contrasting

While activities for teaching some of the more basic comprehension skills may be more self-evident, activities for teaching higher-level skills, such as inferencing, may require a bit more thought and planning.

We can define inference as the process of deriving a conclusion based on the available evidence in the text combined with the student’s background knowledge and experience. 

Put simply, inference involves reading between the lines.

Inference = What is in the text + What I already know

To encourage students to use inference while completing a novel study, ask questions building on prompts such as:

• Why do you think…
• What do you think would happen if…
• What can you conclude about x based on what you’ve read?
• How does the writer feel about…
• How do you think x feels?

If you want to learn more about teaching inference in the classroom, check out our thorough article on the topic here .

• Making Connections

While vocabulary building and developing reading comprehension skills are a big part of what novel studies are all about, this type of reading lends itself to a deeper exploration of the power of the written word.

Too often, our students read prescribed texts without ever making any personal or profound connections to the material they read. Students can better understand what they are reading by exploring ways of connecting to a novel. There are three main types of connections we can explore:

• Text-to-self connections
• Text-to-text connections
• Text-to-world connections

Let’s look at how students can make each type of connection in a novel study.

Text-to-Self

This is all about the student making a personal connection and responding to the text as an individual. Essentially, this type of connection is about encouraging the students to share their thoughts and feelings on various aspects of the novel. This sharing can take the form of oral contributions to class discussions and debates or in the form of a written response.

Either way, question prompts are a great way to kick things off. Here are some examples to get the ball rolling.

• What does this incident remind you of in your own life?
• Which character do you identify with the most?
• Have you ever been in a similar situation? What happened?
• What would you do in this situation?

Text-to-Text

These connections are all about the student linking the novel they are studying to other texts they have read or seen. This could include other novels, comics, nonfiction books, websites, and poems.

Here are some useful prompts to encourage your students to make text-to-text connections.

• Have you ever read anything like this before?
• How is this text similar to/different from other texts you’ve looked at?
• What other fictional character does the hero of this novel remind you of?

Text-to-World

Making a text-to-world connection requires students to think about the novel in terms of the wider world. Here, students forge links with the broader culture and current affairs. Text-to-world connections will frequently require students to tie the novel into other areas of learning, such as social studies and the sciences.

Here are a few helpful text-to-world prompts.

• How do the events described in the novel relate to real-world events?
• What issues explored in the novel are pertinent in today’s world?
• How does the world described in the novel relate to the world we live in now?

Post-Reading Activities

The number of possible activities you can do to complete a novel is almost endless. Which activities you choose will depend on what aspect of the novel and/or objectives you are trying to teach. Here are just a few popular tasks students regularly complete after they finish reading a novel.

• Create a timeline of events.
• Graph the plot .
• Write a character profile.
• Design an alternative book cover/blurb.
• Write a summary of the novel.
• Write an alternative ending.
• Have a formal debate based on themes or issues explored in the novel.
• Write a book review.

Well, that’s enough to start a novel study in your classroom. However, if you’d like to read more on reading comprehension strategies you can employ in your novel studies, check out our depth article on the topic here .

The flexibility of the novel study format lends itself well to almost any age group; just be sure to choose a text that matches the general reading ability of your class. For older kids, you may even want to involve them in deciding what text to study. 

However you decide to choose your novel, just be sure to read the text thoroughly in advance to stay one step ahead of your students – and don’t forget to have fun with it!

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• Writing Tips

How to Write Book Titles in Your Essays

3-minute read

• 26th May 2023

When writing an essay, you’re likely to mention other authors’ works, such as books, papers, and articles. Formatting the titles of these works usually involves using quotation marks or italics.

So how do you write a book title in an essay? Most style guides have a standard for this – be sure to check that first. If you’re unsure, though, check out our guide below.

Italics or Quotation Marks?

As a general rule, you should set titles of longer works in italics , and titles of shorter works go in quotation marks . Longer works include books, journals, TV shows, albums, plays, etc. Here’s an example of a book mention:

Shorter works include poems, articles, chapters of books, episodes of TV shows, songs, etc. If it’s a piece that’s part of a biggHow to Write Book Titles in Your Essayser work, the piece considered a short work:

Exceptions to the Rule

The rule for writing book titles in italics applies specifically to running text . If the book title is standing on its own, as in a heading, there’s no need to italicize it.

Additionally, if the book is part of a larger series and you’re mentioning both the title of the series and that of the individual book, you can consider the book a shorter work. You would set the title of the series in italics and place the book title in quotation marks:

Punctuation in Book Titles

Do you need to apply italics to the punctuation in a book title? The short answer is yes – but only if the punctuation is part of the title:

If the punctuation isn’t part of the title (i.e., the punctuation is part of the sentence containing the title), you shouldn’t include in the italics:

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Summary: Writing Book Titles in Essays

We hope you’ll now feel confident when you’re writing and formatting book titles in your essays. Generally, you should set the title in italics when it’s in running text. Remember, though, to check your style guide. While the standards we’ve covered are the most common, some style guides have different requirements.

And once you finish writing your paper, make sure you send it our way! We’ll make sure any titles are formatted correctly as well as checking your work for grammar, spelling, punctuation, referencing, and more. Submit a free sample to try our service today.

Frequently Asked Questions

How do you write the title of a book in a sentence.

Set the title of the book in italics unless the book is part of a larger work (e.g., a book that’s part of a series):

When do you use quotation marks for titles?

Place titles of shorter works or pieces that are contained in a larger work in quotation marks:

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How to Write a Book Name in an Essay

Last Updated: February 14, 2024 Fact Checked

This article was co-authored by Noah Taxis and by wikiHow staff writer, Danielle Blinka, MA, MPA . Noah Taxis is an English Teacher based in San Francisco, California. He has taught as a credentialed teacher for over four years: first at Mountain View High School as a 9th- and 11th-grade English Teacher, then at UISA (Ukiah Independent Study Academy) as a Middle School Independent Study Teacher. He is now a high school English teacher at St. Ignatius College Preparatory School in San Francisco. He received an MA in Secondary Education and Teaching from Stanford University’s Graduate School of Education. He also received an MA in Comparative and World Literature from the University of Illinois Urbana-Champaign and a BA in International Literary & Visual Studies and English from Tufts University. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 63,442 times.

When you’re writing an essay that includes a book title, it can be confusing to write the title correctly. However, it’s really easy once you know the rules. How you write the title will vary a little bit depending on the style your instructor assigns and if you are typing or handwriting the essay. Luckily, it's easy to follow the rules for writing a book name in an essay.

Writing Help

Typing an Essay in MLA or Chicago Style Format

• For example, you would write To Kill a Mockingbird , The Lord of the Rings , or Wuthering Heights .

• If you have the book name in front of you, you can just copy it down as it is printed.
• Articles include a, an, and the.
• Prepositions include at, in, on, of, about, since, from, for, until, during, over, above, under, underneath, below, beneath, near, by, next to, between, among, and opposite.
• Coordinating conjunctions include the FANBOYS, which are for, and, not, but, or, yet, and

• For example, you would write the name of William Faulkner’s novel Absalom, Absalom! with both the comma and the exclamation point in italics.

• If the highlight bar goes away, try again, making sure that you don’t click anywhere on the page after you highlight the book name.

