how to start an essay about a story

The Ultimate Narrative Essay Guide for Beginners

A narrative essay tells a story in chronological order, with an introduction that introduces the characters and sets the scene. Then a series of events leads to a climax or turning point, and finally a resolution or reflection on the experience.

Speaking of which, are you in sixes and sevens about narrative essays? Don’t worry this ultimate expert guide will wipe out all your doubts. So let’s get started.

Table of Contents

Everything You Need to Know About Narrative Essay

What is a narrative essay.

When you go through a narrative essay definition, you would know that a narrative essay purpose is to tell a story. It’s all about sharing an experience or event and is different from other types of essays because it’s more focused on how the event made you feel or what you learned from it, rather than just presenting facts or an argument. Let’s explore more details on this interesting write-up and get to know how to write a narrative essay.

Elements of a Narrative Essay

Here’s a breakdown of the key elements of a narrative essay:

A narrative essay has a beginning, middle, and end. It builds up tension and excitement and then wraps things up in a neat package.

Real people, including the writer, often feature in personal narratives. Details of the characters and their thoughts, feelings, and actions can help readers to relate to the tale.

It’s really important to know when and where something happened so we can get a good idea of the context. Going into detail about what it looks like helps the reader to really feel like they’re part of the story.

Conflict or Challenge 

A story in a narrative essay usually involves some kind of conflict or challenge that moves the plot along. It could be something inside the character, like a personal battle, or something from outside, like an issue they have to face in the world.

Theme or Message

A narrative essay isn’t just about recounting an event – it’s about showing the impact it had on you and what you took away from it. It’s an opportunity to share your thoughts and feelings about the experience, and how it changed your outlook.

Emotional Impact

The author is trying to make the story they’re telling relatable, engaging, and memorable by using language and storytelling to evoke feelings in whoever’s reading it.

Narrative essays let writers have a blast telling stories about their own lives. It’s an opportunity to share insights and impart wisdom, or just have some fun with the reader. Descriptive language, sensory details, dialogue, and a great narrative voice are all essentials for making the story come alive.

The Purpose of a Narrative Essay

A narrative essay is more than just a story – it’s a way to share a meaningful, engaging, and relatable experience with the reader. Includes:

Sharing Personal Experience

Narrative essays are a great way for writers to share their personal experiences, feelings, thoughts, and reflections. It’s an opportunity to connect with readers and make them feel something.

Entertainment and Engagement

The essay attempts to keep the reader interested by using descriptive language, storytelling elements, and a powerful voice. It attempts to pull them in and make them feel involved by creating suspense, mystery, or an emotional connection.

Conveying a Message or Insight

Narrative essays are more than just a story – they aim to teach you something. They usually have a moral lesson, a new understanding, or a realization about life that the author gained from the experience.

Building Empathy and Understanding

By telling their stories, people can give others insight into different perspectives, feelings, and situations. Sharing these tales can create compassion in the reader and help broaden their knowledge of different life experiences.

Inspiration and Motivation

Stories about personal struggles, successes, and transformations can be really encouraging to people who are going through similar situations. It can provide them with hope and guidance, and let them know that they’re not alone.

Reflecting on Life’s Significance

These essays usually make you think about the importance of certain moments in life or the impact of certain experiences. They make you look deep within yourself and ponder on the things you learned or how you changed because of those events.

Demonstrating Writing Skills

Coming up with a gripping narrative essay takes serious writing chops, like vivid descriptions, powerful language, timing, and organization. It’s an opportunity for writers to show off their story-telling abilities.

Preserving Personal History

Sometimes narrative essays are used to record experiences and special moments that have an emotional resonance. They can be used to preserve individual memories or for future generations to look back on.

Cultural and Societal Exploration

Personal stories can look at cultural or social aspects, giving us an insight into customs, opinions, or social interactions seen through someone’s own experience.

Format of a Narrative Essay

Narrative essays are quite flexible in terms of format, which allows the writer to tell a story in a creative and compelling way. Here’s a quick breakdown of the narrative essay format, along with some examples:

Introduction

Set the scene and introduce the story.

Engage the reader and establish the tone of the narrative.

Hook: Start with a captivating opening line to grab the reader’s attention. For instance:

Example:  “The scorching sun beat down on us as we trekked through the desert, our water supply dwindling.”

Background Information: Provide necessary context or background without giving away the entire story.

Example:  “It was the summer of 2015 when I embarked on a life-changing journey to…”

Thesis Statement or Narrative Purpose

Present the main idea or the central message of the essay.

Offer a glimpse of what the reader can expect from the narrative.

Thesis Statement: This isn’t as rigid as in other essays but can be a sentence summarizing the essence of the story.

Example:  “Little did I know, that seemingly ordinary hike would teach me invaluable lessons about resilience and friendship.”

Body Paragraphs

Present the sequence of events in chronological order.

Develop characters, setting, conflict, and resolution.

Story Progression : Describe events in the order they occurred, focusing on details that evoke emotions and create vivid imagery.

Example : Detail the trek through the desert, the challenges faced, interactions with fellow hikers, and the pivotal moments.

Character Development : Introduce characters and their roles in the story. Show their emotions, thoughts, and actions.

Example : Describe how each character reacted to the dwindling water supply and supported each other through adversity.

Dialogue and Interactions : Use dialogue to bring the story to life and reveal character personalities.

Example : “Sarah handed me her last bottle of water, saying, ‘We’re in this together.'”

Reach the peak of the story, the moment of highest tension or significance.

Turning Point: Highlight the most crucial moment or realization in the narrative.

Example:  “As the sun dipped below the horizon and hope seemed lost, a distant sound caught our attention—the rescue team’s helicopters.”

Provide closure to the story.

Reflect on the significance of the experience and its impact.

Reflection : Summarize the key lessons learned or insights gained from the experience.

Example : “That hike taught me the true meaning of resilience and the invaluable support of friendship in challenging times.”

Closing Thought : End with a memorable line that reinforces the narrative’s message or leaves a lasting impression.

Example : “As we boarded the helicopters, I knew this adventure would forever be etched in my heart.”

Example Summary:

Imagine a narrative about surviving a challenging hike through the desert, emphasizing the bonds formed and lessons learned. The narrative essay structure might look like starting with an engaging scene, narrating the hardships faced, showcasing the characters’ resilience, and culminating in a powerful realization about friendship and endurance.

Different Types of Narrative Essays

There are a bunch of different types of narrative essays – each one focuses on different elements of storytelling and has its own purpose. Here’s a breakdown of the narrative essay types and what they mean.

Personal Narrative

Description : Tells a personal story or experience from the writer’s life.

Purpose: Reflects on personal growth, lessons learned, or significant moments.

Example of Narrative Essay Types:

Topic : “The Day I Conquered My Fear of Public Speaking”

Focus: Details the experience, emotions, and eventual triumph over a fear of public speaking during a pivotal event.

Descriptive Narrative

Description : Emphasizes vivid details and sensory imagery.

Purpose : Creates a sensory experience, painting a vivid picture for the reader.

Topic : “A Walk Through the Enchanted Forest”

Focus : Paints a detailed picture of the sights, sounds, smells, and feelings experienced during a walk through a mystical forest.

Autobiographical Narrative

Description: Chronicles significant events or moments from the writer’s life.

Purpose: Provides insights into the writer’s life, experiences, and growth.

Topic: “Lessons from My Childhood: How My Grandmother Shaped Who I Am”

Focus: Explores pivotal moments and lessons learned from interactions with a significant family member.

Experiential Narrative

Description: Relays experiences beyond the writer’s personal life.

Purpose: Shares experiences, travels, or events from a broader perspective.

Topic: “Volunteering in a Remote Village: A Journey of Empathy”

Focus: Chronicles the writer’s volunteering experience, highlighting interactions with a community and personal growth.

Literary Narrative

Description: Incorporates literary elements like symbolism, allegory, or thematic explorations.

Purpose: Uses storytelling for deeper explorations of themes or concepts.

Topic: “The Symbolism of the Red Door: A Journey Through Change”

Focus: Uses a red door as a symbol, exploring its significance in the narrator’s life and the theme of transition.

Historical Narrative

Description: Recounts historical events or periods through a personal lens.

Purpose: Presents history through personal experiences or perspectives.

Topic: “A Grandfather’s Tales: Living Through the Great Depression”

Focus: Shares personal stories from a family member who lived through a historical era, offering insights into that period.

Digital or Multimedia Narrative

Description: Incorporates multimedia elements like images, videos, or audio to tell a story.

Purpose: Explores storytelling through various digital platforms or formats.

Topic: “A Travel Diary: Exploring Europe Through Vlogs”

Focus: Combines video clips, photos, and personal narration to document a travel experience.

How to Choose a Topic for Your Narrative Essay?

Selecting a compelling topic for your narrative essay is crucial as it sets the stage for your storytelling. Choosing a boring topic is one of the narrative essay mistakes to avoid . Here’s a detailed guide on how to choose the right topic:

Reflect on Personal Experiences

• Significant Moments:

Moments that had a profound impact on your life or shaped your perspective.

Example: A moment of triumph, overcoming a fear, a life-changing decision, or an unforgettable experience.

• Emotional Resonance:

Events that evoke strong emotions or feelings.

Example: Joy, fear, sadness, excitement, or moments of realization.

• Lessons Learned:

Experiences that taught you valuable lessons or brought about personal growth.

Example: Challenges that led to personal development, shifts in mindset, or newfound insights.

Explore Unique Perspectives

• Uncommon Experiences:

Unique or unconventional experiences that might captivate the reader’s interest.

Example: Unusual travels, interactions with different cultures, or uncommon hobbies.

• Different Points of View:

Stories from others’ perspectives that impacted you deeply.

Example: A family member’s story, a friend’s experience, or a historical event from a personal lens.

Focus on Specific Themes or Concepts

• Themes or Concepts of Interest:

Themes or ideas you want to explore through storytelling.

Example: Friendship, resilience, identity, cultural diversity, or personal transformation.

• Symbolism or Metaphor:

Using symbols or metaphors as the core of your narrative.

Example: Exploring the symbolism of an object or a place in relation to a broader theme.

Consider Your Audience and Purpose

• Relevance to Your Audience:

Topics that resonate with your audience’s interests or experiences.

Example: Choose a relatable theme or experience that your readers might connect with emotionally.

• Impact or Message:

What message or insight do you want to convey through your story?

Example: Choose a topic that aligns with the message or lesson you aim to impart to your readers.

Brainstorm and Evaluate Ideas

• Free Writing or Mind Mapping:

Process: Write down all potential ideas without filtering. Mind maps or free-writing exercises can help generate diverse ideas.

• Evaluate Feasibility:

The depth of the story, the availability of vivid details, and your personal connection to the topic.

Imagine you’re considering topics for a narrative essay. You reflect on your experiences and decide to explore the topic of “Overcoming Stage Fright: How a School Play Changed My Perspective.” This topic resonates because it involves a significant challenge you faced and the personal growth it brought about.

Narrative Essay Topics

50 easy narrative essay topics.

• Learning to Ride a Bike
• My First Day of School
• A Surprise Birthday Party
• The Day I Got Lost
• Visiting a Haunted House
• An Encounter with a Wild Animal
• My Favorite Childhood Toy
• The Best Vacation I Ever Had
• An Unforgettable Family Gathering
• Conquering a Fear of Heights
• A Special Gift I Received
• Moving to a New City
• The Most Memorable Meal
• Getting Caught in a Rainstorm
• An Act of Kindness I Witnessed
• The First Time I Cooked a Meal
• My Experience with a New Hobby
• The Day I Met My Best Friend
• A Hike in the Mountains
• Learning a New Language
• An Embarrassing Moment
• Dealing with a Bully
• My First Job Interview
• A Sporting Event I Attended
• The Scariest Dream I Had
• Helping a Stranger
• The Joy of Achieving a Goal
• A Road Trip Adventure
• Overcoming a Personal Challenge
• The Significance of a Family Tradition
• An Unusual Pet I Owned
• A Misunderstanding with a Friend
• Exploring an Abandoned Building
• My Favorite Book and Why
• The Impact of a Role Model
• A Cultural Celebration I Participated In
• A Valuable Lesson from a Teacher
• A Trip to the Zoo
• An Unplanned Adventure
• Volunteering Experience
• A Moment of Forgiveness
• A Decision I Regretted
• A Special Talent I Have
• The Importance of Family Traditions
• The Thrill of Performing on Stage
• A Moment of Sudden Inspiration
• The Meaning of Home
• Learning to Play a Musical Instrument
• A Childhood Memory at the Park
• Witnessing a Beautiful Sunset

Narrative Essay Topics for College Students

• Discovering a New Passion
• Overcoming Academic Challenges
• Navigating Cultural Differences
• Embracing Independence: Moving Away from Home
• Exploring Career Aspirations
• Coping with Stress in College
• The Impact of a Mentor in My Life
• Balancing Work and Studies
• Facing a Fear of Public Speaking
• Exploring a Semester Abroad
• The Evolution of My Study Habits
• Volunteering Experience That Changed My Perspective
• The Role of Technology in Education
• Finding Balance: Social Life vs. Academics
• Learning a New Skill Outside the Classroom
• Reflecting on Freshman Year Challenges
• The Joys and Struggles of Group Projects
• My Experience with Internship or Work Placement
• Challenges of Time Management in College
• Redefining Success Beyond Grades
• The Influence of Literature on My Thinking
• The Impact of Social Media on College Life
• Overcoming Procrastination
• Lessons from a Leadership Role
• Exploring Diversity on Campus
• Exploring Passion for Environmental Conservation
• An Eye-Opening Course That Changed My Perspective
• Living with Roommates: Challenges and Lessons
• The Significance of Extracurricular Activities
• The Influence of a Professor on My Academic Journey
• Discussing Mental Health in College
• The Evolution of My Career Goals
• Confronting Personal Biases Through Education
• The Experience of Attending a Conference or Symposium
• Challenges Faced by Non-Native English Speakers in College
• The Impact of Traveling During Breaks
• Exploring Identity: Cultural or Personal
• The Impact of Music or Art on My Life
• Addressing Diversity in the Classroom
• Exploring Entrepreneurial Ambitions
• My Experience with Research Projects
• Overcoming Impostor Syndrome in College
• The Importance of Networking in College
• Finding Resilience During Tough Times
• The Impact of Global Issues on Local Perspectives
• The Influence of Family Expectations on Education
• Lessons from a Part-Time Job
• Exploring the College Sports Culture
• The Role of Technology in Modern Education
• The Journey of Self-Discovery Through Education

Narrative Essay Comparison

Narrative essay vs. descriptive essay.

Here’s our first narrative essay comparison! While both narrative and descriptive essays focus on vividly portraying a subject or an event, they differ in their primary objectives and approaches. Now, let’s delve into the nuances of comparison on narrative essays.

Narrative Essay:

Storytelling: Focuses on narrating a personal experience or event.

Chronological Order: Follows a structured timeline of events to tell a story.

Message or Lesson: Often includes a central message, moral, or lesson learned from the experience.

Engagement: Aims to captivate the reader through a compelling storyline and character development.

First-Person Perspective: Typically narrated from the writer’s point of view, using “I” and expressing personal emotions and thoughts.

Plot Development: Emphasizes a plot with a beginning, middle, climax, and resolution.

Character Development: Focuses on describing characters, their interactions, emotions, and growth.

Conflict or Challenge: Usually involves a central conflict or challenge that drives the narrative forward.

Dialogue: Incorporates conversations to bring characters and their interactions to life.

Reflection: Concludes with reflection or insight gained from the experience.

Descriptive Essay:

Vivid Description: Aims to vividly depict a person, place, object, or event.

Imagery and Details: Focuses on sensory details to create a vivid image in the reader’s mind.

Emotion through Description: Uses descriptive language to evoke emotions and engage the reader’s senses.

Painting a Picture: Creates a sensory-rich description allowing the reader to visualize the subject.

Imagery and Sensory Details: Focuses on providing rich sensory descriptions, using vivid language and adjectives.

Point of Focus: Concentrates on describing a specific subject or scene in detail.

Spatial Organization: Often employs spatial organization to describe from one area or aspect to another.

Objective Observations: Typically avoids the use of personal opinions or emotions; instead, the focus remains on providing a detailed and objective description.

Comparison:

Focus: Narrative essays emphasize storytelling, while descriptive essays focus on vividly describing a subject or scene.

Perspective: Narrative essays are often written from a first-person perspective, while descriptive essays may use a more objective viewpoint.

Purpose: Narrative essays aim to convey a message or lesson through a story, while descriptive essays aim to paint a detailed picture for the reader without necessarily conveying a specific message.

Narrative Essay vs. Argumentative Essay

The narrative essay and the argumentative essay serve distinct purposes and employ different approaches:

Engagement and Emotion: Aims to captivate the reader through a compelling story.

Reflective: Often includes reflection on the significance of the experience or lessons learned.

First-Person Perspective: Typically narrated from the writer’s point of view, sharing personal emotions and thoughts.

Plot Development: Emphasizes a storyline with a beginning, middle, climax, and resolution.

Message or Lesson: Conveys a central message, moral, or insight derived from the experience.

Argumentative Essay:

Persuasion and Argumentation: Aims to persuade the reader to adopt the writer’s viewpoint on a specific topic.

Logical Reasoning: Presents evidence, facts, and reasoning to support a particular argument or stance.

Debate and Counterarguments: Acknowledge opposing views and counter them with evidence and reasoning.

Thesis Statement: Includes a clear thesis statement that outlines the writer’s position on the topic.

Thesis and Evidence: Starts with a strong thesis statement and supports it with factual evidence, statistics, expert opinions, or logical reasoning.

Counterarguments: Addresses opposing viewpoints and provides rebuttals with evidence.

Logical Structure: Follows a logical structure with an introduction, body paragraphs presenting arguments and evidence, and a conclusion reaffirming the thesis.

Formal Language: Uses formal language and avoids personal anecdotes or emotional appeals.

Objective: Argumentative essays focus on presenting a logical argument supported by evidence, while narrative essays prioritize storytelling and personal reflection.

Purpose: Argumentative essays aim to persuade and convince the reader of a particular viewpoint, while narrative essays aim to engage, entertain, and share personal experiences.

Structure: Narrative essays follow a storytelling structure with character development and plot, while argumentative essays follow a more formal, structured approach with logical arguments and evidence.

In essence, while both essays involve writing and presenting information, the narrative essay focuses on sharing a personal experience, whereas the argumentative essay aims to persuade the audience by presenting a well-supported argument.

Narrative Essay vs. Personal Essay

While there can be an overlap between narrative and personal essays, they have distinctive characteristics:

Storytelling: Emphasizes recounting a specific experience or event in a structured narrative form.

Engagement through Story: Aims to engage the reader through a compelling story with characters, plot, and a central theme or message.

Reflective: Often includes reflection on the significance of the experience and the lessons learned.

First-Person Perspective: Typically narrated from the writer’s viewpoint, expressing personal emotions and thoughts.

Plot Development: Focuses on developing a storyline with a clear beginning, middle, climax, and resolution.

Character Development: Includes descriptions of characters, their interactions, emotions, and growth.

Central Message: Conveys a central message, moral, or insight derived from the experience.

Personal Essay:

Exploration of Ideas or Themes: Explores personal ideas, opinions, or reflections on a particular topic or subject.

Expression of Thoughts and Opinions: Expresses the writer’s thoughts, feelings, and perspectives on a specific subject matter.

Reflection and Introspection: Often involves self-reflection and introspection on personal experiences, beliefs, or values.

Varied Structure and Content: Can encompass various forms, including memoirs, personal anecdotes, or reflections on life experiences.

Flexibility in Structure: Allows for diverse structures and forms based on the writer’s intent, which could be narrative-like or more reflective.

Theme-Centric Writing: Focuses on exploring a central theme or idea, with personal anecdotes or experiences supporting and illustrating the theme.

Expressive Language: Utilizes descriptive and expressive language to convey personal perspectives, emotions, and opinions.

Focus: Narrative essays primarily focus on storytelling through a structured narrative, while personal essays encompass a broader range of personal expression, which can include storytelling but isn’t limited to it.

Structure: Narrative essays have a more structured plot development with characters and a clear sequence of events, while personal essays might adopt various structures, focusing more on personal reflection, ideas, or themes.

Intent: While both involve personal experiences, narrative essays emphasize telling a story with a message or lesson learned, while personal essays aim to explore personal thoughts, feelings, or opinions on a broader range of topics or themes.

A narrative essay is more than just telling a story. It’s also meant to engage the reader, get them thinking, and leave a lasting impact. Whether it’s to amuse, motivate, teach, or reflect, these essays are a great way to communicate with your audience. This interesting narrative essay guide was all about letting you understand the narrative essay, its importance, and how can you write one.

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How to write a narrative essay [Updated 2023]

A narrative essay is an opportunity to flex your creative muscles and craft a compelling story. In this blog post, we define what a narrative essay is and provide strategies and examples for writing one.

What is a narrative essay?

Similarly to a descriptive essay or a reflective essay, a narrative essay asks you to tell a story, rather than make an argument and present evidence. Most narrative essays describe a real, personal experience from your own life (for example, the story of your first big success).

Alternately, your narrative essay might focus on an imagined experience (for example, how your life would be if you had been born into different circumstances). While you don’t need to present a thesis statement or scholarly evidence, a narrative essay still needs to be well-structured and clearly organized so that the reader can follow your story.

When you might be asked to write a narrative essay

Although less popular than argumentative essays or expository essays, narrative essays are relatively common in high school and college writing classes.

The same techniques that you would use to write a college essay as part of a college or scholarship application are applicable to narrative essays, as well. In fact, the Common App that many students use to apply to multiple colleges asks you to submit a narrative essay.

How to choose a topic for a narrative essay

When you are asked to write a narrative essay, a topic may be assigned to you or you may be able to choose your own. With an assigned topic, the prompt will likely fall into one of two categories: specific or open-ended.

Examples of specific prompts:

• Write about the last vacation you took.
• Write about your final year of middle school.

Examples of open-ended prompts:

• Write about a time when you felt all hope was lost.
• Write about a brief, seemingly insignificant event that ended up having a big impact on your life.

A narrative essay tells a story and all good stories are centered on a conflict of some sort. Experiences with unexpected obstacles, twists, or turns make for much more compelling essays and reveal more about your character and views on life.

If you’re writing a narrative essay as part of an admissions application, remember that the people reviewing your essay will be looking at it to gain a sense of not just your writing ability, but who you are as a person.

In these cases, it’s wise to choose a topic and experience from your life that demonstrates the qualities that the prompt is looking for, such as resilience, perseverance, the ability to stay calm under pressure, etc.

It’s also important to remember that your choice of topic is just a starting point. Many students find that they arrive at new ideas and insights as they write their first draft, so the final form of your essay may have a different focus than the one you started with.

How to outline and format a narrative essay

Even though you’re not advancing an argument or proving a point of view, a narrative essay still needs to have a coherent structure. Your reader has to be able to follow you as you tell the story and to figure out the larger point that you’re making.

You’ll be evaluated on is your handling of the topic and how you structure your essay. Even though a narrative essay doesn’t use the same structure as other essay types, you should still sketch out a loose outline so you can tell your story in a clear and compelling way.

To outline a narrative essay, you’ll want to determine:

• how your story will start
• what points or specifics that you want to cover
• how your story will end
• what pace and tone you will use

In the vast majority of cases, a narrative essay should be written in the first-person, using “I.” Also, most narrative essays will follow typical formatting guidelines, so you should choose a readable font like Times New Roman in size 11 or 12. Double-space your paragraphs and use 1” margins.

To get your creative wheels turning, consider how your story compares to archetypes and famous historical and literary figures both past and present. Weave these comparisons into your essay to improve the quality of your writing and connect your personal experience to a larger context.

How to write a narrative essay

Writing a narrative essay can sometimes be a challenge for students who typically write argumentative essays or research papers in a formal, objective style. To give you a better sense of how you can write a narrative essay, here is a short example of an essay in response to the prompt, “Write about an experience that challenged your view of yourself.”

Narrative essay example

Even as a child, I always had what people might call a reserved personality. It was sometimes framed as a positive (“Sarah is a good listener”) and at other times it was put in less-than-admiring terms (“Sarah is withdrawn and not very talkative”). It was the latter kind of comments that caused me to see my introverted nature as a drawback and as something I should work to eliminate. That is, until I joined my high school’s student council.

The first paragraph, or introduction, sets up the context, establishing the situation and introducing the meaningful event upon which the essay will focus.

The other four students making up the council were very outspoken and enthusiastic. I enjoyed being around them, and I often agreed with their ideas. However, when it came to overhauling our school’s recycling plan, we butted heads. When I spoke up and offered a different point of view, one of my fellow student council members launched into a speech, advocating for her point of view. As her voice filled the room, I couldn’t get a word in edgewise. I wondered if I should try to match her tone, volume, and assertiveness as a way to be heard. But I just couldn’t do it—it’s not my way, and it never has been. For a fleeting moment, I felt defeated. But then, something in me shifted.

In this paragraph, the writer goes into greater depth about how her existing thinking brought her to this point.

I reminded myself that my view was valid and deserved to be heard. So I waited. I let my fellow council member speak her piece and when she was finished, I deliberately waited a few moments before calmly stating my case. I chose my words well, and I spoke them succinctly. Just because I’m not a big talker doesn’t mean I’m not a big thinker. I thought of the quotation “still waters run deep” and I tried to embody that. The effect on the room was palpable. People listened. And I hadn’t had to shout my point to be heard.

This paragraph demonstrates the turn in the story, the moment when everything changed. The use of the quotation “still waters run deep” imbues the story with a dash of poetry and emotion.

We eventually reached a compromise on the matter and concluded the student council meeting. Our council supervisor came to me afterward and said: “You handled that so well, with such grace and poise. I was very impressed.” Her words in that moment changed me. I realized that a bombastic nature isn't necessarily a powerful one. There is power in quiet, too. This experience taught me to view my reserved personality not as a character flaw, but as a strength.

The final paragraph, or conclusion, closes with a statement about the significance of this event and how it ended up changing the writer in a meaningful way.

Narrative essay writing tips

1. pick a meaningful story that has a conflict and a clear “moral.”.

If you’re able to choose your own topic, pick a story that has meaning and that reveals how you became the person your are today. In other words, write a narrative with a clear “moral” that you can connect with your main points.

2. Use an outline to arrange the structure of your story and organize your main points.

Although a narrative essay is different from argumentative essays, it’s still beneficial to construct an outline so that your story is well-structured and organized. Note how you want to start and end your story, and what points you want to make to tie everything together.

3. Be clear, concise, concrete, and correct in your writing.

You should use descriptive writing in your narrative essay, but don’t overdo it. Use clear, concise, and correct language and grammar throughout. Additionally, make concrete points that reinforce the main idea of your narrative.

4. Ask a friend or family member to proofread your essay.

No matter what kind of writing you’re doing, you should always plan to proofread and revise. To ensure that your narrative essay is coherent and interesting, ask a friend or family member to read over your paper. This is especially important if your essay is responding to a prompt. It helps to have another person check to make sure that you’ve fully responded to the prompt or question.

Frequently Asked Questions about narrative essays

A narrative essay, like any essay, has three main parts: an introduction, a body and a conclusion. Structuring and outlining your essay before you start writing will help you write a clear story that your readers can follow.

The first paragraph of your essay, or introduction, sets up the context, establishing the situation and introducing the meaningful event upon which the essay will focus.

In the vast majority of cases, a narrative essay should be written in the first-person, using “I.”

The 4 main types of essays are the argumentative essay, narrative essay, exploratory essay, and expository essay. You may be asked to write different types of essays at different points in your education.

Most narrative essays will be around five paragraphs, or more, depending on the topic and requirements. Make sure to check in with your instructor about the guidelines for your essay. If you’re writing a narrative essay for a college application, pay close attention to word or page count requirements.

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Telling the Story of Yourself: 6 Steps to Writing Personal Narratives

Jennifer Xue

Table of Contents

Why do we write personal narratives, 6 guidelines for writing personal narrative essays, inspiring personal narratives, examples of personal narrative essays, tell your story.

First off, you might be wondering: what is a personal narrative? In short, personal narratives are stories we tell about ourselves that focus on our growth, lessons learned, and reflections on our experiences.

From stories about inspirational figures we heard as children to any essay, article, or exercise where we're asked to express opinions on a situation, thing, or individual—personal narratives are everywhere.

According to Psychology Today, personal narratives allow authors to feel and release pains, while savouring moments of strength and resilience. Such emotions provide an avenue for both authors and readers to connect while supporting healing in the process.

That all sounds great. But when it comes to putting the words down on paper, we often end up with a list of experiences and no real structure to tie them together.

In this article, we'll discuss what a personal narrative essay is further, learn the 6 steps to writing one, and look at some examples of great personal narratives.

As readers, we're fascinated by memoirs, autobiographies, and long-form personal narrative articles, as they provide a glimpse into the authors' thought processes, ideas, and feelings. But you don't have to be writing your whole life story to create a personal narrative.

You might be a student writing an admissions essay , or be trying to tell your professional story in a cover letter. Regardless of your purpose, your narrative will focus on personal growth, reflections, and lessons.

Personal narratives help us connect with other people's stories due to their easy-to-digest format and because humans are empathising creatures.

We can better understand how others feel and think when we were told stories that allow us to see the world from their perspectives. The author's "I think" and "I feel" instantaneously become ours, as the brain doesn't know whether what we read is real or imaginary.

In her best-selling book Wired for Story, Lisa Cron explains that the human brain craves tales as it's hard-wired through evolution to learn what happens next. Since the brain doesn't know whether what you are reading is actual or not, we can register the moral of the story cognitively and affectively.

In academia, a narrative essay tells a story which is experiential, anecdotal, or personal. It allows the author to creatively express their thoughts, feelings, ideas, and opinions. Its length can be anywhere from a few paragraphs to hundreds of pages.

Outside of academia, personal narratives are known as a form of journalism or non-fiction works called "narrative journalism." Even highly prestigious publications like the New York Times and Time magazine have sections dedicated to personal narratives. The New Yorke is a magazine dedicated solely to this genre.

The New York Times holds personal narrative essay contests. The winners are selected because they:

had a clear narrative arc with a conflict and a main character who changed in some way. They artfully balanced the action of the story with reflection on what it meant to the writer. They took risks, like including dialogue or playing with punctuation, sentence structure and word choice to develop a strong voice. And, perhaps most important, they focused on a specific moment or theme – a conversation, a trip to the mall, a speech tournament, a hospital visit – instead of trying to sum up the writer’s life in 600 words.