• Alternatively, you can press the italicize icon before you type the title.
• If you’re using Microsoft Word to type your essay, the italicize key may appear if you hover over the highlighted book name.

• If the next word after your title appears italicized when you resume typing, simply highlight it and click the italicize icon to remove the formatting.

• For example, The Lord of the Rings trilogy is sometimes published in one volume. In this case, you could write the name of the first novel as "The Fellowship of the Ring" when citing it in an essay.

Typing an Essay in APA Format

• Capitalize the first letter of the words, not the entire word.
• If the word is a two-part hyphenated word in the title, you should capitalize both words. For example, you would write Blue River: The Trial of a Mayor-Elect .
• If there is a dash or colon in the title, you should capitalize the word after the punctuation, regardless of how long the word is. As above, you would write Blue River: The Trial of a Mayor-Elect .

• For example, you would write Philip K. Dick’s Do Androids Dream of Electric Sheep? with the question mark italicized.

• If the book name is not highlighted, left click and drag your cursor again, making sure that you don’t click again anywhere on the page.

• If you are using Microsoft Word, the italics icon may appear when you hover over the highlighted book title. It’s okay to click this key.

Handwriting an Essay

• For MLA and Chicago style essays, capitalize the first word of the book name and every word other than articles, prepositions, or coordinating conjunctions. For example, write The Lord of the Rings .
• If you’re using APA style, capitalize the first word and all words longer than 4 letters. [9] X Research source This means you would write Public Policy in Local Government .

• If you’re writing on lined paper, it may help to follow along the line of the paper. However, make sure your line is dark enough so that your instructor will see that you properly underlined the book name.

• For example, you would write Judy Blume’s Are You There, God? It’s Me, Margaret by underlining the punctuation marks as well as the words.

Expert Interview

Thanks for reading our article! If you’d like to learn more about academic writing, check out our in-depth interview with Noah Taxis .

• ↑ https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/mla_general_format.html
• ↑ https://owl.purdue.edu/owl/subject_specific_writing/writing_in_literature/writing_about_literature/formatting.html
• ↑ https://www.grammarly.com/blog/underline-or-italicize-book-titles/
• ↑ https://askus.library.wwu.edu/faq/116757
• ↑ https://libguides.up.edu/apa/books_ebooks
• ↑ https://apastyle.apa.org/style-grammar-guidelines/italics-quotations/italics

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If you’ve thought about putting your life to the page, you may have wondered how to write a memoir. We start the road to writing a memoir when we realize that a story in our lives demands to be told. As Maya Angelou once wrote, “There is no greater agony than bearing an untold story inside you.”

How to write a memoir? At first glance, it looks easy enough—easier, in any case, than writing fiction. After all, there is no need to make up a story or characters, and the protagonist is none other than you.

Still, memoir writing carries its own unique challenges, as well as unique possibilities that only come from telling your own true story. Let’s dive into how to write a memoir by looking closely at the craft of memoir writing, starting with a key question: exactly what is a memoir?

How to Write a Memoir: Contents

What is a Memoir?

• Memoir vs Autobiography

Memoir Examples

Short memoir examples.

• How to Write a Memoir: A Step-by-Step Guide

A memoir is a branch of creative nonfiction , a genre defined by the writer Lee Gutkind as “true stories, well told.” The etymology of the word “memoir,” which comes to us from the French, tells us of the human urge to put experience to paper, to remember. Indeed, a memoir is “ something written to be kept in mind .”

A memoir is defined by Lee Gutkind as “true stories, well told.”

For a piece of writing to be called a memoir, it has to be:

• Nonfictional
• Based on the raw material of your life and your memories
• Written from your personal perspective

At this point, memoirs are beginning to sound an awful lot like autobiographies. However, a quick comparison of Elizabeth Gilbert’s Eat, Pray, Love , and The Autobiography of Benjamin Franklin , for example, tells us that memoirs and autobiographies could not be more distinct.

Next, let’s look at the characteristics of a memoir and what sets memoirs and autobiographies apart. Discussing memoir vs. autobiography will not only reveal crucial insights into the process of writing a memoir, but also help us to refine our answer to the question, “What is a memoir?”

Memoir vs. Autobiography

While both use personal life as writing material, there are five key differences between memoir and autobiography:

1. Structure

Since autobiographies tell the comprehensive story of one’s life, they are more or less chronological. writing a memoir, however, involves carefully curating a list of personal experiences to serve a larger idea or story, such as grief, coming-of-age, and self-discovery. As such, memoirs do not have to unfold in chronological order.

While autobiographies attempt to provide a comprehensive account, memoirs focus only on specific periods in the writer’s life. The difference between autobiographies and memoirs can be likened to that between a CV and a one-page resume, which includes only select experiences.

The difference between autobiographies and memoirs can be likened to that between a CV and a one-page resume, which includes only select experiences.

Autobiographies prioritize events; memoirs prioritize the writer’s personal experience of those events. Experience includes not just the event you might have undergone, but also your feelings, thoughts, and reflections. Memoir’s insistence on experience allows the writer to go beyond the expectations of formal writing. This means that memoirists can also use fiction-writing techniques , such as scene-setting and dialogue , to capture their stories with flair.

4. Philosophy

Another key difference between the two genres stems from the autobiography’s emphasis on facts and the memoir’s reliance on memory. Due to memory’s unreliability, memoirs ask the reader to focus less on facts and more on emotional truth. In addition, memoir writers often work the fallibility of memory into the narrative itself by directly questioning the accuracy of their own memories.

Memoirs ask the reader to focus less on facts and more on emotional truth.

5. Audience

While readers pick up autobiographies to learn about prominent individuals, they read memoirs to experience a story built around specific themes . Memoirs, as such, tend to be more relatable, personal, and intimate. Really, what this means is that memoirs can be written by anybody!

Ready to be inspired yet? Let’s now turn to some memoir examples that have received widespread recognition and captured our imaginations!

If you’re looking to lose yourself in a book, the following memoir examples are great places to begin:

• The Year of Magical Thinking , which chronicles Joan Didion’s year of mourning her husband’s death, is certainly one of the most powerful books on grief. Written in two short months, Didion’s prose is urgent yet lucid, compelling from the first page to the last. A few years later, the writer would publish Blue Nights , another devastating account of grief, only this time she would be mourning her daughter.
• Patti Smith’s Just Kids is a classic coming-of-age memoir that follows the author’s move to New York and her romance and friendship with the artist Robert Maplethorpe. In its pages, Smith captures the energy of downtown New York in the late sixties and seventies effortlessly.
• When Breath Becomes Air begins when Paul Kalanithi, a young neurosurgeon, is diagnosed with terminal cancer. Exquisite and poignant, this memoir grapples with some of the most difficult human experiences, including fatherhood, mortality, and the search for meaning.
• A memoir of relationship abuse, Carmen Maria Machado’s In the Dream House is candid and innovative in form. Machado writes about thorny and turbulent subjects with clarity, even wit. While intensely personal, In the Dream House is also one of most insightful pieces of cultural criticism.
• Twenty-five years after leaving for Canada, Michael Ondaatje returns to his native Sri Lanka to sort out his family’s past. The result is Running in the Family , the writer’s dazzling attempt to reconstruct fragments of experiences and family legends into a portrait of his parents’ and grandparents’ lives. (Importantly, Running in the Family was sold to readers as a fictional memoir; its explicit acknowledgement of fictionalization prevented it from encountering the kind of backlash that James Frey would receive for fabricating key facts in A Million Little Pieces , which he had sold as a memoir . )
• Of the many memoirs published in recent years, Tara Westover’s Educated is perhaps one of the most internationally-recognized. A story about the struggle for self-determination, Educated recounts the writer’s childhood in a survivalist family and her subsequent attempts to make a life for herself. All in all, powerful, thought-provoking, and near impossible to put down.

While book-length memoirs are engaging reads, the prospect of writing a whole book can be intimidating. Fortunately, there are plenty of short, essay-length memoir examples that are just as compelling.

While memoirists often write book-length works, you might also consider writing a memoir that’s essay-length. Here are some short memoir examples that tell complete, lived stories, in far fewer words:

• “ The Book of My Life ” offers a portrait of a professor that the writer, Aleksandar Hemon, once had as a child in communist Sarajevo. This memoir was collected into Hemon’s The Book of My Lives , a collection of essays about the writer’s personal history in wartime Yugoslavia and subsequent move to the US.
• “The first time I cheated on my husband, my mother had been dead for exactly one week.” So begins Cheryl Strayed’s “ The Love of My Life ,” an essay that the writer eventually expanded into the best-selling memoir, Wild: From Lost to Found on the Pacific Crest Trail .
• In “ What We Hunger For ,” Roxane Gay weaves personal experience and a discussion of The Hunger Games into a powerful meditation on strength, trauma, and hope. “What We Hunger For” can also be found in Gay’s essay collection, Bad Feminist .
• A humorous memoir structured around David Sedaris and his family’s memories of pets, “ The Youth in Asia ” is ultimately a story about grief, mortality and loss. This essay is excerpted from the memoir Me Talk Pretty One Day , and a recorded version can be found here .

So far, we’ve 1) answered the question “What is a memoir?” 2) discussed differences between memoirs vs. autobiographies, 3) taken a closer look at book- and essay-length memoir examples. Next, we’ll turn the question of how to write a memoir.

How to Write a Memoir: A-Step-by-Step Guide

1. how to write a memoir: generate memoir ideas.

how to start a memoir? As with anything, starting is the hardest. If you’ve yet to decide what to write about, check out the “ I Remember ” writing prompt. Inspired by Joe Brainard’s memoir I Remember , this prompt is a great way to generate a list of memories. From there, choose one memory that feels the most emotionally charged and begin writing your memoir. It’s that simple! If you’re in need of more prompts, our Facebook group is also a great resource.

2. How to Write a Memoir: Begin drafting

My most effective advice is to resist the urge to start from “the beginning.” Instead, begin with the event that you can’t stop thinking about, or with the detail that, for some reason, just sticks. The key to drafting is gaining momentum . Beginning with an emotionally charged event or detail gives us the drive we need to start writing.

3. How to Write a Memoir: Aim for a “ shitty first draft ”

Now that you have momentum, maintain it. Attempting to perfect your language as you draft makes it difficult to maintain our impulses to write. It can also create self-doubt and writers’ block. Remember that most, if not all, writers, no matter how famous, write shitty first drafts.

Attempting to perfect your language as you draft makes it difficult to maintain our impulses to write.

4. How to Write a Memoir: Set your draft aside

Once you have a first draft, set it aside and fight the urge to read it for at least a week. Stephen King recommends sticking first drafts in your drawer for at least six weeks. This period allows writers to develop the critical distance we need to revise and edit the draft that we’ve worked so hard to write.

5. How to Write a Memoir: Reread your draft

While reading your draft, note what works and what doesn’t, then make a revision plan. While rereading, ask yourself:

• What’s underdeveloped, and what’s superfluous.
• Does the structure work?
• What story are you telling?

6. How to Write a Memoir: Revise your memoir and repeat steps 4 & 5 until satisfied

Every piece of good writing is the product of a series of rigorous revisions. Depending on what kind of writer you are and how you define a draft,” you may need three, seven, or perhaps even ten drafts. There’s no “magic number” of drafts to aim for, so trust your intuition. Many writers say that a story is never, truly done; there only comes a point when they’re finished with it. If you find yourself stuck in the revision process, get a fresh pair of eyes to look at your writing.

7. How to Write a Memoir: Edit, edit, edit!

Once you’re satisfied with the story, begin to edit the finer things (e.g. language, metaphor , and details). Clean up your word choice and omit needless words , and check to make sure you haven’t made any of these common writing mistakes . Be sure to also know the difference between revising and editing —you’ll be doing both. Then, once your memoir is ready, send it out !

Learn How to Write a Memoir at Writers.com

Writing a memoir for the first time can be intimidating. But, keep in mind that anyone can learn how to write a memoir. Trust the value of your own experiences: it’s not about the stories you tell, but how you tell them. Most importantly, don’t give up!

Anyone can learn how to write a memoir.

If you’re looking for additional feedback, as well as additional instruction on how to write a memoir, check out our schedule of nonfiction classes . Now, get started writing your memoir!

29 Comments

Thank you for this website. It’s very engaging. I have been writing a memoir for over three years, somewhat haphazardly, based on the first half of my life and its encounters with ignorance (religious restrictions, alcohol, and inability to reach out for help). Three cities were involved: Boston as a youngster growing up and going to college, then Washington DC and Chicago North Shore as a married woman with four children. I am satisfied with some chapters and not with others. Editing exposes repetition and hopefully discards boring excess. Reaching for something better is always worth the struggle. I am 90, continue to be a recital pianist, a portrait painter, and a writer. Hubby has been dead for nine years. Together we lept a few of life’s chasms and I still miss him. But so far, my occupations keep my brain working fairly well, especially since I don’t smoke or drink (for the past 50 years).

Hi Mary Ellen,

It sounds like a fantastic life for a memoir! Thank you for sharing, and best of luck finishing your book. Let us know when it’s published!

Best, The writers.com Team

Hello Mary Ellen,

I am contacting you because your last name (Lavelle) is my middle name!

Being interested in genealogy I have learned that this was my great grandfathers wife’s name (Mary Lavelle), and that her family emigrated here about 1850 from County Mayo, Ireland. That is also where my fathers family came from.

Is your family background similar?

Hope to hear back from you.

Richard Lavelle Bourke

Hi Mary Ellen: Have you finished your memoir yet? I just came across your post and am seriously impressed that you are still writing. I discovered it again at age 77 and don’t know what I would do with myself if I couldn’t write. All the best to you!! Sharon [email protected]

I am up to my eyeballs with a research project and report for a non-profit. And some paid research for an international organization. But as today is my 90th birthday, it is time to retire and write a memoir.

So I would like to join a list to keep track of future courses related to memoir / creative non-fiction writing.

Hi Frederick,

Happy birthday! And happy retirement as well. I’ve added your name and email to our reminder list for memoir courses–when we post one on our calendar, we’ll send you an email.

We’ll be posting more memoir courses in the near future, likely for the months of January and February 2022. We hope to see you in one!

Very interesting and informative, I am writing memoirs from my long often adventurous and well travelled life, have had one very short story published. Your advice on several topics will be extremely helpful. I write under my schoolboy nickname Barnaby Rudge.