In a nutshell, a personal narrative can cover any reflective and contemplative subject with a strong voice and a unique perspective, including uncommon private values. It's written in first person and the story encompasses a specific moment in time worthy of a discussion.

Writing a personal narrative essay involves both objectivity and subjectivity. You'll need to be objective enough to recognise the importance of an event or a situation to explore and write about. On the other hand, you must be subjective enough to inject private thoughts and feelings to make your point.

With personal narratives, you are both the muse and the creator – you have control over how your story is told. However, like any other type of writing, it comes with guidelines.

1. Write Your Personal Narrative as a Story

As a story, it must include an introduction, characters, plot, setting, climax, anti-climax (if any), and conclusion. Another way to approach it is by structuring it with an introduction, body, and conclusion. The introduction should set the tone, while the body should focus on the key point(s) you want to get across. The conclusion can tell the reader what lessons you have learned from the story you've just told.

2. Give Your Personal Narrative a Clear Purpose

Your narrative essay should reflect your unique perspective on life. This is a lot harder than it sounds. You need to establish your perspective, the key things you want your reader to take away, and your tone of voice. It's a good idea to have a set purpose in mind for the narrative before you start writing.

Let's say you want to write about how you manage depression without taking any medicine. This could go in any number of ways, but isolating a purpose will help you focus your writing and choose which stories to tell. Are you advocating for a holistic approach, or do you want to describe your emotional experience for people thinking of trying it?

Having this focus will allow you to put your own unique take on what you did (and didn't do, if applicable), what changed you, and the lessons learned along the way.

3. Show, Don't Tell

It's a narration, so the narrative should show readers what happened, instead of telling them. As well as being a storyteller, the author should take part as one of the characters. Keep this in mind when writing, as the way you shape your perspective can have a big impact on how your reader sees your overarching plot. Don't slip into just explaining everything that happened because it happened to you. Show your reader with action.

You can check for instances of telling rather than showing with ProWritingAid. For example, instead of:

"You never let me do anything!" I cried disdainfully.

"You never let me do anything!" To this day, my mother swears that the glare I levelled at her as I spat those words out could have soured milk.

Using ProWritingAid will help you find these instances in your manuscript and edit them without spending hours trawling through your work yourself.

4. Use "I," But Don't Overuse It

You, the author, take ownership of the story, so the first person pronoun "I" is used throughout. However, you shouldn't overuse it, as it'd make it sound too self-centred and redundant.

ProWritingAid can also help you here – the Style Report will tell you if you've started too many sentences with "I", and show you how to introduce more variation in your writing.

5. Pay Attention to Tenses

Tense is key to understanding. Personal narratives mostly tell the story of events that happened in the past, so many authors choose to use the past tense. This helps separate out your current, narrating voice and your past self who you are narrating. If you're writing in the present tense, make sure that you keep it consistent throughout.

6. Make Your Conclusion Satisfying

Satisfy your readers by giving them an unforgettable closing scene. The body of the narration should build up the plot to climax. This doesn't have to be something incredible or shocking, just something that helps give an interesting take on your story.

The takeaways or the lessons learned should be written without lecturing. Whenever possible, continue to show rather than tell. Don't say what you learned, narrate what you do differently now. This will help the moral of your story shine through without being too preachy.

GoodReads is a great starting point for selecting read-worthy personal narrative books. Here are five of my favourites.

Owl Moon by Jane Yolen

Jane Yolen, the author of 386 books, wrote this poetic story about a daughter and her father who went owling. Instead of learning about owls, Yolen invites readers to contemplate the meaning of gentleness and hope.

Night by Elie Wiesel

Elie Wiesel was a teenager when he and his family were sent to Auschwitz concentration camp in 1944. This Holocaust memoir has a strong message that such horrific events should never be repeated.

The Diary of a Young Girl by Anne Frank

This classic is a must-read by young and old alike. It's a remarkable diary by a 13-year-old Jewish girl who hid inside a secret annexe of an old building during the Nazi occupation of the Netherlands in 1942.

The Year of Magical Thinking by Joan Didion

This is a personal narrative written by a brave author renowned for her clarity, passion, and honesty. Didion shares how in December 2003, she lost her husband of 40 years to a massive heart attack and dealt with the acute illness of her only daughter. She speaks about grief, memories, illness, and hope.

Educated by Tara Westover

Author Tara Westover was raised by survivalist parents. She didn't go to school until 17 years of age, which later took her to Harvard and Cambridge. It's a story about the struggle for quest for knowledge and self-reinvention.

Narrative and personal narrative journalism are gaining more popularity these days. You can find distinguished personal narratives all over the web.

Curating the best of the best of personal narratives and narrative essays from all over the web. Some are award-winning articles.

Narratively

Long-form writing to celebrate humanity through storytelling. It publishes personal narrative essays written to provoke, inspire, and reflect, touching lesser-known and overlooked subjects.

Narrative Magazine

It publishes non,fiction narratives, poetry, and fiction. Among its contributors is Frank Conroy, the author of Stop-Time , a memoir that has never been out of print since 1967.

Thought Catalog

Aimed at Generation Z, it publishes personal narrative essays on self-improvement, family, friendship, romance, and others.

Personal narratives will continue to be popular as our brains are wired for stories. We love reading about others and telling stories of ourselves, as they bring satisfaction and a better understanding of the world around us.

Personal narratives make us better humans. Enjoy telling yours!

Write like a bestselling author

Love writing? ProWritingAid will help you improve the style, strength, and clarity of your stories.

Jennifer Xue is an award-winning e-book author with 2,500+ articles and 100+ e-books/reports published under her belt. She also taught 50+ college-level essay and paper writing classes. Her byline has appeared in Forbes, Fortune, Cosmopolitan, Esquire, Business.com, Business2Community, Addicted2Success, Good Men Project, and others. Her blog is JenniferXue.com. Follow her on Twitter @jenxuewrites].

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How to Write an Essay Introduction (with Examples)   

The introduction of an essay plays a critical role in engaging the reader and providing contextual information about the topic. It sets the stage for the rest of the essay, establishes the tone and style, and motivates the reader to continue reading. 

Table of Contents

What is an essay introduction , what to include in an essay introduction, how to create an essay structure , step-by-step process for writing an essay introduction , how to write an introduction paragraph , how to write a hook for your essay , how to include background information , how to write a thesis statement .

• Argumentative Essay Introduction Example: 
• Expository Essay Introduction Example 

Literary Analysis Essay Introduction Example

Check and revise – checklist for essay introduction , key takeaways , frequently asked questions .

An introduction is the opening section of an essay, paper, or other written work. It introduces the topic and provides background information, context, and an overview of what the reader can expect from the rest of the work. 1 The key is to be concise and to the point, providing enough information to engage the reader without delving into excessive detail. 

The essay introduction is crucial as it sets the tone for the entire piece and provides the reader with a roadmap of what to expect. Here are key elements to include in your essay introduction: 

• Hook : Start with an attention-grabbing statement or question to engage the reader. This could be a surprising fact, a relevant quote, or a compelling anecdote. 
• Background information : Provide context and background information to help the reader understand the topic. This can include historical information, definitions of key terms, or an overview of the current state of affairs related to your topic. 
• Thesis statement : Clearly state your main argument or position on the topic. Your thesis should be concise and specific, providing a clear direction for your essay. 

Before we get into how to write an essay introduction, we need to know how it is structured. The structure of an essay is crucial for organizing your thoughts and presenting them clearly and logically. It is divided as follows: 2  

• Introduction:  The introduction should grab the reader’s attention with a hook, provide context, and include a thesis statement that presents the main argument or purpose of the essay.  
• Body:  The body should consist of focused paragraphs that support your thesis statement using evidence and analysis. Each paragraph should concentrate on a single central idea or argument and provide evidence, examples, or analysis to back it up.  
• Conclusion:  The conclusion should summarize the main points and restate the thesis differently. End with a final statement that leaves a lasting impression on the reader. Avoid new information or arguments. 

Here’s a step-by-step guide on how to write an essay introduction: 

• Start with a Hook : Begin your introduction paragraph with an attention-grabbing statement, question, quote, or anecdote related to your topic. The hook should pique the reader’s interest and encourage them to continue reading. 
• Provide Background Information : This helps the reader understand the relevance and importance of the topic. 
• State Your Thesis Statement : The last sentence is the main argument or point of your essay. It should be clear, concise, and directly address the topic of your essay. 
• Preview the Main Points : This gives the reader an idea of what to expect and how you will support your thesis. 
• Keep it Concise and Clear : Avoid going into too much detail or including information not directly relevant to your topic. 
• Revise : Revise your introduction after you’ve written the rest of your essay to ensure it aligns with your final argument. 

Here’s an example of an essay introduction paragraph about the importance of education: 

Education is often viewed as a fundamental human right and a key social and economic development driver. As Nelson Mandela once famously said, “Education is the most powerful weapon which you can use to change the world.” It is the key to unlocking a wide range of opportunities and benefits for individuals, societies, and nations. In today’s constantly evolving world, education has become even more critical. It has expanded beyond traditional classroom learning to include digital and remote learning, making education more accessible and convenient. This essay will delve into the importance of education in empowering individuals to achieve their dreams, improving societies by promoting social justice and equality, and driving economic growth by developing a skilled workforce and promoting innovation. 

This introduction paragraph example includes a hook (the quote by Nelson Mandela), provides some background information on education, and states the thesis statement (the importance of education). 

This is one of the key steps in how to write an essay introduction. Crafting a compelling hook is vital because it sets the tone for your entire essay and determines whether your readers will stay interested. A good hook draws the reader in and sets the stage for the rest of your essay.  

• Avoid Dry Fact : Instead of simply stating a bland fact, try to make it engaging and relevant to your topic. For example, if you’re writing about the benefits of exercise, you could start with a startling statistic like, “Did you know that regular exercise can increase your lifespan by up to seven years?” 
• Avoid Using a Dictionary Definition : While definitions can be informative, they’re not always the most captivating way to start an essay. Instead, try to use a quote, anecdote, or provocative question to pique the reader’s interest. For instance, if you’re writing about freedom, you could begin with a quote from a famous freedom fighter or philosopher. 
• Do Not Just State a Fact That the Reader Already Knows : This ties back to the first point—your hook should surprise or intrigue the reader. For Here’s an introduction paragraph example, if you’re writing about climate change, you could start with a thought-provoking statement like, “Despite overwhelming evidence, many people still refuse to believe in the reality of climate change.” 

Including background information in the introduction section of your essay is important to provide context and establish the relevance of your topic. When writing the background information, you can follow these steps: 

• Start with a General Statement:  Begin with a general statement about the topic and gradually narrow it down to your specific focus. For example, when discussing the impact of social media, you can begin by making a broad statement about social media and its widespread use in today’s society, as follows: “Social media has become an integral part of modern life, with billions of users worldwide.” 
• Define Key Terms : Define any key terms or concepts that may be unfamiliar to your readers but are essential for understanding your argument. 
• Provide Relevant Statistics:  Use statistics or facts to highlight the significance of the issue you’re discussing. For instance, “According to a report by Statista, the number of social media users is expected to reach 4.41 billion by 2025.” 
• Discuss the Evolution:  Mention previous research or studies that have been conducted on the topic, especially those that are relevant to your argument. Mention key milestones or developments that have shaped its current impact. You can also outline some of the major effects of social media. For example, you can briefly describe how social media has evolved, including positives such as increased connectivity and issues like cyberbullying and privacy concerns. 
• Transition to Your Thesis:  Use the background information to lead into your thesis statement, which should clearly state the main argument or purpose of your essay. For example, “Given its pervasive influence, it is crucial to examine the impact of social media on mental health.” 

A thesis statement is a concise summary of the main point or claim of an essay, research paper, or other type of academic writing. It appears near the end of the introduction. Here’s how to write a thesis statement: 

• Identify the topic:  Start by identifying the topic of your essay. For example, if your essay is about the importance of exercise for overall health, your topic is “exercise.” 
• State your position:  Next, state your position or claim about the topic. This is the main argument or point you want to make. For example, if you believe that regular exercise is crucial for maintaining good health, your position could be: “Regular exercise is essential for maintaining good health.” 
• Support your position:  Provide a brief overview of the reasons or evidence that support your position. These will be the main points of your essay. For example, if you’re writing an essay about the importance of exercise, you could mention the physical health benefits, mental health benefits, and the role of exercise in disease prevention. 
• Make it specific:  Ensure your thesis statement clearly states what you will discuss in your essay. For example, instead of saying, “Exercise is good for you,” you could say, “Regular exercise, including cardiovascular and strength training, can improve overall health and reduce the risk of chronic diseases.” 

Examples of essay introduction 

Here are examples of essay introductions for different types of essays: 

Argumentative Essay Introduction Example:  

Topic: Should the voting age be lowered to 16? 

“The question of whether the voting age should be lowered to 16 has sparked nationwide debate. While some argue that 16-year-olds lack the requisite maturity and knowledge to make informed decisions, others argue that doing so would imbue young people with agency and give them a voice in shaping their future.” 

Expository Essay Introduction Example  

Topic: The benefits of regular exercise 

“In today’s fast-paced world, the importance of regular exercise cannot be overstated. From improving physical health to boosting mental well-being, the benefits of exercise are numerous and far-reaching. This essay will examine the various advantages of regular exercise and provide tips on incorporating it into your daily routine.” 

Text: “To Kill a Mockingbird” by Harper Lee 

“Harper Lee’s novel, ‘To Kill a Mockingbird,’ is a timeless classic that explores themes of racism, injustice, and morality in the American South. Through the eyes of young Scout Finch, the reader is taken on a journey that challenges societal norms and forces characters to confront their prejudices. This essay will analyze the novel’s use of symbolism, character development, and narrative structure to uncover its deeper meaning and relevance to contemporary society.” 

• Engaging and Relevant First Sentence : The opening sentence captures the reader’s attention and relates directly to the topic. 
• Background Information : Enough background information is introduced to provide context for the thesis statement. 
• Definition of Important Terms : Key terms or concepts that might be unfamiliar to the audience or are central to the argument are defined. 
• Clear Thesis Statement : The thesis statement presents the main point or argument of the essay. 
• Relevance to Main Body : Everything in the introduction directly relates to and sets up the discussion in the main body of the essay. 

Writing a strong introduction is crucial for setting the tone and context of your essay. Here are the key takeaways for how to write essay introduction: 3  

• Hook the Reader : Start with an engaging hook to grab the reader’s attention. This could be a compelling question, a surprising fact, a relevant quote, or an anecdote. 
• Provide Background : Give a brief overview of the topic, setting the context and stage for the discussion. 
• Thesis Statement : State your thesis, which is the main argument or point of your essay. It should be concise, clear, and specific. 
• Preview the Structure : Outline the main points or arguments to help the reader understand the organization of your essay. 
• Keep it Concise : Avoid including unnecessary details or information not directly related to your thesis. 
• Revise and Edit : Revise your introduction to ensure clarity, coherence, and relevance. Check for grammar and spelling errors. 
• Seek Feedback : Get feedback from peers or instructors to improve your introduction further. 

The purpose of an essay introduction is to give an overview of the topic, context, and main ideas of the essay. It is meant to engage the reader, establish the tone for the rest of the essay, and introduce the thesis statement or central argument.  

An essay introduction typically ranges from 5-10% of the total word count. For example, in a 1,000-word essay, the introduction would be roughly 50-100 words. However, the length can vary depending on the complexity of the topic and the overall length of the essay.

An essay introduction is critical in engaging the reader and providing contextual information about the topic. To ensure its effectiveness, consider incorporating these key elements: a compelling hook, background information, a clear thesis statement, an outline of the essay’s scope, a smooth transition to the body, and optional signposting sentences.  

The process of writing an essay introduction is not necessarily straightforward, but there are several strategies that can be employed to achieve this end. When experiencing difficulty initiating the process, consider the following techniques: begin with an anecdote, a quotation, an image, a question, or a startling fact to pique the reader’s interest. It may also be helpful to consider the five W’s of journalism: who, what, when, where, why, and how.   For instance, an anecdotal opening could be structured as follows: “As I ascended the stage, momentarily blinded by the intense lights, I could sense the weight of a hundred eyes upon me, anticipating my next move. The topic of discussion was climate change, a subject I was passionate about, and it was my first public speaking event. Little did I know , that pivotal moment would not only alter my perspective but also chart my life’s course.” 

Crafting a compelling thesis statement for your introduction paragraph is crucial to grab your reader’s attention. To achieve this, avoid using overused phrases such as “In this paper, I will write about” or “I will focus on” as they lack originality. Instead, strive to engage your reader by substantiating your stance or proposition with a “so what” clause. While writing your thesis statement, aim to be precise, succinct, and clear in conveying your main argument.  

To create an effective essay introduction, ensure it is clear, engaging, relevant, and contains a concise thesis statement. It should transition smoothly into the essay and be long enough to cover necessary points but not become overwhelming. Seek feedback from peers or instructors to assess its effectiveness. 

References  

• Cui, L. (2022). Unit 6 Essay Introduction.  Building Academic Writing Skills . 
• West, H., Malcolm, G., Keywood, S., & Hill, J. (2019). Writing a successful essay.  Journal of Geography in Higher Education ,  43 (4), 609-617. 
• Beavers, M. E., Thoune, D. L., & McBeth, M. (2023). Bibliographic Essay: Reading, Researching, Teaching, and Writing with Hooks: A Queer Literacy Sponsorship. College English, 85(3), 230-242. 

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How to Begin an Essay: 13 Engaging Strategies

ThoughtCo / Hugo Lin

• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

An effective introductory paragraph both informs and motivates. It lets readers know what your essay is about and it encourages them to keep reading.

There are countless ways to begin an essay effectively. As a start, here are 13 introductory strategies accompanied by examples from a wide range of professional writers.

State Your Thesis Briefly and Directly

But avoid making your thesis a bald announcement, such as "This essay is about...". 

"It is time, at last, to speak the truth about Thanksgiving, and the truth is this. Thanksgiving is really not such a terrific holiday...." (Michael J. Arlen, "Ode to Thanksgiving." The Camera Age: Essays on Television . Penguin, 1982)

Pose a Question Related to Your Subject

Follow up the question with an answer, or an invitation for your readers to answer the question.

"What is the charm of necklaces? Why would anyone put something extra around their neck and then invest it with special significance? A necklace doesn't afford warmth in cold weather, like a scarf, or protection in combat, like chain mail; it only decorates. We might say, it borrows meaning from what it surrounds and sets off, the head with its supremely important material contents, and the face, that register of the soul. When photographers discuss the way in which a photograph reduces the reality it represents, they mention not only the passage from three dimensions to two, but also the selection of a point de vue that favors the top of the body rather than the bottom, and the front rather than the back. The face is the jewel in the crown of the body, and so we give it a setting." (Emily R. Grosholz, "On Necklaces." Prairie Schooner , Summer 2007)

State an Interesting Fact About Your Subject

" The peregrine falcon was brought back from the brink of extinction by a ban on DDT, but also by a peregrine falcon mating hat invented by an ornithologist at Cornell University. If you cannot buy this, Google it. Female falcons had grown dangerously scarce. A few wistful males nevertheless maintained a sort of sexual loitering ground. The hat was imagined, constructed, and then forthrightly worn by the ornithologist as he patrolled this loitering ground, singing, Chee-up! Chee-up! and bowing like an overpolite Japanese Buddhist trying to tell somebody goodbye...." (David James Duncan, "Cherish This Ecstasy." The Sun , July 2008)

Present Your Thesis as a Recent Discovery or Revelation

"I've finally figured out the difference between neat people and sloppy people. The distinction is, as always, moral. Neat people are lazier and meaner than sloppy people." (Suzanne Britt Jordan, "Neat People vs. Sloppy People." Show and Tell . Morning Owl Press, 1983)

Briefly Describe the Primary Setting of Your Essay

"It was in Burma, a sodden morning of the rains. A sickly light, like yellow tinfoil, was slanting over the high walls into the jail yard. We were waiting outside the condemned cells, a row of sheds fronted with double bars, like small animal cages. Each cell measured about ten feet by ten and was quite bare within except for a plank bed and a pot of drinking water. In some of them brown silent men were squatting at the inner bars, with their blankets draped round them. These were the condemned men, due to be hanged within the next week or two." (George Orwell, "A Hanging," 1931)

Recount an Incident That Dramatizes Your Subject

"One October afternoon three years ago while I was visiting my parents, my mother made a request I dreaded and longed to fulfill. She had just poured me a cup of Earl Grey from her Japanese iron teapot, shaped like a little pumpkin; outside, two cardinals splashed in the birdbath in the weak Connecticut sunlight. Her white hair was gathered at the nape of her neck, and her voice was low. “Please help me get Jeff’s pacemaker turned off,” she said, using my father’s first name. I nodded, and my heart knocked." (Katy Butler, "What Broke My Father's Heart." The New York Times Magazine , June 18, 2010)

Use the Narrative Strategy of Delay

The narrative strategy of delay allows you to put off identifying your subject just long enough to pique your readers' interest without frustrating them. 

"They woof. Though I have photographed them before, I have never heard them speak, for they are mostly silent birds. Lacking a syrinx, the avian equivalent of the human larynx, they are incapable of song. According to field guides the only sounds they make are grunts and hisses, though the Hawk Conservancy in the United Kingdom reports that adults may utter a croaking coo and that young black vultures, when annoyed, emit a kind of immature snarl...." (Lee Zacharias, "Buzzards." Southern Humanities Review , 2007)

Use the Historical Present Tense

An effective method of beginning an essay is to use historical present tense to relate an incident from the past as if it were happening now. 

"Ben and I are sitting side by side in the very back of his mother’s station wagon. We face glowing white headlights of cars following us, our sneakers pressed against the back hatch door. This is our joy—his and mine—to sit turned away from our moms and dads in this place that feels like a secret, as though they are not even in the car with us. They have just taken us out to dinner, and now we are driving home. Years from this evening, I won’t actually be sure that this boy sitting beside me is named Ben. But that doesn’t matter tonight. What I know for certain right now is that I love him, and I need to tell him this fact before we return to our separate houses, next door to each other. We are both five." (Ryan Van Meter, "First." The Gettysburg Review , Winter 2008)

Briefly Describe a Process That Leads Into Your Subject

"I like to take my time when I pronounce someone dead. The bare-minimum requirement is one minute with a stethoscope pressed to someone’s chest, listening for a sound that is not there; with my fingers bearing down on the side of someone’s neck, feeling for an absent pulse; with a flashlight beamed into someone’s fixed and dilated pupils, waiting for the constriction that will not come. If I’m in a hurry, I can do all of these in sixty seconds, but when I have the time, I like to take a minute with each task." (Jane Churchon, "The Dead Book." The Sun , February 2009)

Reveal a Secret or Make a Candid Observation

"I spy on my patients. Ought not a doctor to observe his patients by any means and from any stance, that he might the more fully assemble evidence? So I stand in doorways of hospital rooms and gaze. Oh, it is not all that furtive an act. Those in bed need only look up to discover me. But they never do." ( Richard Selzer , "The Discus Thrower." Confessions of a Knife . Simon & Schuster, 1979)

Open with a Riddle, Joke, or Humorous Quotation

You can use a riddle , joke, or humorous quotation to reveal something about your subject. 

" Q: What did Eve say to Adam on being expelled from the Garden of Eden? A: 'I think we're in a time of transition.' The irony of this joke is not lost as we begin a new century and anxieties about social change seem rife. The implication of this message, covering the first of many periods of transition, is that change is normal; there is, in fact, no era or society in which change is not a permanent feature of the social landscape...." (Betty G. Farrell, Family: The Making of an Idea, an Institution, and a Controversy in American Culture . Westview Press, 1999)

Offer a Contrast Between Past and Present

"As a child, I was made to look out the window of a moving car and appreciate the beautiful scenery, with the result that now I don't care much for nature. I prefer parks, ones with radios going chuckawaka chuckawaka and the delicious whiff of bratwurst and cigarette smoke." (Garrison Keillor, "Walking Down The Canyon." Time , July 31, 2000)

Offer a Contrast Between Image and Reality

A compelling essay can begin with a contrast between a common misconception and the opposing truth. 

"They aren’t what most people think they are. Human eyes, touted as ethereal objects by poets and novelists throughout history, are nothing more than white spheres, somewhat larger than your average marble, covered by a leather-like tissue known as sclera and filled with nature’s facsimile of Jell-O. Your beloved’s eyes may pierce your heart, but in all likelihood they closely resemble the eyes of every other person on the planet. At least I hope they do, for otherwise he or she suffers from severe myopia (near-sightedness), hyperopia (far-sightedness), or worse...." (John Gamel, "The Elegant Eye." Alaska Quarterly Review , 2009)

• Examples of Great Introductory Paragraphs
• 100 Persuasive Essay Topics
• 'Whack at Your Reader at Once': Eight Great Opening Lines
• What Is a Compelling Introduction?
• How to Structure an Essay
• Development in Composition: Building an Essay
• How To Write an Essay
• Hookers vs. Chasers: How Not to Begin an Essay
• Writing a Descriptive Essay
• How to Write a Good Thesis Statement
• Write an Attention-Grabbing Opening Sentence for an Essay
• How to Write a Great Essay for the TOEFL or TOEIC
• How to Develop and Organize a Classification Essay
• Contrast Composition and Rhetoric
• 6 Steps to Writing the Perfect Personal Essay
• What Is Expository Writing?

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How to Write a Life Story Essay

Last Updated: April 14, 2024 Fact Checked

This article was co-authored by Alicia Cook . Alicia Cook is a Professional Writer based in Newark, New Jersey. With over 12 years of experience, Alicia specializes in poetry and uses her platform to advocate for families affected by addiction and to fight for breaking the stigma against addiction and mental illness. She holds a BA in English and Journalism from Georgian Court University and an MBA from Saint Peter’s University. Alicia is a bestselling poet with Andrews McMeel Publishing and her work has been featured in numerous media outlets including the NY Post, CNN, USA Today, the HuffPost, the LA Times, American Songwriter Magazine, and Bustle. She was named by Teen Vogue as one of the 10 social media poets to know and her poetry mixtape, “Stuff I’ve Been Feeling Lately” was a finalist in the 2016 Goodreads Choice Awards. There are 11 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 102,282 times.

A life story essay involves telling the story of your life in a short, nonfiction format. It can also be called an autobiographical essay. In this essay, you will tell a factual story about some element of your life, perhaps for a college application or for a school assignment.

Preparing to Write Your Essay

• If you are writing a personal essay for a college application, it should serve to give the admissions committee a sense of who you are, beyond the basics of your application file. Your transcript, your letters of recommendation, and your resume will provide an overview of your work experience, interests, and academic record. Your essay allows you to make your application unique and individual to you, through your personal story. [2] X Research source
• The essay will also show the admissions committee how well you can write and structure an essay. Your essay should show you can create a meaningful piece of writing that interests your reader, conveys a unique message, and flows well.
• If you are writing a life story for a specific school assignment, such as in a composition course, ask your teacher about the assignment requirements.

• Include important events, such as your birth, your childhood and upbringing, and your adolescence. If family member births, deaths, marriages, and other life moments are important to your story, write those down as well.
• Focus on experiences that made a big impact on you and remain a strong memory. This may be a time where you learned an important life lesson, such as failing a test or watching someone else struggle and succeed, or where you felt an intense feeling or emotion, such as grief over someone’s death or joy over someone’s triumph.

• Have you faced a challenge in your life that you overcame, such as family struggles, health issues, a learning disability, or demanding academics?
• Do you have a story to tell about your cultural or ethnic background, or your family traditions?
• Have you dealt with failure or life obstacles?
• Do you have a unique passion or hobby?
• Have you traveled outside of your community, to another country, city, or area? What did you take away from the experience and how will you carry what you learned into a college setting?

• Remind yourself of your accomplishments by going through your resume. Think about any awards or experiences you would like spotlight in your essay. For example, explaining the story behind your Honor Roll status in high school, or how you worked hard to receive an internship in a prestigious program.
• Remember that your resume or C.V. is there to list off your accomplishments and awards, so your life story shouldn't just rehash them. Instead, use them as a jumping-off place to explain the process behind them, or what they reflect (or do not reflect) about you as a person.

• The New York Times publishes stellar examples of high school life story essays each year. You can read some of them on the NYT website. [8] X Research source

Writing Your Essay

• For example, you may look back at your time in foster care as a child or when you scored your first paying job. Consider how you handled these situations and any life lessons you learned from these lessons. Try to connect past experiences to who you are now, or who you aspire to be in the future.
• Your time in foster care, for example, may have taught you resilience, perseverance and a sense of curiosity around how other families function and live. This could then tie into your application to a Journalism program, as the experience shows you have a persistent nature and a desire to investigate other people’s stories or experiences.

• Certain life story essays have become cliche and familiar to admission committees. Avoid sports injuries stories, such as the time you injured your ankle in a game and had to find a way to persevere. You should also avoid using an overseas trip to a poor, foreign country as the basis for your self transformation. This is a familiar theme that many admission committees will consider cliche and not unique or authentic. [11] X Research source
• Other common, cliche topics to avoid include vacations, "adversity" as an undeveloped theme, or the "journey". [12] X Research source

• Try to phrase your thesis in terms of a lesson learned. For example, “Although growing up in foster care in a troubled neighborhood was challenging and difficult, it taught me that I can be more than my upbringing or my background through hard work, perseverance, and education.”
• You can also phrase your thesis in terms of lessons you have yet to learn, or seek to learn through the program you are applying for. For example, “Growing up surrounded by my mother’s traditional cooking and cultural habits that have been passed down through the generations of my family, I realized I wanted to discover and honor the traditions of other, ancient cultures with a career in archaeology.”
• Both of these thesis statements are good because they tell your readers exactly what to expect in clear detail.

• An anecdote is a very short story that carries moral or symbolic weight. It can be a poetic or powerful way to start your essay and engage your reader right away. You may want to start directly with a retelling of a key past experience or the moment you realized a life lesson.
• For example, you could start with a vivid memory, such as this from an essay that got its author into Harvard Business School: "I first considered applying to Berry College while dangling from a fifty-food Georgia pine tree, encouraging a high school classmate, literally, to make a leap of faith." [15] X Research source This opening line gives a vivid mental picture of what the author was doing at a specific, crucial moment in time and starts off the theme of "leaps of faith" that is carried through the rest of the essay.
• Another great example clearly communicates the author's emotional state from the opening moments: "Through seven-year-old eyes I watched in terror as my mother grimaced in pain." This essay, by a prospective medical school student, goes on to tell about her experience being at her brother's birth and how it shaped her desire to become an OB/GYN. The opening line sets the scene and lets you know immediately what the author was feeling during this important experience. It also resists reader expectations, since it begins with pain but ends in the joy of her brother's birth.
• Avoid using a quotation. This is an extremely cliche way to begin an essay and could put your reader off immediately. If you simply must use a quotation, avoid generic quotes like “Spread your wings and fly” or “There is no ‘I’ in ‘team’”. Choose a quotation that relates directly to your experience or the theme of your essay. This could be a quotation from a poem or piece of writing that speaks to you, moves you, or helped you during a rough time.