[…] How to Write a Memoir: Examples and a Step-by-Step Guide […]

I am writing my memoir from my memory when I was 5 years old and now having left my birthplace I left after graduation as a doctor I moved to UK where I have been living. In between I have spent 1 year in Canada during my training year as paediatrician. I also spent nearly 2 years with British Army in the hospital as paediatrician in Germany. I moved back to UK to work as specialist paediatrician in a very busy general hospital outside London for the next 22 years. Then I retired from NHS in 2012. I worked another 5 years in Canada until 2018. I am fully retired now

I have the whole convoluted story of my loss and horrid aftermath in my head (and heart) but have no clue WHERE, in my story to begin. In the middle of the tragedy? What led up to it? Where my life is now, post-loss, and then write back and forth? Any suggestions?

My friend Laura who referred me to this site said “Start”! I say to you “Start”!

Hi Dee, that has been a challenge for me.i dont know where to start?

What was the most painful? Embarrassing? Delicious? Unexpected? Who helped you? Who hurt you? Pick one story and let that lead you to others.

I really enjoyed this writing about memoir. I ve just finished my own about my journey out of my city then out of my country to Egypt to study, Never Say Can’t, God Can Do It. Infact memoir writing helps to live the life you are writing about again and to appreciate good people you came across during the journey. Many thanks for sharing what memoir is about.

I am a survivor of gun violence, having witnessed my adult son being shot 13 times by police in 2014. I have struggled with writing my memoir because I have a grandson who was 18-months old at the time of the tragedy and was also present, as was his biological mother and other family members. We all struggle with PTSD because of this atrocity. My grandson’s biological mother was instrumental in what happened and I am struggling to write the story in such a way as to not cast blame – thus my dilemma in writing the memoir. My grandson was later adopted by a local family in an open adoption and is still a big part of my life. I have considered just writing it and waiting until my grandson is old enough to understand all the family dynamics that were involved. Any advice on how I might handle this challenge in writing would be much appreciated.

I decided to use a ghost writer, and I’m only part way in the process and it’s worth every penny!

Hi. I am 44 years old and have had a roller coaster life .. right as a young kid seeing his father struggle to financial hassles, facing legal battles at a young age and then health issues leading to a recent kidney transplant. I have been working on writing a memoir sharing my life story and titled it “A memoir of growth and gratitude” Is it a good idea to write a memoir and share my story with the world?

Thank you… this was very helpful. I’m writing about the troubling issues of my mental health, and how my life was seriously impacted by that. I am 68 years old.

[…] Writers.com: How to Write a Memoir […]

[…] Writers.com: “How to Write a Memoir” […]

I am so grateful that I found this site! I am inspired and encouraged to start my memoir because of the site’s content and the brave people that have posted in the comments.

Finding this site is going into my gratitude journey 🙂

We’re grateful you found us too, Nichol! 🙂

Firstly, I would like to thank you for all the info pertaining to memoirs. I believe am on the right track, am at the editing stage and really have to use an extra pair of eyes. I’m more motivated now to push it out and complete it. Thanks for the tips it was very helpful, I have a little more confidence it seeing the completion.

Well, I’m super excited to begin my memoir. It’s hard trying to rely on memories alone, but I’m going to give it a shot!

Thanks to everyone who posted comments, all of which have inspired me to get on it.

Best of luck to everyone! Jody V.

I was thrilled to find this material on How to Write A Memoir. When I briefly told someone about some of my past experiences and how I came to the United States in the company of my younger brother in a program with a curious name, I was encouraged by that person and others to write my life history.

Based on the name of that curious program through which our parents sent us to the United States so we could leave the place of our birth, and be away from potentially difficult situations in our country.

As I began to write my history I took as much time as possible to describe all the different steps that were taken. At this time – I have been working on this project for 5 years and am still moving ahead. The information I received through your material has further encouraged me to move along. I am very pleased to have found this important material. Thank you!

Wow! This is such an informative post packed with tangible guidance. I poured my heart into a book. I’ve been a professional creative for years to include as a writer, mainly in the ad game and content. No editor. I wasn’t trying to make it as an author. Looking back, I think it’s all the stuff I needed to say. Therapy. Which does not, in and of itself, make for a coherent book. The level of writing garnering praise, but the book itself was a hot mess. So, this is helpful. I really put myself out there, which I’ve done in many areas, but the crickets response really got to me this time. I bought “Educated” as you recommended. Do you have any blog posts on memoirs that have something to say to the world, finding that “something” to say? It feels like that’s theme, but perhaps something more granular. Thanks for this fantastic post. If I had the moola, I would sign up for a class. Your time is and effort is appreciated. Typos likely on comments! LOL

thanks. God bless

I am a member of the “Reprobates”, a group of seven retired Royal Air Force pilots and navigators which has stayed in intermittent touch since we first met in Germany in 1969. Four of the group (all of whom are in their late seventies or early eighties) play golf together quite frequently, and we all gather for reunions once or twice a year. About a year ago, one of the Reprobates suggested posterity might be glad to hear the stories told at these gatherings, and there have since been two professionally conducted recording sessions, one in London, and one in Tarifa, Spain. The instigator of these recordings forwarded your website to his fellow Reprobates by way of encouragement to put pen to paper. And, I, for one, have found it inspiring. It’s high time I made a start on my Memoirs, thank you.

Thank you for sharing this, Tim! Happy writing!

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How to Write a College Essay

Let QuestBridge help you with college essay writing tips. We cover what to write about, how to get feedback, and more!

The low-income lens in college essays

Students from low-income backgrounds may not realize that they have a unique perspective to present to admissions officers. If your identity has been shaped by financial difficulties and other obstacles, consider writing about these challenges in your college essays so that admissions officers understand the full context of your successes and academic accomplishments.

Bring us into your world. We want to know you. We want to know your truth.

Student challenges and extenuating circumstances

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Giving admissions officers a window into difficult experiences can present your story in your college application, but there are other topics that can also make for a strong essay (e.g. a favorite book, a community service project). Whichever angle you select to tell your story, highlight the most important things that have shaped and continue to shape your identity.

The writing process: brainstorm, outline, and draft

Writing a college essay can seem daunting at first, but it doesn’t have to be. Watch our webinar,  Write a College Essay that Stands Out , and download our worksheet as a template and foundation to help you craft a strong college essay. This college essay format may help you write your essay in a manner that goes beyond just a chronological explanation of your life or an expansion of your resume.

Essay feedback and revisions

Ask teachers, mentors, family, or friends for feedback on your essay. Reach out well in advance of any deadlines, and give them at least two weeks to provide feedback. Ask them in person if you can, but if you cannot, send them an email. If they agree to take a look, you can send them a message with your essay. Download a sample message below.

After receiving feedback, revise! You should plan on going through a few drafts. Here are some things to keep in mind: 

• You do not have to incorporate all feedback. Accept what you think is most helpful. 
• Edits and revisions should not remove your voice or completely alter your writing style. 
• Pay attention to spelling, grammar, punctuation, and even formatting. 
• It may help to read your essay out loud to catch mistakes you might otherwise skim over. 
• Read your college essay from an admissions officer’s perspective.
• For more college essay writing tips, continue reading the FAQs below.