• Always use the first person in a personal essay. The essay should be coming from you and should tell the reader directly about your life experiences, with “I” statements.
• For example, avoid something such as “I had a hard time growing up. I was in a bad situation.” You can expand this to be more distinct, but still carry a similar tone and voice. “When I was growing up in foster care, I had difficulties connecting with my foster parents and with my new neighborhood. At the time, I thought I was in a bad situation I would never be able to be free from.”

• For example, consider this statement: "I am a good debater. I am highly motivated and have been a strong leader all through high school." This gives only the barest detail, and does not allow your reader any personal or unique information that will set you apart from the ten billion other essays she has to sift through.
• In contrast, consider this one: "My mother says I'm loud. I say you have to speak up to be heard. As president of my high school's debate team for the past three years, I have learned to show courage even when my heart is pounding in my throat. I have learned to consider the views of people different than myself, and even to argue for them when I passionately disagree. I have learned to lead teams in approaching complicated issues. And, most importantly for a formerly shy young girl, I have found my voice." This example shows personality, uses parallel structure for impact, and gives concrete detail about what the author has learned from her life experience as a debater.

• An example of a passive sentence is: “The cake was eaten by the dog.” The subject (the dog) is not in the expected subject position (first) and is not "doing" the expected action. This is confusing and can often be unclear.
• An example of an active sentence is: “The dog ate the cake.” The subject (the dog) is in the subject position (first), and is doing the expected action. This is much more clear for the reader and is a stronger sentence.

• Lead the reader INTO your story with a powerful beginning, such as an anecdote or a quote.
• Take the reader THROUGH your story with the context and key parts of your experience.
• End with the BEYOND message about how the experience has affected who you are now and who you want to be in college and after college.

Editing Your Essay

• For example, a sentence like “I struggled during my first year of college, feeling overwhelmed by new experiences and new people” is not very strong because it states the obvious and does not distinguish you are unique or singular. Most people struggle and feel overwhelmed during their first year of college. Adjust sentences like this so they appear unique to you.
• For example, consider this: “During my first year of college, I struggled with meeting deadlines and assignments. My previous home life was not very structured or strict, so I had to teach myself discipline and the value of deadlines.” This relates your struggle to something personal and explains how you learned from it.

• It can be difficult to proofread your own work, so reach out to a teacher, a mentor, a family member, or a friend and ask them to read over your essay. They can act as first readers and respond to any proofreading errors, as well as the essay as a whole.

Expert Q&A

You Might Also Like

• ↑ http://education.seattlepi.com/write-thesis-statement-autobiographical-essay-1686.html
• ↑ https://study.com/learn/lesson/autobiography-essay-examples-steps.html
• ↑ https://www.psychologytoday.com/blog/fulfillment-any-age/201101/writing-compelling-life-story-in-500-words-or-less
• ↑ Alicia Cook. Professional Writer. Expert Interview. 11 December 2020.
• ↑ https://mycustomessay.com/blog/how-to-write-an-autobiography-essay.html
• ↑ https://www.ahwatukee.com/community_focus/article_c79b33da-09a5-11e3-95a8-001a4bcf887a.html
• ↑ http://www.nytimes.com/2014/05/10/your-money/four-stand-out-college-essays-about-money.html
• ↑ https://www.youtube.com/watch?v=xY9AdFx0L4s
• ↑ https://www.medina-esc.org/Downloads/Practical%20Advice%20Writing%20College%20App%20Essay.pdf
• ↑ http://www.businessinsider.com/successful-harvard-business-school-essays-2012-11?op=1
• ↑ http://www.grammar-monster.com/glossary/passive_sentences.htm

About This Article

A life story essay is an essay that tells the story of your life in a short, nonfiction format. Start by coming up with a thesis statement, which will help you structure your essay. For example, your thesis could be about the influence of your family's culture on your life or how you've grown from overcoming challenging circumstances. You can include important life events that link to your thesis, like jobs you’ve worked, friendships that have influenced you, or sports competitions you’ve won. Consider starting your essay with an anecdote that introduces your thesis. For instance, if you're writing about your family's culture, you could start by talking about the first festival you went to and how it inspired you. Finish by writing about how the experiences have affected you and who you want to be in the future. For more tips from our Education co-author, including how to edit your essay effectively, read on! Did this summary help you? Yes No

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Last updated on Aug 16, 2023

How to Start a Story: 10 Top Tips From Literary Editors

This post has been written with contributions from editors and authors including Tom Bromley , Fran Lebowitz , and Rebecca Heyman .

The opening lines of a story carry a lot of responsibility. They act as an invitation for someone who’s glanced at the first page of your book to either put it back down or keep reading. 

To help us understand how bestselling authors open up their stories, we've asked for tips from ten of Reedsy's top professionals.

How to start a story:

1. Craft an unexpected story opening

2. start with a compelling image, 3. create interest with immediate action, 4. begin the book with a short sentence , 5. pose a question for the reader, 6. engage a sense of curiosity, 7. build a convincing world and setting, 8. do something new with your writing, 9. create tension that has room to grow, 10. capture your readers’ attention.

Some of the most memorable opening lines are ones that hook readers with something out of the ordinary. Literary editor Gareth Watkins often encourages writers to explore this in their own books.

"Think of the opening to Nineteen Eighty-Four , or Iain Banks’s, The Crow Road (It was the day my grandmother exploded ). Of course, your opening doesn’t have to be as outrageous as these but always aim for the unusual.

"In other words: think of how people will expect the book to start, then take the plot in another direction."

Example: Nineteen Eighty-Four , George Orwell

Orwell immediately alerts the reader to the fact that we're not in a normal world by deploying a single strange fact at the end of Nineteen Eighty-Four's opening sentence

It was a bright cold day in April, and the clocks were striking thirteen.

However, not all books need to start with a twist. Sometimes, all you need is a single strong image.

Tweet "We asked our editors: "how would you start a story?" They came up with 10 insightful ways #amwriting"]

Many editors will tell you to avoid exposition — the dreaded info dump — at the start of your manuscript. Editor Harrison Demchick suggests one of the best ways to avoid this is to begin with an image.

"By focusing on sensory detail right at the start — sight, sound, taste, touch, smell — and by conveying a particular, defined setting, you can immediately absorb readers within your novel's tangible world.

"Context and background will come later, but a compelling image can be a fantastic hook."

Example: Fahrenheit 451 , Ray Bradbury

The image of fire is central to Bradbury's dystopian classic. Appropriately enough, he opens his novel with a maelstrom of images comparing the fire to a snake and a symphony.

It was a special pleasure to see things eaten, to see things blackened and changed. With the brass nozzle in his fists, with this great python spitting its venomous kerosene upon the world, the blood pounded in his head, and his hands were the hands of some amazing conductor playing all the symphonies of blazing and burning to bring down the tatters and charcoal ruins of history.

Starting with an image requires a deft hand from the writer. This image must be compelling enough to make the reader continue turning the pages. A simpler alternative may be to throw readers into the middle of the story.

Novels that open in medias res (Latin for "in the midst of action" ) are often really effective at immediately grabbing the reader and establishing stakes and tension.

However, editor Jeanette Shaw warns that readers can become untethered without context and a central character. "If you go this route, you must be sure your opening action is compelling enough that the reader is prepared to wait for character setup later."

Example: Lord of the Flies, William Golding

This classic novel starts with a scene of young boys living on a deserted island with no adults in sight. Only later do we learn how they got there in the first place.

The boy with fair hair lowered himself down the last few feet of rock and began to pick his way toward the lagoon. Though he had taken off his school sweater and trailed it now from one hand, his grey shirt stuck to him and his hair was plastered to his forehead.

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As Polonius tells young Hamlet, brevity is the soul of wit. But for editor and literary agent Fran Lebowitz (who has represented the Bridgerton novels amongst other bestsellers), being frugal with your opening sentence can also intrigue a reader and force them to lean in: "Start with something sparse that flicks on our curiosity, above all."

Example: The Hobbit , J.R.R. Tolkien

For a man who's known for writing lengthy tomes, Tolkien opens up his novel, The Hobbit, with a simple and matter-of-fact sentence that introduces something readers had never encountered before: a hobbit.

“In a hole in the ground there lived a hobbit.”

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But sometimes, a simple question can be just as powerful as a statement.

"The reader should be looking for an answer," says Nathan Connolly , an editor and the directing publisher of Dead Ink Books.

"The opening to your novel should be a question that can only be answered by reading on. This doesn't need to be literal, or overt, it can even be poetic, or abstract, but there must be a wound that can only be healed by reading on."

Example: The Bell Jar, Sylvia Plath

While the first line of Plath's only novel doesn't end with a question mark, it certainly poses a few mysteries.

It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn't know what I was doing in New York.

What was queer and sultry about this summer? How does the narrator's story relate to the execution of Julius and Ethel Rosenberg? And does she actually not know why she's in the Big Apple? The only way to find out is to read on...

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And speaking of unanswered questions, the next tip digs deeper into this idea of intriguing openings.

For in the experience of editor Britanie Wilson , the most successful beginnings have the magnetic effect of appealing to an emotion that all readers possess: curiosity.

"Make them immediately ask of your characters: What is this place? Why are they here? What are they doing? Who is involved? Where is this going?

"If you can pique your readers' curiosity from the very first sentence, you can will them to keep reading before they even know they like your book."

Example: "Royal Beatings", Alice Munro

The first story in Munro's 1978 short story collection, Who Do You Think You Are? gives its readers an unusual phrase that instantly piques their curiosity. 

Royal Beating. That was Flo's promise. You are going to get one Royal Beating.

As with the Orwell opening, the reader is presented with an unusual turn of phrase repeated several times — including in the title. By the time we're just 15-words deep into the story, we have a burning question: what is a Royal Beating?

While creating curiosity and mystery is powerful, it's important that the start of your book isn't entirely cryptic . Your opening must sustain your readers' interest in some way if you are to keep them reading through to chapter two, and reveal more and more information in the plot points to come .

Pro tip: Starting your writing with dialogue is considered a no-no by some, but can actually be a great way of achieving this effect.

"To give readers the confidence to continue reading a story they've just started, it's important to give them enough detail to know where and when a story takes place," says author and ghostwriter Tom Bromley .

"Sometimes when stories begin, there's a danger that the scenes are a little bit 'floating' — where the reader isn't given enough information to visualize what's going on. Details of location and time, when provided with enough specificity, will ground the reader and make them feel secure." 

Example: The Corrections , Jonathan Franzen

This novel, set in the American Midwest, opens by instantly grounding the reader in visuals related to the when and where  of the story.

The madness of an autumn prairie cold front coming through. You could feel it: something terrible was going to happen. The sun low in the sky, a minor light, a cooling star. Gust after gust of disorder. Trees restless, temperatures falling, the whole northern religion of things coming to an end. No children in the yards here. Shadows lengthened on yellowing zoysia. Red oaks and pin oaks and swamp white oaks rained acorns on houses with no mortgage. Storm windows shuddered in the empty bedrooms. And the drone and hiccup of a clothes dryer, the nasal contention of a leaf blower, the ripening of local apples in a paper bag, the smell of the gasoline with which Alfred Lambert had cleaned the paintbrush from his morning painting of the wicker love seat.

If you were to think of this opening scene in a cinematic sense, it reads like a slow montage that cuts between different images that set up the tone and atmosphere of the piece. Note how the first sentence describes the wind — a classic piece of literary imagery that almost always signifies the same thing: that change is a'coming. 

Avoiding clichés is something that should always be avoided. And in the experience of Thalia Suzuma , and editor who has worked with authors ranging from David Baldacci to Ken Follett, clichés can be avoided with some simple, unusual choices:

"Consider these two lines:

1) I'm sitting writing this at my desk.

2) I write this sitting in the kitchen sink.

"Which line makes you want to read on? I'd hazard a guess that it's probably the sentence about being perched at a sink — the opening line to one of my favorite novels, I Capture the Castle by Dodie Smith.

"Say something in your first few sentences that hasn't often been said before! A brief line laden with foreboding and heavy with what has not been said often works well, too."

Example: Jane Eyre , Charlotte Brontë

Opening a book by talking about the weather is just about as clichéd as things come. ( It was a dark and stormy night... ) But in the opening paragraph of Jane Eyre, we are presented with an image of cold weather — but filtered through the eyes of its title character.

There was no possibility of taking a walk that day.

More importantly than discovering the weather in chapter one, we learn something about the narrator: that she is a woman of absolutes. 

Again, the weather is used to create a sense of foreboding — a perfect segue into our next tip.

Openings should be intense, but for editor Rebecca Heyman , that doesn’t necessarily mean loud or explosive .

"So many authors are keen to start with a literal bang — something going up in flames, or a car accident, or some other catastrophe. But recall that even a smoldering fire can burn your hand; draw us in like moths to the flame, but don’t let the bonfire rage so fierce we can’t get close."

Example: All The Light We Cannot See, Anthony Doerr

Remember what we said about winds signifying change? In the opening chapter of Anthony Doerr's novel set around the Second World War, we open with a description of the wind, bringing with it a literal message of change:

At dusk they pour from the sky. They blow across the ramparts, turn cartwheels over rooftops, flutter into the ravines between houses. Entire streets swirl with them, flashing white against the cobbles. Urgent message to the inhabitants of this town, they say. Depart immediately to open country.

This image we're presented with is almost playful (turning cartwheels, fluttering into ravines), making the message the pamphlets bear even more insidious.

For the final tip of this post, we give you what is perhaps the cardinal rule of starting a story...

You want your reader to be swept up in the story— for its entirety, but especially at the beginning, says editor Anne McPeak:

"This is your chance to intoxicate your reader and convince them that they can’t not read on. This doesn’t mean your story needs drama, or fireworks, or shocking material; what your story really needs is close attention to language, tone, and pacing.

"Dazzle your reader from the start, and they will willingly take your hand for the ride." 

Example: Fortress of Solitude , Jonathan Lethem

Centering on the lives of two friends in Brooklyn and spanning decades, Lethem's novel opens with an everyday image — of girls rollerskating on the sidewalk — and filters it through the eyes of a narrator, who interprets the scene in quite an arresting fashion that's bound to capture the reader's attention:

Like a match struck in a darkened room:

Two white girls in flannel nightgowns and red vinyl roller skates with white laces, tracing tentative circles on a cracked blue slate sidewalk at seven o'clock on an evening in July.

The girls murmured rhymes, were murmured rhymes, their gauzy, sky-pink hair streaming like it had never once been cut.

Establishing best practices for starting a story can be tricky because, as Nathan Connolly says, “Fiction should, by nature, seek to defy, redefine or expand beyond rules." It should not be an author’s goal to emulate the words or tastes of another person while writing a novel.

However, many well-loved novels share a thread of commonality when it comes to their first few lines — such as a question, a brief to-the-point line, or in the middle of action. While there’s no hard rule for what works, these are guidelines you can follow when determining how to hook readers down your story’s path.

26 responses

Paynes says:

04/01/2017 – 21:13

"Years ago, down in the Amazon, Santiago set me up. He said, 'Lives are stories told over and over. The good ones keep getting better. Think about that, Daniel. And while you're at it, think about thinking. We learn best by thinking, just as fish breathe by drinking.' He said this very matter-of-factly. Then he asked me, 'Don't they?' He asked me this when he was about to die." "Santiago and the Drinking Party" by Clay Morgan That's one of my favorite beginnings.

↪️ Reedsy replied:

09/01/2017 – 16:48

This is really great because I actually did sit and think for a few moments about the line "lives are stories told over and over." So mission accomplished! Thanks for the contribution, Paynes!

Nathan Van Coops says:

06/01/2017 – 14:26

"There was a boy called Eustace Clarence Scrubb, and he almost deserved it." --C.S. Lewis- The Voyage of the Dawn Treader.

06/01/2017 – 14:36

Haha, that's a good one, Nathan!

Tripehound says:

07/01/2017 – 12:33

The Dodie Smith sentence - she's not sitting at the sink. She's sitting in the sink.

07/01/2017 – 16:56

Ah, good catch, thanks! We've edited accordingly.

RanaShubair says:

07/01/2017 – 16:16

The ideas are great. I find number 1 and number 9 most appealing to me. And thanks for the book examples you included- this helped me look them up and put them on my reading list.

07/01/2017 – 16:57

Glad you like it, Rana!

Carol Pearson says:

08/01/2017 – 20:01

"There are gods in Alabama: Jack Daniel's, high school quarterbacks, trucks, big tits, and also Jesus. I left one back there myself, back in Possett. I kicked it under the kudzu and left it to the roaches." Gods in Alabama by Joshilyn Jackson. Stunning.

09/01/2017 – 16:45

That is definitely unique — it's not "once upon a time", that's for sure :) Thanks for the comment Carol!

↪️ Carol Pearson replied:

09/01/2017 – 17:14

ha! no indeed. And the book delivered, too. Compelling from start to finish. Great read!

Rock Higgins says:

17/01/2017 – 17:08

"I am doomed to remember a boy with a wrecked voice – not because of his voice, or because he was the smallest person I ever knew, or even because he was the instrument of my mother’s death, but because he is the reason I believe in God; I am a Christian because of Owen Meany." John Irving, A Prayer for Owen Meany It is the whole 600+ page novel in a sentence, that takes 600+ pages to unpack.

17/01/2017 – 17:18

Wow, great one, Rock! You know an author really knows their story when they're able to condense 600 pages of it into a single sentence. Thanks for the quote :)

polfilmblog says:

24/02/2017 – 22:08

Venomous python? Really? "with this great python spitting its venomous kerosene upon the world," The only thing I get from this opening is that the author royally fucked it up. Pythons are constrictors of course. Most everyone knows that.

↪️ Elizabeth replied:

19/11/2019 – 08:01

Well, shoot! And Mr. Bradbury seemed to have such promise. I'm sure if he was still among the living you could teach him a thing or two. About snakes, anyway.

Dennis Fleming says:

24/07/2017 – 21:52

"Not wanting to arouse Vishnu in case he hadn't died yet, Mrs. Asrani tiptoed down to the third step above the landing on which he lived, teakettle in hand." The Death of Vishnu by Manil Suri

Astoria Eincaster says:

17/10/2017 – 19:57

I don't see anything strange and unexpected with 1984's opening sentence. Thirteen o'clock is basically 1 pm. In Europe the clock goes from 0 to 23. So 1:15 pm for example will be 13:15, 3:45 pm will be 15:45, while 4 am would be simply 4 o'clock. I don't know about other continents, but I'm sure about Europe, as I live there. And where does 1984 take part? In London, you ignorant Americans! Just stop citing 1984 as an example of an unexpected opening. Seriously, this is not the first post about types of book openings where I see 1984 mentioned. Its first sentence is not and it wasn't supposed to be strange, although some ignorant hacks still think it is.

17/10/2017 – 20:06

Analog clocks do not generally include the number "13." So while it is not strange for it to be thirteen o'clock, it remains a strange image for the hand of a clock to "strike thirteen," and I don't believe anyone aside from George Orwell ever said or wrote "the clock strikes thirteen." In 1984, the clock "strikes thirteen", as we can later surmise, because this is a military state and they use military time. So this opening is not only unexpected, it sets the mood for the rest of the book. Ah, and most of Reedsy's team is based in Europe, by the way, so the "ignorant American" argument doesn't really stand with us — sorry!

↪️ 4kidsandacat replied:

24/07/2018 – 11:09

Keep in mind, Orwell wrote this story in 1948, long before digital clocks were in common use. Thirteen o'clock doesn't sound strange today, but it may well have at the time.

↪️ Doug McNett replied:

19/04/2020 – 13:32

I completely agree with you. I am American, but when I first read those lines I thought nothing of it as to me they were referring to military time,

Diane Callahan says:

30/01/2018 – 16:11

Loved this article! I found it through your Novel Revision course. I'm pleased to see that your editors picked many of the same first lines I discussed in my YouTube video on the topic: https://www.youtube.com/watch?v=bm9trk8xRpg&t=2s Patrick Ness’s "The Knife of Never Letting Go" hooked me right away by opening with a strong narrative voice and humor: “The first thing you find out when yer dog learns to talk is that dogs don’t got nothing much to say.”

Evelyn Sinclair says:

11/03/2018 – 16:42

"Master was a little crazy: he had spent too many years reding books overseas, talked to himself in his office,did not always return greetings and had too much hair." Opening sentence from 'Half a Yellow Sun' definitely hooked me in to this story.

Candace says:

03/08/2019 – 01:56

Yeah. I know. You guys are going to read about how I died in agony, and you're going to be like, "Wow! That sounds cool, Magnus! Can I die in agony too?" - Magnus Chase and the Gods of Asgard: The Sword of Summer by Rick Riordan One of my favorite opening lines of all time.

↪️ Yvonne replied:

08/08/2019 – 02:01

That is indeed an awesome line! Thanks so much for the quote (and the book rec).

Alice says:

19/09/2019 – 19:20

My favorite line is from Charles Dickens "a Tale of two Cities" It was the best of times, it was the worst of times.

Elizabeth says:

19/11/2019 – 08:18

“We were somewhere around Barstow on the edge of the desert when the drugs began to take hold.” "Fear and Loathing in Las Vegas" by Hunter S Thompson. Okay, technically it's a classic HST hybrid - part semi-autobiography and part novel. But still one of the greatest beginnings I've ever had the pleasure of reading.

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How to Start a College Essay: 5 Effective Techniques

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Impressionable Openers

Descriptions and demonstrations, show vulnerability, be authentic, stay personal, fun & quirky, common mistakes to avoid in your college essay.

• Ways to Overcome Writer's Block

Frequently Asked Questions About Starting a College Essay

College essays are a huge part of your college career. If not huge, one of the biggest, and for someone who has been there and done that, I know the amount of pressure the beginning of a college essay, as well as the entire essay, can put on your shoulders.

Not only are you trying to juggle things like word count and grammar errors, but you're also trying to create the perfect college essay introduction that will attract admissions officers to your application or professors to your writing skills. And that, itself, can feel impossible, fill you with dread and self-doubt, but just breathe. I am here to help all present and future students know how to start a college essay.

Today is all about starting a college essay. I have come up with five easy and effective techniques that will help you create essays so good you're going to leave your readers wanting more , starting with your opening sentence! So, this is for all college students and college applicants. Stress no more! This guide was created to help you write a successful college essay. Let's get into it.

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The beginning of your essay should, first and foremost, always have a strong opening sentence . This sentence sets the tone for not only your readers but for the entire essay. Having a wobbly, almost interesting opener can steer an admissions officer and/or professor away, so you want it to be strong. And it doesn't have to be complicated! Less is more in this situation. Here are a couple of ways you can accomplish this.

• Look within and be relatable
• Use your real life for inspiration
• Think about ways to evoke emotion

Here are some examples of impressionable openers:

• Example 1: When I was 11 years old, my mother told me she had cancer over breakfast.
• Example 2: Maybe yellow isn't my favorite color.
• Example 3: I sat next to this girl in class who made me feel stupid.

DISCLAIMER : your opener should ALWAYS adhere to the essay prompts. These are just a few examples that can capture your reader's attention almost immediately.

In order to keep readers interested, visuals are key . Image-based descriptions will not only add value to your writing, it will give your readers front seats to your essay's journey. These descriptions let actions speak for themselves.

Here is an example of a description and demonstration in an essay:

• Example 1: "I was sitting on a bar stool when the word 'cancer' hit me like the smell of her coffee brewing on the stove. The Rice Krispies were popping in my cereal bowl, and MTV Jams was playing in the background, yet all I could hear was the sound of doom all around me. The lips of my mother were moving, but I was frozen, crumbling on this stool like my mother's health. She was sick, and I didn't know how sick or what that even meant, and that terrified me."

Why This Works:

Here you can clearly feel the writers emotional state: shocked, still, scared. Not only is this moment at breakfast traumatic, you feel frozen in time with the writer. Using descriptions like this will evoke so much emotion and leave your reader wanting more.

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Something one of my teachers told me in high school was any good essay will have personal elements in it, no matter the topic. That always stuck with me and became the way I approached my college essays. Showing vulnerability in your writing will always guarantee interest. It also evokes emotion.

You can show vulnerability by:

• Being honest
• Explaining what's going on inside underneath the exterior
• Describe what's going on around you at the moment
• Letting go of the fear of being seen
• Connecting with the topic
• Being transparent about mistakes/flaws

Examples of showing vulnerability:

• Example 1 : My mother telling me she had cancer over breakfast was not on my bingo card this year.
• Example 2 : I never thought losing someone I love would change me.
• Example 3: I had to lose everything in order to gain everything.

I know being vulnerable can be tough for some , but showing this side of you to college admissions officers and/or professors will not only make you stand out, but it can also help free you of things that might be weighing on your mind. Not to sound corny, but it can be therapeutic and make you a better writer . Just make sure you are staying on track with the essay prompt, and you're set!

Whether it's believed or not, an admissions officer wants to see pieces of you in your personal statement, so starting your essay by showing authenticity is a major major key. Along with being vulnerable, there are a few ways you can achieve this.

• Reflect : Take the time to reflect on your experiences, values, and beliefs that have shaped who you are today. Let your values, passions, and interests shine through in your writing.
• Mind Your Voice : Write in your own voice and avoid trying to sound like someone you're not. Authenticity comes from being genuine and true to yourself.
• Tell Your Story : Share personal anecdotes and insights that show your unique perspective.
• Be True to You : Focus on what matters to YOU (as long as you're on topic!). Write about what is meaningful and important to you rather than what you think admissions officers want to hear.

Above all, be open . Showing introspection and self-awareness in your essay will show any admissions committee who you are beneath the surface, as well as your personal growth.

You can also begin your essay being as random and silly as you'd like . It goes hand-in-hand with other important factors like vulnerability and authenticity. But don't get too crazy . Beginning your essay with something strange will definitely draw readers in. Let me show you what I mean.

• Example 1 : I start my mornings off in silence and solitude to keep people away from me.
• Example 2 : Sometimes, I like to circle big words in complex articles to learn new words. Yeah, but to also keep one in my back pocket for later use.
• Example 3 : Being the youngest child means getting away with everything you want, and that's exactly how I like it.

Do you see how each sentence draws you in? Not only are they light-hearted, but they also make you want to know why you want to keep people away in the morning and what kind of weapon you're forming against others with new words. And every youngest sibling will attest to feeling that exact same way. All of these examples are sure to make your essay fun, show who you are, and leave readers wanting more.

Years of writing college essays have taken me through every high and low of the process possible. And when they're good, they're great! But for some reason, my mistakes stick out more than anything. So, I've compiled a list of common mistakes to avoid when writing your college essay .

• Avoid Being Cliche - While you want to be captivating, you want to avoid overly used syntax and phrases that could potentially lose your reader's curiosity. For example, "in today's day and age," "follow my heart," "don't judge a book by its cover," etc. are all cliches that can be avoided by thinking outside of the box.
• Using Vocabulary to be Impressive - I know you want to impress the admissions committees, but it's important to stick to what you know and not what you can allude to. That is, use verbiage that resonates with your personality. Using extravagant words can work against you, and they can also sound forced. College admissions officers want to see the real you, so show it to them.
• Steer Clear of Controversy - Though it's not said enough, your college essay should tell your personal story and not touch on things that can stir the pot. For instance, talking about politics and religious beliefs may not be the route you want to take UNLESS it's called for in the college essay topic. And if so, stay on track with the essay prompts.
• Procrastinating : Waiting until the last minute to start writing your essay will bite you in the butt. You will feel rushed and end up writing a poorly crafted piece. Give yourself enough time to complete an essay draft, edit the draft, and repeat this two-step cycle until your essay is complete.
• Lack of originality : This goes hand-in-hand with avoiding cliches. Your college essay should exude a lot of your personality, so show admissions officers and teachers who you are! Include your cultural background, test scores that you're proud of, any future aspirations, etc. This all depends on the essay prompts, of course, but in my experience, every essay topic has room to show who you are.
• Ignoring the prompt : This is a major key. STAY ON TRACK. Make sure to carefully read and understand the essay prompt, and write your essay accordingly. The last thing you want to do is write a college essay that has nothing to do with the prompt. Reading is essential here.
• Lack of focus : If you want to know how to start a college essay, that means knowing how to stay focused. Find a quiet space, turn off electronics, hide your phone, and really nestle into how you want to capture your reader's attention. This will help you use your five senses clearly, keep your writing strong and not write an overly wordy essay. Focus is the tool here.
• Poor organization : Make sure your essay has a strong structure with clear transitions between paragraphs. An outline will work best to accomplish this. If you go into starting your college essay without a plan, be prepared to hit all roadblocks.
• Neglecting to Revise and Edit : Like procrastinating, don't fail to revise and edit your work. Always, always, always proofread your essay for grammar, spelling, and punctuation errors , as well as clarity and coherence.
• Not Seeking Feedback : Listen, I know that completing an essay is an accomplishment in itself, and you immediately want to submit it, but it's so beneficial to have others read your essay for feedback. You can only spot so many holes in your work when your eyes are constantly reviewing it, so a second, third, or even fourth set of eyes can help point out areas for improvement.

Above all, trust the writing process. Though I do want you to be aware of your jargon, don't get too wrapped up in thinking you're making a mistake. That's what editing is for! Once you complete your college essay, you should always revise and edit accordingly . What you thought sounded good might make you edit it to sound great. Just keep in mind that many colleges are looking for honesty and authenticity vs how well you can sound on paper . So, if you're aware of these factors, you'll be good to go.