Detailed FAQs about college admissions essays

Mechanics, structure, and content are vital parts of a successful essay. Our Detailed College Essays FAQs page covers each category in detail to give your essay a strong start and finish. Learn about how to write a college essay, how long a college essay should be, and more.

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How to Write a Mystery Novel: A Comprehensive Guide

• by Andrea Feccomandi
• May 22, 2024

Mystery novels have long fascinated readers with their blend of suspense, intrigue, and clever twists. From classic Agatha Christie mysteries to modern Gillian Flynn psychological thrillers, the genre continues evolving and captivating audiences worldwide.

The key to writing a successful mystery novel is knowing how to create suspense and intrigue , capable of dragging readers into an increasingly thick web of secrets and twists.

In this article, we will explore the essential techniques and strategies for creating a mystery novel that will captivate readers, holding their attention from beginning to end. Let’s go!

Mystery novel definition

Before analyzing how to write a mystery novel, we have to first define what a mystery novel is.

MYSTERY NOVEL DEFINITION What is a Mystery Novel? A mystery novel, often referred to as a whodunit or detective fiction , is a genre of literature characterized by its focus on solving a crime or unraveling a puzzle . Typically, these novels feature a central mystery or crime that drives the narrative, often involving a detective, amateur sleuth, or protagonist who must use their wits and investigative skills to uncover the truth. The plot of a mystery novel typically includes elements such as suspects, clues, red herrings, and plot twists, leading to a climactic reveal or resolution at the end of the story.

Let’s now analyze in detail the characteristics of a mystery novel and how to write it.

How to write a mystery novel: #1 Crafting a compelling plot

Central to any successful mystery novel is creating a compelling plot that keeps readers guessing until the final resolution. The plot has to lead readers to discover the truth through a labyrinth of clues, suspicions, and revelations.

At the heart of the plot lies the central mystery or crime that drives the narrative forward, serving as the focal point around which the story unfolds. This mystery sets the stage for the protagonist to begin a quest searching for the truth.

The key to crafting a compelling plot is finding the right balance between intrigue and revelation , keeping readers on the edge of their seats as they eagerly await the final twist.

Key stages of mystery novel’s plot

A well-structured plot typically follows a series of critical stages, each essential to the development and resolution of the mystery.

• The story begins by introducing the crime or mystery , drawing readers into the novel’s world and setting the stage for future events. This initial phase is crucial for establishing the stakes and generating intrigue, enticing readers to delve deeper into the story.
• As the plot progresses, the protagonist takes center stage. They start an investigation to uncover clues, interrogate suspects, and unravel the mystery’s secrets. This phase is characterized by tension and suspense as the protagonist encounters obstacles and challenges, testing their resolve and determination.
• Finally, as the story reaches its climax , the puzzle pieces begin to fall into place, leading to a dramatic resolution where the truth is finally revealed . This climactic moment is the culmination of the protagonist’s journey, marking the end of the mystery and providing closure for both the characters and the readers.

How to write a mystery novel: #2 Developing complex characters

By focusing on the development of complex characters , writers can create a richer, more immersive mystery novel.

Characters who are multi-dimensional and relatable add depth to the narrative, making the story more compelling and keeping readers invested in the outcome.

Protagonist

At the core of most mystery stories is the protagonist , often a detective or an amateur sleuth, whose unique skills, flaws, and personal motivations drive the investigation. Developing a memorable detective requires attention to detail, from their backstory and personality traits to their methods of solving crimes.

Equally important is the antagonist , whose actions and motivations are central to the mystery. A well-developed antagonist should have a compelling backstory and clear motives, making them more than just a villain but a fully realized character . Understanding the antagonist’s perspective can add depth to the story and create a more engaging conflict .

Supporting characters

Supporting characters also play crucial roles in a mystery novel. These can include suspects, witnesses, allies , and even secondary antagonists. Each character should have a distinct personality, background, and set of motivations that contribute to the complexity of the plot. These characters can provide red herrings, clues, and additional layers of intrigue, keeping readers guessing about their true roles in the mystery .

Character evolution

When developing characters, it’s important to balance their strengths and weaknesses , making them relatable and realistic. Characters should evolve throughout the story , responding to the challenges they face and revealing different facets of their personalities. This growth can make the characters more engaging and the story more dynamic.

Dialogue is another crucial aspect of character development. Through dialogue, characters can reveal their thoughts, emotions, and intentions. Writing realistic and engaging dialogue helps bring characters to life and can also serve as a tool for advancing the plot and uncovering clues.

How to write a mystery novel: #3 Building suspense

Suspense is the lifeblood of any mystery novel, crucial for keeping readers deeply engaged with the story . Building suspense effectively requires a combination of pacing, strategic reveals, and the careful management of information.

One of the most important elements in creating suspense is pacing. A well-paced mystery novel balances fast and slow moments , creating a rhythm that keeps readers intrigued. Rapid sequences filled with action or significant discoveries can raise tension, while slower scenes can provide necessary breathers, allowing readers to absorb information and anticipate what’s coming next. Alternating between these speeds can prevent the story from becoming predictable, maintaining a sense of urgency and momentum.

Cliffhangers

Ending chapters or sections with cliffhangers is a tried-and-true technique for maintaining suspense. By concluding with an unresolved issue or a surprising revelation , you compel readers to continue turning the pages. These cliffhangers can be as subtle as a mysterious phone call or as dramatic as a sudden confrontation, but they should always leave the reader wanting more.

Foreshadowing

Foreshadowing is another powerful tool for building suspense. By subtly hinting at future events, you can create a sense of impending doom or excitement . This technique keeps readers on alert, making them aware that significant developments are on the horizon. Effective foreshadowing plants clues that are later revealed to be significant, rewarding attentive readers and adding depth to the story.

Timing and delayed Information

The strategic withholding of information is essential in a mystery novel. By delaying key revelations, you can build suspense and maintain intrigue. This technique involves giving readers just enough information to keep them engaged while holding back critical details that are revealed late r in the story. The timing of these revelations is crucial; too early, and you risk losing suspense; too late, and you might frustrate readers.

Unpredictability

Keeping the plot unpredictable is vital for sustaining suspense. While it’s important to lay down a trail of clues, the journey to solving the mystery should be filled with unexpected turns . Introduce red herrings to mislead readers and create false leads, but ensure that the ultimate resolution is logical and satisfying. The balance between predictability and surprise is delicate; you want to keep readers guessing without making the plot feel arbitrary or unfair.

Emotional Engagement

Lastly, emotional engagement plays a significant role in building suspense. When readers care deeply about the characters and their outcomes , every twist and turn in the plot is heightened. Develop characters that readers can empathize with , and place them in perilous situations that evoke genuine concern and anticipation.

How to write a mystery novel: #4 Choosing the right setting

The setting of your mystery novel should complement the tone and themes of your story . Whether it’s a foggy, Victorian-era London, a small, sleepy village with hidden secrets, or a bustling modern city with a dark underbelly, the setting should serve as a backdrop that enriches the narrative.

Think about locations that naturally lend themselves to mystery and suspense —places with history, secrets, and an inherent sense of intrigue.

A well-crafted setting becomes an integral part of the storytelling, adding depth and complexity to your narrative.