Ways to Overcome Writer's Block

Take it from someone who has suffered from chronic writer's block, it's a pain to get through . Imagine being on a writing streak so good that when you stop, the entire essay writing process stops as a whole. It's definitely a challenge, but after 10 years of writing essays and really honing my craft, I learned a few things that have helped me get through even the thickest of writer's blocks, and I want to share them with you. Check them out:

• Take a break : This works every single time. Take a short break and step away from your computer to clear your mind and come back with a fresh perspective. For me, 15 minutes is all I ever need. If you need more time, that's okay. Just try not to make your break a rest.
• Freewriting : Sometimes, I'd start writing without worrying about my structure or grammar to get the ideas flowing, and surprisingly enough, I found my essay taking a pleasant turn.
• Change your environment : Move around. Don't underestimate the effects of a different location or workspace to stimulate creativity. Try coffee shops, bookstores, a park, or a new room in your house. New environment, new energy.
• Set small goals : This one is actually the most important. Some people get overwhelmed with the word "essay" for things like lack of proper writing skills, pressure to write a great essay, etc. But if you try breaking down your writing task into smaller, manageable chunks to make it less overwhelming, it can help. For example, set a goal of three paragraphs one day, take a day to edit those paragraphs, two more the next day, and so forth. Find a formula that works for you.
• Brainstorming : Write down all your ideas--everything. No matter how small you think the idea is, write it down. Even if these ideas seem unrelated, they will help you generate new thoughts and connections.
• Read or listen to music : It took me a while to realize this helps, but engaging in other forms of art can inspire new ideas and break through mental blocks. And new creativity can lead you to impress admissions officers.
• Talk it out : As a writer, it's hard to let people in on the creative process, but discussing my ideas with a friend, family member, or colleague helped me gain new perspectives and insights.
• Relax and Meditate : Hear me out: it works! Practice deep breathing and/or meditation to reduce stress and anxiety that may be contributing to writer's block.

I won't sugarcoat it: the college application process can be intimidating , but it doesn't have to throw you off your game. When it comes to college essays, I see them as opportunities to be fun and expressive. Trust me when I say if you have fun with it, you'll attract the reader's attention , paint vivid details, and write an essay that will leave the admissions officer wanting you at their school. So, take it one step at a time and watch your personal statement come to life.

How can I make my college essay stand out to admissions officers?

Simply put, be yourself. As long as you stay on track with the essay's topic, showing pieces of yourself will allow admissions officers to know more about who you are. Essays are meant to show readers who you are, how you feel, and what you think naturally, not robotically, so be authentic in your writing, and you'll be sure to stand out amongst the rest.

What are some common mistakes to avoid when writing a college essay?

Some common mistakes to avoid in your essay are using cliches and boring wording. You also want to avoid procrastinating, wasting time, not focusing, not editing, etc. When writing your essay, you want to make sure you give your writing the time and attention it deserves, so make sure you're aware of what is pulling you away from your writing. This will help you stay focused. If you have any other doubts, refer to the section about mistakes in this article and let it guide you to success.

How important is the college essay in the admissions process?

Your college essay is key in the admissions process . It's an admissions committee's first impression of you as a writer and potential student, so it should be taken very seriously. Trying to cut corners or rush through the writing process will be obvious, and it will stand out more than things like test scores, academic achievements, extracurricular activities, and any other positive influence you've had in your life. So, don't take the easy way out and really work on your essay.

Feeling confident in your college essay skills and want to explore some other essay content? Explore our blog on the comma splice to enhance your technical writing skills!

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

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

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

How to Write a Short Story: Contents

The Core Elements of a Short Story

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

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

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

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

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

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

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

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

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

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

1. Start With an Idea

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

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

Here are a few tips:

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

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

2. Outline, OR Conceive Your Characters

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

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

When thinking about character development, ask the following questions:

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

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

Learn more about character development here:

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

3. Write Scenes Around Conflict

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

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

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

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

Read more about writing effective conflict here:

What is Conflict in a Story? Definition and Examples

4. Write Your First Draft

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

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

5. Step Away, Breathe, Revise

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

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

6. Compare Against Our Short Story Checklist

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

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

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

Click to download

Your short story is 1000 to 7500 words in length.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Learn How to Write a Short Story at Writers.com

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

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

Hi, Kim Hanson,

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

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

Not just no but NO.

See for example the work of MacArthur Fellow Kelly Link.

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

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

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

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

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

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

Gwen Boucher.

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• Writing Prompts

150+ Story Starters: Creative Sentences To Start A Story

The most important thing about writing is finding a good idea . You have to have a great idea to write a story. You have to be able to see the whole picture before you can start to write it. Sometimes, you might need help with that. Story starters are a great way to get the story rolling. You can use them to kick off a story, start a character in a story or even start a scene in a story.

When you start writing a story, you need to have a hook. A hook can be a character or a plot device. It can also be a setting, something like “A young man came into a bar with a horse.” or a setting like “It was the summer of 1969, and there were no cell phones.” The first sentence of a story is often the hook. It can also be a premise or a situation, such as, “A strange old man in a black cloak was sitting on the train platform.”

Story starters are a way to quickly get the story going. They give the reader a place to start reading your story. Some story starters are obvious, and some are not. The best story starters are the ones that give the reader a glimpse into the story. They can be a part of a story or a part of a scene. They can be a way to show the reader the mood of a story. If you want to start a story, you can use a simple sentence. You can also use a question or an inspirational quote. In this post, we have listed over 150 story starters to get your story started with a bang! A great way to use these story starters is at the start of the Finish The Story game .

If you want more story starters, check out this video on some creative story starter sentences to use in your stories:

150+ Creative Story Starters

Here is a list of good sentences to start a story with:

• I’ve read about a million stories about princesses but never thought I could ever be one.
• There was once a man who was very old, but he was wise. He lived for a very long time, and he was very happy.
• What is the difference between a man and a cat? A cat has nine lives.
• In the middle of the night, a boy is running through the woods.
• It is the end of the world.
• He knew he was not allowed to look into the eyes of the princess, but he couldn’t help himself.
• The year is 1893. A young boy was running away from home.
• What if the Forest was actually a magical portal to another dimension, the Forest was a portal to the Otherworld?
• In the Forest, you will find a vast number of magical beings of all sorts. 
• It was the middle of the night, and the forest was quiet. No bugs or animals disturbed the silence. There were no birds, no chirping. 
• If you wish to stay in the Forest, you will need to follow these rules: No one shall leave the Forest. No one shall enter. No one shall take anything from the Forest.
• “It was a terrible day,” said the old man in a raspy voice.
• A cat is flying through the air, higher and higher, when it happens, and the cat doesn’t know how it got there, how it got to be in the sky.
• I was lying in the woods, and I was daydreaming.
• The Earth is a world of wonders. 
• The fairy is the most amazing creature I have ever met.
• A young girl was sitting on a tree stump at the edge of a river when she noticed a magical tree growing in the water.
• My dancing rat is dressed in a jacket, a tie and glasses, which make him look like a person. 
• In the darkness of the night, I am alone, but I know that I am not. 
• Owls are the oldest, and most intelligent, of all birds.
• My name is Reyna, and I am a fox. 
• The woman was drowning.
• One day, he was walking in the forest.
• It was a dark and stormy night…
• There was a young girl who could not sleep…
• A boy in a black cape rode on a white horse…
• A crazy old man in a black cloak was sitting in the middle of the street…
• The sun was setting on a beautiful summer day…
• The dog was restless…”
• There was a young boy in a brown coat…
• I met a young man in the woods…
• In the middle of a dark forest…
• The young girl was at home with her family…
• There was a young man who was sitting on a …
• A young man came into a bar with a horse…
• I have had a lot of bad dreams…
• He was a man who wanted to be king…
• It was the summer of 1969, and there were no cell phones.
• I know what you’re thinking. But no, I don’t want to be a vegetarian. The worst part is I don’t like the taste.
• She looked at the boy and decided to ask him why he wasn’t eating. She didn’t want to look mean, but she was going to ask him anyway.
• The song played on the radio, as Samual wiped away his tears.
• This was the part when everything was about to go downhill. But it didn’t…
• “Why make life harder for yourself?” asked Claire, as she bit into her apple.
• She made a promise to herself that she would never do it.
• I was able to escape.
• I was reading a book when the accident happened.
• “I can’t stand up for people who lie and cheat.” I cried.
• You look at me and I feel beautiful.
• I know what I want to be when I grow up.
• We didn’t have much money. But we knew how to throw a good party.
• The wind blew on the silent streets of London.
• What do you get when you cross an angry bee and my sister?
• The flight was slow and bumpy. I was half asleep when the captain announced we were going down.
• At the far end of the city was a river that was overgrown with weeds. 
• It was a quiet night in the middle of a busy week.
• One afternoon, I was eating a sandwich in the park when I spotted a stranger.
• In the late afternoon, a few students sat on the lawn reading.
• The fireflies were dancing in the twilight as the sunset.
• In the early evening, the children played in the park.
• The sun was setting and the moon was rising.
• A crowd gathered in the square as the band played.
• The top of the water tower shone in the moonlight.
• The light in the living room was on, but the light in the kitchen was off.
•  When I was a little boy, I used to make up stories about the adventures of these amazing animals, creatures, and so on. 
• All of the sudden, I realized I was standing in the middle of an open field surrounded by nothing but wildflowers, and the only thing I remembered about it was that I’d never seen a tree before.
• It’s the kind of thing that’s only happened to me once before in my life, but it’s so cool to see it.
• They gave him a little wave as they drove away.
• The car had left the parking lot, and a few hours later we arrived home.
• They were going to play a game of bingo.
• He’d made up his mind to do it. He’d have to tell her soon, though. He was waiting for a moment when they were alone and he could say it without feeling like an idiot. But when that moment came, he couldn’t think of anything to say.
• Jamie always wanted to own a plane, but his parents were a little tight on the budget. So he’d been saving up to buy one of his own. 
• The night was getting colder, and the wind was blowing in from the west.
• The doctor stared down at the small, withered corpse.
• She’d never been in the woods before, but she wasn’t afraid.
• The kids were having a great time in the playground.
• The police caught the thieves red-handed.
• The world needs a hero more than ever.
• Mother always said, “Be good and nice things will happen…”
• There is a difference between what you see and what you think you see.
• The sun was low in the sky and the air was warm.
• “It’s time to go home,” she said, “I’m getting a headache.”
• It was a cold winter’s day, and the snow had come early.
• I found a wounded bird in my garden.
• “You should have seen the look on my face.”
• He opened the door and stepped back.
• My father used to say, “All good things come to an end.”
• The problem with fast cars is that they break so easily.
• “What do you think of this one?” asked Mindy.
• “If I asked you to do something, would you do it?” asked Jacob.
• I was surprised to see her on the bus.
• I was never the most popular one in my class.
• We had a bad fight that day.
• The coffee machine had stopped working, so I went to the kitchen to make myself a cup of tea.
• It was a muggy night, and the air-conditioning unit was so loud it hurt my ears.
• I had a sleepless night because I couldn’t get my head to turn off.
• I woke up at dawn and heard a horrible noise.
• I was so tired I didn’t know if I’d be able to sleep that night.
• I put on the light and looked at myself in the mirror.
• I decided to go in, but the door was locked.
• A man in a red sweater stood staring at a little kitten as if it was on fire.
• “It’s so beautiful,” he said, “I’m going to take a picture.”
• “I think we’re lost,” he said, “It’s all your fault.”
• It’s hard to imagine what a better life might be like
• He was a tall, lanky man, with a long face, a nose like a pin, and a thin, sandy moustache.
• He had a face like a lion’s and an eye like a hawk’s.
• The man was so broad and strong that it was as if a mountain had been folded up and carried in his belly.
• I opened the door. I didn’t see her, but I knew she was there.
• I walked down the street. I couldn’t help feeling a little guilty.
• I arrived at my parents’ home at 8:00 AM.
• The nurse had been very helpful.
• On the table was an array of desserts.
• I had just finished putting the last of my books in the trunk.
• A car horn honked, startling me.
• The kitchen was full of pots and pans.
• There are too many things to remember.
• The world was my oyster. I was born with a silver spoon in my mouth.
•  “My grandfather was a World War II veteran. He was a decorated hero who’d earned himself a Silver Star, a Bronze Star, and a Purple Heart.
• Beneath the menacing, skeletal shadow of the mountain, a hermit sat on his ledge. His gnarled hands folded on his gnarled knees. His eyes stared blankly into the fog. 
• I heard a story about a dragon, who was said to be the size of a house, that lived on the top of the tallest mountain in the world.
•  I was told a story about a man who found a golden treasure, which was buried in this very park.
• He stood alone in the middle of a dark and silent room, his head cocked to one side, the brown locks of his hair, which were parted in the middle, falling down over his eyes.
•  Growing up, I was the black sheep of the family. I had my father’s eyes, but my mother’s smile.
• Once upon a time, there was a woman named Miss Muffett, and she lived in a big house with many rooms.
• When I was a child, my mother told me that the water looked so bright because the sun was shining on it. I did not understand what she meant at the time.    
•  The man in the boat took the water bottle and drank from it as he paddled away.
• The man looked at the child with a mixture of pity and contempt.
• An old man and his grandson sat in their garden. The old man told his grandson to dig a hole. 
• An old woman was taking a walk on the beach. The tide was high and she had to wade through the water to get to the other side.
• She looked up at the clock and saw that it was five minutes past seven.
• The man looked up from the map he was studying. “How’s it going, mate?”
• I was in my room on the third floor, staring out of the window.
• A dark silhouette of a woman stood in the doorway.
• The church bells began to ring.
• The moon rose above the horizon.
• A bright light shone over the road.
• The night sky began to glow.
• I could hear my mother cooking in the kitchen.
• The fog began to roll in.
• He came in late to the class and sat at the back.
• A young boy picked up a penny and put it in his pocket.
• He went to the bathroom and looked at his face in the mirror.
• It was the age of wisdom and the age of foolishness. We once had everything and now we have nothing.
• A young man died yesterday, and no one knows why.
• The boy was a little boy. He was not yet a man. He lived in a house in a big city.
• They had just returned from the theatre when the phone rang.
• I walked up to the front of the store and noticed the neon sign was out.
• I always wondered what happened to Mary.
• I stopped to say hello and then walked on.
• The boy’s mother didn’t want him to play outside…
• The lights suddenly went out…
• After 10 years in prison, he was finally out.
• The raindrops pelted the window, which was set high up on the wall, and I could see it was a clear day outside.
• My friend and I had just finished a large pizza, and we were about to open our second.
• I love the smell of the ocean, but it never smells as good as it does when the waves are crashing.
• They just stood there, staring at each other.
• A party was in full swing until the music stopped.

For more ideas on how to start your story, check out these first-line writing prompts . Did you find this list of creative story starters useful? Let us know in the comments below!

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

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Why the Pandemic Probably Started in a Lab, in 5 Key Points

By Alina Chan

Dr. Chan is a molecular biologist at the Broad Institute of M.I.T. and Harvard, and a co-author of “Viral: The Search for the Origin of Covid-19.”

This article has been updated to reflect news developments.

On Monday, Dr. Anthony Fauci returned to the halls of Congress and testified before the House subcommittee investigating the Covid-19 pandemic. He was questioned about several topics related to the government’s handling of Covid-19, including how the National Institute of Allergy and Infectious Diseases, which he directed until retiring in 2022, supported risky virus work at a Chinese institute whose research may have caused the pandemic.

For more than four years, reflexive partisan politics have derailed the search for the truth about a catastrophe that has touched us all. It has been estimated that at least 25 million people around the world have died because of Covid-19, with over a million of those deaths in the United States.

Although how the pandemic started has been hotly debated, a growing volume of evidence — gleaned from public records released under the Freedom of Information Act, digital sleuthing through online databases, scientific papers analyzing the virus and its spread, and leaks from within the U.S. government — suggests that the pandemic most likely occurred because a virus escaped from a research lab in Wuhan, China. If so, it would be the most costly accident in the history of science.

Here’s what we now know:

1 The SARS-like virus that caused the pandemic emerged in Wuhan, the city where the world’s foremost research lab for SARS-like viruses is located.