Creating Atmosphere

Atmosphere is the emotional tone or mood of a scene , and it plays a crucial role in building suspense. Use descriptive language to create a vivid picture of the setting, focusing on sensory details . Describe the eerie silence of an abandoned house, the oppressive heat of a tropical jungle, or the chilling wind of a coastal town at night. These details help to immerse readers and evoke the desired emotional response.

Utilizing the setting to enhance the plot

The setting can be more than just a backdrop; it can be an active element in your story . Incorporate the environment into the plot by using it to create obstacles, hide clues, or enhance character interactions. For example, a dense forest can serve as a hiding place for a crucial piece of evidence, or a maze-like mansion can heighten tension during a cat-and-mouse chase. The setting can also reflect the internal states of your characters , with stormy weather mirroring turmoil or a peaceful garden symbolizing calm.

Historical and Cultural Context

If your mystery novel is set in a specific historical period or cultural context, ensure that the details are accurate and well-researched . Authenticity in the depiction of historical settings or cultural nuances adds depth and credibility to your story. It also allows you to explore unique aspects of the era or culture that can influence the mystery , such as societal norms, available technology, and historical events.

Mood and Tone

The mood and tone of your novel should be consistent with the atmosphere you are trying to create . A dark, brooding tone can be enhanced by settings that are shadowy and filled with ominous sounds, while a lighter, more adventurous mystery might feature brighter, more dynamic environments. Use the setting to reinforce the overall mood of your story , ensuring that it resonates with the themes and emotions you wish to convey.

How to write a mystery novel: #5 Incorporating clues and red herrings

A critical element of a successful mystery novel is the strategic placement of clues and red herrings. These elements keep readers engaged, encouraging them to solve the mystery alongside the protagonist while maintaining an air of unpredictability.

By incorporating clues and red herrings, you can create a mystery that is both challenging and rewarding for readers. The balance of true clues and false leads keeps the narrative intriguing, maintaining suspense and engagement until the very end.

Placing clues strategically

Clues are the breadcrumbs that lead readers and the protagonist toward solving the mystery. These should be introduced at key points throughout the narrative to maintain interest and forward momentum. When placing clues, consider the following:

• Subtlety . Not all clues should be obvious. Some can be hidden in plain sight, requiring keen observation to identify their significance.
• Relevance . Each clue should have a purpose, contributing to the unraveling of the mystery. Irrelevant details can frustrate readers and distract them from the plot.
• Variety . Use different types of clues—physical evidence, witness testimonies, inconsistencies in alibis, or revealing conversations—to keep the narrative dynamic and engaging.

Balancing obvious and subtle clues

Achieving the right balance between obvious and subtle clues is crucial. Too many obvious clues can make the solution too predictable, while overly subtle clues can confuse readers and make the resolution feel unearned. A mix of both keeps readers on their toes, providing moments of revelation and satisfaction as they piece together the puzzle.

Using Red Herrings

Red herrings are false leads or distractions that divert attention away from the true solution. These are essential in creating suspense and maintaining the mystery’s complexity. Effective red herrings:

• Mislead without deceiving. While red herrings should mislead, they must still be plausible within the story’s context. Avoid making them feel contrived or unfair.
• Enhance the plot. Red herrings should add depth to the story, contributing to character development or subplots, rather than serving as mere distractions.
• Resolve satisfactorily . Ensure that red herrings are resolved by the end of the story, providing closure for the reader. Unresolved red herrings can leave readers feeling unsatisfied.

Ensuring Logical Resolution

As you weave clues and red herrings throughout your narrative, it’s essential to ensure that the mystery’s resolution is logical and satisfying . Every clue should fit into the final solution, and the resolution should feel both surprising and inevitable. Consider these tips.

• Plan ahead . Outline your mystery in advance, knowing where you will place each clue and red herring and how they will contribute to the resolution.
• Foreshadowing. Use foreshadowing to plant hints about the true solution, making the resolution feel earned and credible.
• Avoid excessive use of coincidences . While coincidences can occasionally drive the plot forward, relying too heavily on them can make your story feel unrealistic and damage the logic of your narrative.
• Consistency . Maintain consistency in character actions and motivations. Ensure that the behavior of the characters aligns with the final resolution.
• Avoid deus ex machina . Avoid relying on convenient or contrived plot devices ( deus ex machina ) to resolve the mystery, as this can feel unsatisfying for the readers.

Engaging the reader

Engage readers by encouraging them to solve the mystery alongside the protagonist . Pose questions, present multiple suspects, and reveal new information gradually. This interactive element can make the reading experience more immersive and enjoyable.

How to write a mystery novel: #6 Examples and case studies

Examining successful mystery novels can provide valuable insights into the genre’s techniques and conventions.

By analyzing these works, we can learn from master storytellers how to write a mystery novel.

Agatha Christie’s “Murder on the Orient Express”

Agatha Christie is renowned for her intricate plots and memorable characters. “ Murder on the Orient Express ” is a prime example of her skill in crafting a mystery that keeps readers guessing until the very end.

• Complex characters . Each passenger on the train has a unique background and potential motive, creating a web of suspicion. Christie’s ability to flesh out multiple characters within a confined setting adds depth and intrigue to the story.
• Clues and red herrings. Christie plants clues and red herrings throughout the novel. The resolution is surprising yet logical, demonstrating how well-crafted misdirection can enhance the mystery.
• Atmosphere. The claustrophobic setting of the train enhances the suspense, and the winter storm trapping the passengers intensifies the sense of urgency and danger.

Arthur Conan Doyle’s “The Hound of the Baskervilles”

Arthur Conan Doyle’s Sherlock Holmes series is a cornerstone of the mystery genre. “ The Hound of the Baskervilles ” showcases his talent for blending Gothic atmosphere with detective fiction.

• Setting and Atmosphere. The eerie moors and the legend of the supernatural hound create a chilling atmosphere. Doyle’s vivid descriptions immerse readers in a setting that feels both real and otherworldly.
• Pacing and Suspense . Doyle maintains a steady pace, balancing moments of high tension with quieter, investigative scenes. This keeps readers engaged while gradually building to the climactic reveal.
• Holmes’ Methods . Holmes’ logical and methodical approach to solving the mystery contrasts with the story’s supernatural elements, grounding the narrative and providing a satisfying resolution.

Gillian Flynn’s “Gone Girl”

A more contemporary example, “Gone Girl” by Gillian Flynn , demonstrates how modern mystery novels can incorporate psychological depth and unreliable narration.

• Character complexity . The novel delves deeply into the psyches of its two main characters, Nick and Amy. Their flawed, multi-dimensional personalities add layers of intrigue and unpredictability.
• Unreliable narrators: Flynn’s use of unreliable narration keeps readers guessing about the true nature of the characters and events. This technique adds complexity and suspense to the narrative.
• Plot twists. “Gone Girl” is renowned for its shocking plot twists , which are meticulously foreshadowed yet still manage to surprise. Flynn’s ability to subvert expectations keeps readers on edge throughout the novel.

Raymond Chandler’s “The Big Sleep”

Raymond Chandler’s “The Big Sleep” is a classic example of hard-boiled detective fiction, showcasing the genre’s gritty style and complex plotting.

• Dialogue and style. Chandler’s sharp, witty dialogue and vivid prose create a distinctive atmosphere. His writing style is integral to the novel’s appeal, enhancing the mood and characterization.
• Moral ambiguity . The characters in “The Big Sleep” often operate in a morally gray area, adding depth and realism to the story. This complexity makes the characters more relatable and the plot more engaging.
• Intricate plot . The novel’s plot is famously complex, with numerous twists and turns. Chandler’s ability to weave multiple storylines together creates a rich, layered narrative that rewards careful reading.

Tana French’s “In the Woods”

Tana French’s “In the Woods” exemplifies how modern psychological thrillers can combine character-driven stories with compelling mysteries.

• Character development . French’s focus on the psychological depth of her protagonists adds emotional resonance to the mystery. The characters’ personal struggles are intertwined with the investigation, making the story more engaging.
• Atmosphere . The novel’s setting—a small Irish town with a dark past—creates a haunting atmosphere. French’s evocative descriptions draw readers into the world of the story.
• Ambiguity and unresolved questions . “In the Woods” leaves some questions unanswered, which can be polarizing but also adds to the novel’s realism and depth. This ambiguity encourages readers to think critically and engage with the narrative on a deeper level.

How bibisco writing software can help you write a captivating mystery novel

bibisco is a powerful tool for writing a mystery novel, offering features that help you organize your plot, develop complex characters, and maintain suspense throughout your story.

With its detailed character sheets , you can create intricate backstories and motivations, essential for crafting believable suspects and compelling detectives. The timeline feature allows you to track key events and clues, ensuring a coherent and engaging plot.

Additionally, bibisco’s note-taking and scene management capabilities help you weave red herrings and pivotal revelations seamlessly into your narrative, making it easier to keep readers engaged.

Conclusion: how to write a mystery novel

Writing a compelling mystery novel requires a delicate balance of plot, character development, suspense, and intrigue. By mastering the techniques outlined in this guide, you’ll be well-equipped to craft a captivating mystery that keeps readers engaged and guessing until the final page.

Happy writing!

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StarsInsider

How to write a novel

Posted: April 25, 2024 | Last updated: April 25, 2024

If you're thinking about starting to write your own book , this gallery is for you. Writing a novel might sound like a daunting task, but it's actually doable.

We've brought you some great tips to help you achieve your dream of writing a novel. Click through and get started today!

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Read. A lot.

If you want to write, you need to read first. Authors are influenced and shaped by other authors. Get inspired by your favorite writers.

Follow us and access great exclusive content every day

Set daily goals

Some authors like to go with the flow, but daily goals are a good thing to have, especially if you’re starting out. For example, you can aim to write 2,000 words a day. Considering how many words your novel will have, this is not such a crazy number.

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Make a list

Why do you want to write? Write down a list of your motivations for writing and refer back when you have doubts. It can be great to motivate you.

Good habits

You’re likely not going to be writing your first novel full time, so it’s important to manage time around your other responsibilities. The key is to develop good habits when it comes to writing. Set aside blocks of time to do so, in a specific place. Make it a habit, and it will stick.

Think ahead

Before you sit down to write, think about it. Where is that storyline taking you? Do you need to do some research first? It’s best to think ahead so you can make the most of your time writing.

Save your work

If you write on a computer, make sure you have security copies in a cloud and maybe even in a physical device such as a USB pen. If you’re more into pen and paper, don’t worry: taking pictures with your phone will ensure your words are quickly safe.

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A thesaurus can be your best friend

You will likely need one, and you will need it quite a few times. Just find one you like to use and embrace it.

Write anything

Action precedes inspiration, not the other way round. Many times you just need to start writing to then start thinking. It’s the opposite of the romanticized version of creativity.

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Write about what you know

E.g. if you’re a musician, it will be easier for you to tell a story involving musicians, right? You know how it is, how it feels, how things go. Writing about what you know not only makes the story more believable, it also makes it easier to write.

Your story should move you

If you’re writing an emotional story and it doesn’t move you, don’t expect the reader to feel differently. Conversely, if you shed a tear or two during the process, readers might just share the same feeling when they read your words.

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Read it out loud

This is the best way to ensure the pace of the sentences is good. Rhythm is very important when it comes to writing. Listening to yourself reading aloud can really help.

Who’s telling the story?

Choose a point of view to tell the story. Is there a narrator? Is the story told in the first or second person?

Show (but don’t tell)

Think of writing fiction in these terms. You want to show the story to the reader. You want them to imagine and be enriched by the experience.

Characters, characters, characters

Sure, a good plot is very important, but it has to be based on good characters first. Think about a main character strong enough to carry the story, and things will flow more easily.

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Don’t make your characters sound cliché

Creating multi-dimensional characters is a good thing. Say you’re writing about a Parisian woman; maybe a beret will just be too stereotypical. Why not give her other particular characteristics? Make her a competent employee, or passionate about a specific music genre, for instance.

Motivation of characters

Your characters need some sort of motivation. This is especially important when you’re struggling to give a character a direction. Just ask yourself: “What does this character want?”

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Don’t go overboard with detailed descriptions of characters

It is true that some authors manage to pull it off, and of course you can give physical descriptions of the characters. Just avoid doing so in a manner that the reader will switch off and want to skip the paragraph.

Don’t open the novel with weather

Unless it has a direct effect on a person, e.g. a character’s reaction to the weather. If it’s just to set the atmosphere, then be brief and move on to people, which is what most readers will be looking for in the opening lines.

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Skip the prologue

Prologues kind of work in non-fiction, but when it comes to novels they don’t make much sense. Unless you really need to establish a backstory right there and then, a prologue can just be slightly annoying. Whatever you were meant to write in the prologue can, most times, be included elsewhere in the book.

Control the use of regional dialects and patois

These can give character to your novel, but they can also be somewhat distracting, with all the sounds described using apostrophes.

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Keep your exclamation points in check

A good rule of thumb is to use two or three per 100,000 words.

Stick to "said" to carry dialogue

There is no need to get fancy when it comes to carrying dialogue. It will only deviate the reader’s attention from the dialogue itself. Any other words, such as "grumbled" or "cautioned," can be intrusive and distracting.

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And don’t use an adverb to modify the verb "said"

Elmore Leonard’s '10 Rules of Good Writing' tells us to “Never use an adverb to modify the verb 'said.'" This will break the rhythm and indeed be distracting for the reader.

Never use the words "suddenly" or "all hell broke loose"

Leonard reminds us that these are no-nos when it comes to writing a novel. Those who do use the word “suddenly” also seem to have a tendency to use more exclamation marks than they should.

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Don’t play book critic

The analysis of the text is better left out for later. The last thing you want is to be worried about labeling the genre of your book. Leave it for critics.

Your first draft is just...your first draft

There is no need to stress over it. It’s a first draft, with mistakes, with lots of words that need to be edited and proofread. Don't try to make it perfect straight away. Let the first draft be the first draft.

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Find a good editor

Working with a good editor is key. A good partnership can make a huge difference in how your book turns out.

Believe in yourself

Yes, doubt is a pain. You’ll go through it many times. Ultimately, you should just trust your gut and go with it when it comes to your novel. It’s your novel, after all, not someone else’s!

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Allow yourself to change your mind

Reading back the first 50 pages and are not sure about something? Go back, rewrite, and change the story if need be. It’s yours, and you can do whatever you want with it.

Rules are meant to be broken

Yes, everyone is different and we work in different ways. These are guidelines at most. Many authors will tell you they do the exact opposite and are successful!

Sources: (MasterClass) (The New Yorker) (The Guardian) (The New York Times)

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My book is not my baby — but the two do have a lot in common

For me, publishing a book isn't the same as giving birth. it's more like sending my child to preschool, by noa silver.

I remember in my first year of motherhood the way I felt my world grow smaller and more intimate , the pace of my life grow slower and more focused. When my husband would come home from coaching and consulting meetings, networking events, and the workshops he facilitated, he would find me ensconced in the tiny world of our home, wrapped up in the milky sweetness of the baby. The private, domestic realm became my primary realm during those early months of motherhood, when I would walk around and around our small apartment with my baby wrapped to my chest, murmuring “shh, shh,” over and over again, like a mantra, or a prayer. Her heart beating against my heart, recreating womb-like conditions on the outside.

In the same sun-drenched week in August, that baby, my elder daughter, started preschool and I signed a publishing contract for my debut novel, "California Dreaming ." Two years after that, my younger daughter has started at that same preschool, and "California Dreaming" is mere days from being released.

Like those early months of motherhood, writing is an intensely private, solitary act. For me, to write necessitates going inward, it requires shutting out the outside world and external stimuli for the sake of being able to listen fully. My writing process takes inspiration from Anne Lamott’s practice of the one-inch picture frame. All through my daughters’ early years, I would carve out pockets of time — while they napped, or after bedtime, or when they were at the playground — to write. My pace of writing my novel was complementary to the pace of motherhood, the pace of attending to a baby and then a toddler. Each day I wrote just 250 words, filling my one-inch frame.

I am not the first to notice the connection between writing and parenting , but while many have compared publishing a book to giving birth, for me there is an even more apt comparison. Both child and book lived in and then with me for many years after their births. For me, publishing a book feels most parallel to sending my child to preschool for the first time, for it is in both these acts that that which once lived solely inside the private, domestic realm, and within only a few primary relationships, now enters the public sphere.

The distinction between the public and private realms, the separation between domestic and political spheres, has long been deeply intertwined with the preservation of a capitalistic society. Mothering so often happens outside of the public sphere, outside of the public gaze, and much has been written about the hidden, unpaid labor of caretaking. In our society, there is a hiddenness inherent in the domestic realm and a hiddenness to the lives and experiences of women.

Like those early months of motherhood, writing is an intensely private, solitary act.

Perhaps the novel form itself could be considered a kind of public square, a forum in which human relationships, motivations, self-discovery, and journeying gets played out again and again through different lenses, and under different gazes. Historically, even in the context of the novel, significant female life experiences — childbirth and abortion, breastfeeding and postpartum depression —  have not been explored nearly as deeply as those life experiences of typical male self-development.

In my writing, I am drawn to exploring the inner lives of women, especially during moments of significant life transitions. In "California Dreaming," the main character is Elena, who, over the course of the novel, grows from a young, idealistic early 20-something, into a 30-year-old woman who reckons with the decisions she has made, the values she holds and the stories she has inherited. It is a bildungsroman, a story form that traces the general and spiritual coming-of-age process, and it is told in the first-person point of view, granting Elena herself the narrative voice to describe her journey. There is an intimacy in using the first-person, a way of drawing near to the narrator that allows for greater play and insight into the narrator’s own development, her way of viewing the world, her inner life.

In an interview with Terry Gross in 1985, the writer Grace Paley reflected, “When you write, you illuminate what’s hidden, and that’s a political act.” For many years, my primary world has been the private, domestic, intimate world of mothering little children and writing and rewriting and editing a novel. A hidden world. And now, gradually, there are bridges between the private and public realms, and that which has been hidden is becoming illuminated, revealed.

In the months after giving birth, I felt the deep truth of the fact that I was not fully separate from my children. And yet, as they have grown, we have each gone through periods of differentiation, of reasserting the boundaries of self. My children no longer exist primarily in a carrier or in my arms; they are no longer solely dyadic extensions of me. They go to school, they have thoughts and experiences and dreams and feelings and wishes that I am not witness to, and that they navigate with peers and teachers and the many other people who populate their life. They have relationships that are their own.

So, too, with my novel. For many years I worked in private tandem with the novel, with my own creative process. In the months since I signed my book deal, however, I have begun to experience the way my creative process—a process of unfolding, refining, listening, and responding—is being transmuted into an object, into something that will go out into the world, into the public sphere, and there take on a life of its own. We are differentiating, my book and I, and soon it will be in relationship with others, with readers who will encounter it as themselves, and form judgments, connections, and opinions about it that are distinct from my own.

Motherhood’s value has often been located in the fact that the children we are mothering will eventually become citizens of the larger society. Similarly, a book on its publishing journey—as I have newfound understanding and appreciation for—ultimately becomes a commodity. The publishing industry measures a book’s success in sales, and even my chance at publishing another book in the future may rest on the sales numbers of my first. In these months of preparing for my book’s launch, of asking bookstores and libraries to stock my book, and friends and family to pre-order, I have been struck by my own doubts of its inherent worth. To ask people to buy it , to spend money on it, has necessarily sent me diving into questions of its value : Will this book change your life? Must it be read? Will you like it? I don’t know.

For many years, my primary world has been the private, domestic, intimate world of mothering little children and writing and rewriting and editing a novel. A hidden world.

Here’s what I do know: it had to be written. It called to me again and again during the writing process itself, that private, intimate birthing and caring for of this idea, these characters, this story, this particular viewpoint on the whole messy endeavor that we call life, and I couldn’t not write it.

In many ways, this is the same way I feel toward mothering my children. I don’t know who they will become, or what they will or will not contribute to society. I mother them in this moment, now, because they are here, in front of me, whole and perfect and messy and complete human beings just as they are. I attend to them because I must, because I am called to with my whole self.

It can seem at times that worth and value exist exclusively in the public sphere, in the shared collective, in the process of being witnessed and incorporated into the greater whole. But when this greater whole is one whose meaning rests in capital, then worth and value become markers for how much something contributes to capital: the book that sells well, or the child who grows up to be a “productive” member of society—a worker, a voter, a consumer.

It is not that I am against a shared, collective space, not that I wish for more individualized and individualistic paths toward meaning — far from it. However, in the context of a public sphere that primarily operates in terms of product, output and money, the private realm can sometimes seem a place of refuge, a place where creative process and attentive mothering can actually coexist in harmony, for the sake of attention itself, for the sake of love—and not future production or consumption.

Yet, I wonder whether that coexistence can only occur out of the public gaze, in a hidden domain, or if it would be possible for it to thrive in the public sphere. What kind of relationships could we have, the witnessers and the witnessed, in which we could write and mother from a place of intimate curiosity, where we could do so in a way that feels held by others, by community, where it is neither solely a solitary, lonely endeavor, nor one whose worth is measured in a balance sheet?

Perhaps it is only in a novel where we can fully explore that possibility.

personal stories from writers

• What if I can't "savor every single moment" of their childhood?
• The "groupie," the ghostwriter and me
• My disapproving doctor father hated my work — but we had more in common than I thought

Noa Silver was born in Jerusalem and raised between Scotland and Maine. Her debut novel " California Dreaming " is due out in May.

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