• At the Wuhan Institute of Virology, a team of scientists had been hunting for SARS-like viruses for over a decade, led by Shi Zhengli.
• Their research showed that the viruses most similar to SARS‑CoV‑2, the virus that caused the pandemic, circulate in bats that live r oughly 1,000 miles away from Wuhan. Scientists from Dr. Shi’s team traveled repeatedly to Yunnan province to collect these viruses and had expanded their search to Southeast Asia. Bats in other parts of China have not been found to carry viruses that are as closely related to SARS-CoV-2.

The closest known relatives to SARS-CoV-2 were found in southwestern China and in Laos.

Large cities

Mine in Yunnan province

Cave in Laos

South China Sea

The closest known relatives to SARS-CoV-2

were found in southwestern China and in Laos.

philippines

The closest known relatives to SARS-CoV-2 were found

in southwestern China and Laos.

Sources: Sarah Temmam et al., Nature; SimpleMaps

Note: Cities shown have a population of at least 200,000.

There are hundreds of large cities in China and Southeast Asia.

There are hundreds of large cities in China

and Southeast Asia.

The pandemic started roughly 1,000 miles away, in Wuhan, home to the world’s foremost SARS-like virus research lab.

The pandemic started roughly 1,000 miles away,

in Wuhan, home to the world’s foremost SARS-like virus research lab.

The pandemic started roughly 1,000 miles away, in Wuhan,

home to the world’s foremost SARS-like virus research lab.

• Even at hot spots where these viruses exist naturally near the cave bats of southwestern China and Southeast Asia, the scientists argued, as recently as 2019 , that bat coronavirus spillover into humans is rare .
• When the Covid-19 outbreak was detected, Dr. Shi initially wondered if the novel coronavirus had come from her laboratory , saying she had never expected such an outbreak to occur in Wuhan.
• The SARS‑CoV‑2 virus is exceptionally contagious and can jump from species to species like wildfire . Yet it left no known trace of infection at its source or anywhere along what would have been a thousand-mile journey before emerging in Wuhan.

2 The year before the outbreak, the Wuhan institute, working with U.S. partners, had proposed creating viruses with SARS‑CoV‑2’s defining feature.

• Dr. Shi’s group was fascinated by how coronaviruses jump from species to species. To find viruses, they took samples from bats and other animals , as well as from sick people living near animals carrying these viruses or associated with the wildlife trade. Much of this work was conducted in partnership with the EcoHealth Alliance, a U.S.-based scientific organization that, since 2002, has been awarded over $80 million in federal funding to research the risks of emerging infectious diseases.
• The laboratory pursued risky research that resulted in viruses becoming more infectious : Coronaviruses were grown from samples from infected animals and genetically reconstructed and recombined to create new viruses unknown in nature. These new viruses were passed through cells from bats, pigs, primates and humans and were used to infect civets and humanized mice (mice modified with human genes). In essence, this process forced these viruses to adapt to new host species, and the viruses with mutations that allowed them to thrive emerged as victors.
• By 2019, Dr. Shi’s group had published a database describing more than 22,000 collected wildlife samples. But external access was shut off in the fall of 2019, and the database was not shared with American collaborators even after the pandemic started , when such a rich virus collection would have been most useful in tracking the origin of SARS‑CoV‑2. It remains unclear whether the Wuhan institute possessed a precursor of the pandemic virus.
• In 2021, The Intercept published a leaked 2018 grant proposal for a research project named Defuse , which had been written as a collaboration between EcoHealth, the Wuhan institute and Ralph Baric at the University of North Carolina, who had been on the cutting edge of coronavirus research for years. The proposal described plans to create viruses strikingly similar to SARS‑CoV‑2.
• Coronaviruses bear their name because their surface is studded with protein spikes, like a spiky crown, which they use to enter animal cells. T he Defuse project proposed to search for and create SARS-like viruses carrying spikes with a unique feature: a furin cleavage site — the same feature that enhances SARS‑CoV‑2’s infectiousness in humans, making it capable of causing a pandemic. Defuse was never funded by the United States . However, in his testimony on Monday, Dr. Fauci explained that the Wuhan institute would not need to rely on U.S. funding to pursue research independently.

The Wuhan lab ran risky experiments to learn about how SARS-like viruses might infect humans.

1. Collect SARS-like viruses from bats and other wild animals, as well as from people exposed to them.

2. Identify high-risk viruses by screening for spike proteins that facilitate infection of human cells.

2. Identify high-risk viruses by screening for spike proteins that facilitate infection of

human cells.

In Defuse, the scientists proposed to add a furin cleavage site to the spike protein.

3. Create new coronaviruses by inserting spike proteins or other features that could make the viruses more infectious in humans.

4. Infect human cells, civets and humanized mice with the new coronaviruses, to determine how dangerous they might be.

• While it’s possible that the furin cleavage site could have evolved naturally (as seen in some distantly related coronaviruses), out of the hundreds of SARS-like viruses cataloged by scientists, SARS‑CoV‑2 is the only one known to possess a furin cleavage site in its spike. And the genetic data suggest that the virus had only recently gained the furin cleavage site before it started the pandemic.
• Ultimately, a never-before-seen SARS-like virus with a newly introduced furin cleavage site, matching the description in the Wuhan institute’s Defuse proposal, caused an outbreak in Wuhan less than two years after the proposal was drafted.
• When the Wuhan scientists published their seminal paper about Covid-19 as the pandemic roared to life in 2020, they did not mention the virus’s furin cleavage site — a feature they should have been on the lookout for, according to their own grant proposal, and a feature quickly recognized by other scientists.
• Worse still, as the pandemic raged, their American collaborators failed to publicly reveal the existence of the Defuse proposal. The president of EcoHealth, Peter Daszak, recently admitted to Congress that he doesn’t know about virus samples collected by the Wuhan institute after 2015 and never asked the lab’s scientists if they had started the work described in Defuse. In May, citing failures in EcoHealth’s monitoring of risky experiments conducted at the Wuhan lab, the Biden administration suspended all federal funding for the organization and Dr. Daszak, and initiated proceedings to bar them from receiving future grants. In his testimony on Monday, Dr. Fauci said that he supported the decision to suspend and bar EcoHealth.
• Separately, Dr. Baric described the competitive dynamic between his research group and the institute when he told Congress that the Wuhan scientists would probably not have shared their most interesting newly discovered viruses with him . Documents and email correspondence between the institute and Dr. Baric are still being withheld from the public while their release is fiercely contested in litigation.
• In the end, American partners very likely knew of only a fraction of the research done in Wuhan. According to U.S. intelligence sources, some of the institute’s virus research was classified or conducted with or on behalf of the Chinese military . In the congressional hearing on Monday, Dr. Fauci repeatedly acknowledged the lack of visibility into experiments conducted at the Wuhan institute, saying, “None of us can know everything that’s going on in China, or in Wuhan, or what have you. And that’s the reason why — I say today, and I’ve said at the T.I.,” referring to his transcribed interview with the subcommittee, “I keep an open mind as to what the origin is.”

3 The Wuhan lab pursued this type of work under low biosafety conditions that could not have contained an airborne virus as infectious as SARS‑CoV‑2.

• Labs working with live viruses generally operate at one of four biosafety levels (known in ascending order of stringency as BSL-1, 2, 3 and 4) that describe the work practices that are considered sufficiently safe depending on the characteristics of each pathogen. The Wuhan institute’s scientists worked with SARS-like viruses under inappropriately low biosafety conditions .

In the United States, virologists generally use stricter Biosafety Level 3 protocols when working with SARS-like viruses.

Biosafety cabinets prevent

viral particles from escaping.

Viral particles

Personal respirators provide

a second layer of defense against breathing in the virus.

DIRECT CONTACT

Gloves prevent skin contact.

Disposable wraparound

gowns cover much of the rest of the body.

Personal respirators provide a second layer of defense against breathing in the virus.

Disposable wraparound gowns

cover much of the rest of the body.

Note: ​​Biosafety levels are not internationally standardized, and some countries use more permissive protocols than others.

The Wuhan lab had been regularly working with SARS-like viruses under Biosafety Level 2 conditions, which could not prevent a highly infectious virus like SARS-CoV-2 from escaping.

Some work is done in the open air, and masks are not required.

Less protective equipment provides more opportunities

for contamination.

Some work is done in the open air,

and masks are not required.

Less protective equipment provides more opportunities for contamination.

• In one experiment, Dr. Shi’s group genetically engineered an unexpectedly deadly SARS-like virus (not closely related to SARS‑CoV‑2) that exhibited a 10,000-fold increase in the quantity of virus in the lungs and brains of humanized mice . Wuhan institute scientists handled these live viruses at low biosafet y levels , including BSL-2.
• Even the much more stringent containment at BSL-3 cannot fully prevent SARS‑CoV‑2 from escaping . Two years into the pandemic, the virus infected a scientist in a BSL-3 laboratory in Taiwan, which was, at the time, a zero-Covid country. The scientist had been vaccinated and was tested only after losing the sense of smell. By then, more than 100 close contacts had been exposed. Human error is a source of exposure even at the highest biosafety levels , and the risks are much greater for scientists working with infectious pathogens at low biosafety.
• An early draft of the Defuse proposal stated that the Wuhan lab would do their virus work at BSL-2 to make it “highly cost-effective.” Dr. Baric added a note to the draft highlighting the importance of using BSL-3 to contain SARS-like viruses that could infect human cells, writing that “U.S. researchers will likely freak out.” Years later, after SARS‑CoV‑2 had killed millions, Dr. Baric wrote to Dr. Daszak : “I have no doubt that they followed state determined rules and did the work under BSL-2. Yes China has the right to set their own policy. You believe this was appropriate containment if you want but don’t expect me to believe it. Moreover, don’t insult my intelligence by trying to feed me this load of BS.”
• SARS‑CoV‑2 is a stealthy virus that transmits effectively through the air, causes a range of symptoms similar to those of other common respiratory diseases and can be spread by infected people before symptoms even appear. If the virus had escaped from a BSL-2 laboratory in 2019, the leak most likely would have gone undetected until too late.
• One alarming detail — leaked to The Wall Street Journal and confirmed by current and former U.S. government officials — is that scientists on Dr. Shi’s team fell ill with Covid-like symptoms in the fall of 2019 . One of the scientists had been named in the Defuse proposal as the person in charge of virus discovery work. The scientists denied having been sick .

4 The hypothesis that Covid-19 came from an animal at the Huanan Seafood Market in Wuhan is not supported by strong evidence.

• In December 2019, Chinese investigators assumed the outbreak had started at a centrally located market frequented by thousands of visitors daily. This bias in their search for early cases meant that cases unlinked to or located far away from the market would very likely have been missed. To make things worse, the Chinese authorities blocked the reporting of early cases not linked to the market and, claiming biosafety precautions, ordered the destruction of patient samples on January 3, 2020, making it nearly impossible to see the complete picture of the earliest Covid-19 cases. Information about dozens of early cases from November and December 2019 remains inaccessible.
• A pair of papers published in Science in 2022 made the best case for SARS‑CoV‑2 having emerged naturally from human-animal contact at the Wuhan market by focusing on a map of the early cases and asserting that the virus had jumped from animals into humans twice at the market in 2019. More recently, the two papers have been countered by other virologists and scientists who convincingly demonstrate that the available market evidence does not distinguish between a human superspreader event and a natural spillover at the market.
• Furthermore, the existing genetic and early case data show that all known Covid-19 cases probably stem from a single introduction of SARS‑CoV‑2 into people, and the outbreak at the Wuhan market probably happened after the virus had already been circulating in humans.

An analysis of SARS-CoV-2’s evolutionary tree shows how the virus evolved as it started to spread through humans.

SARS-COV-2 Viruses closest

to bat coronaviruses

more mutations

Source: Lv et al., Virus Evolution (2024) , as reproduced by Jesse Bloom

The viruses that infected people linked to the market were most likely not the earliest form of the virus that started the pandemic.

• Not a single infected animal has ever been confirmed at the market or in its supply chain. Without good evidence that the pandemic started at the Huanan Seafood Market, the fact that the virus emerged in Wuhan points squarely at its unique SARS-like virus laboratory.

5 Key evidence that would be expected if the virus had emerged from the wildlife trade is still missing.

In previous outbreaks of coronaviruses, scientists were able to demonstrate natural origin by collecting multiple pieces of evidence linking infected humans to infected animals.

Infected animals

Earliest known

cases exposed to

live animals

Antibody evidence

of animals and

animal traders having

been infected

Ancestral variants

of the virus found in

Documented trade

of host animals

between the area

where bats carry

closely related viruses

and the outbreak site

Infected animals found

Earliest known cases exposed to live animals

Antibody evidence of animals and animal

traders having been infected

Ancestral variants of the virus found in animals

Documented trade of host animals

between the area where bats carry closely

related viruses and the outbreak site

For SARS-CoV-2, these same key pieces of evidence are still missing , more than four years after the virus emerged.

For SARS-CoV-2, these same key pieces of evidence are still missing ,

more than four years after the virus emerged.

• Despite the intense search trained on the animal trade and people linked to the market, investigators have not reported finding any animals infected with SARS‑CoV‑2 that had not been infected by humans. Yet, infected animal sources and other connective pieces of evidence were found for the earlier SARS and MERS outbreaks as quickly as within a few days, despite the less advanced viral forensic technologies of two decades ago.
• Even though Wuhan is the home base of virus hunters with world-leading expertise in tracking novel SARS-like viruses, investigators have either failed to collect or report key evidence that would be expected if Covid-19 emerged from the wildlife trade . For example, investigators have not determined that the earliest known cases had exposure to intermediate host animals before falling ill. No antibody evidence shows that animal traders in Wuhan are regularly exposed to SARS-like viruses, as would be expected in such situations.
• With today’s technology, scientists can detect how respiratory viruses — including SARS, MERS and the flu — circulate in animals while making repeated attempts to jump across species . Thankfully, these variants usually fail to transmit well after crossing over to a new species and tend to die off after a small number of infections. In contrast, virologists and other scientists agree that SARS‑CoV‑2 required little to no adaptation to spread rapidly in humans and other animals . The virus appears to have succeeded in causing a pandemic upon its only detected jump into humans.

The pandemic could have been caused by any of hundreds of virus species, at any of tens of thousands of wildlife markets, in any of thousands of cities, and in any year. But it was a SARS-like coronavirus with a unique furin cleavage site that emerged in Wuhan, less than two years after scientists, sometimes working under inadequate biosafety conditions, proposed collecting and creating viruses of that same design.

While several natural spillover scenarios remain plausible, and we still don’t know enough about the full extent of virus research conducted at the Wuhan institute by Dr. Shi’s team and other researchers, a laboratory accident is the most parsimonious explanation of how the pandemic began.

Given what we now know, investigators should follow their strongest leads and subpoena all exchanges between the Wuhan scientists and their international partners, including unpublished research proposals, manuscripts, data and commercial orders. In particular, exchanges from 2018 and 2019 — the critical two years before the emergence of Covid-19 — are very likely to be illuminating (and require no cooperation from the Chinese government to acquire), yet they remain beyond the public’s view more than four years after the pandemic began.

Whether the pandemic started on a lab bench or in a market stall, it is undeniable that U.S. federal funding helped to build an unprecedented collection of SARS-like viruses at the Wuhan institute, as well as contributing to research that enhanced them . Advocates and funders of the institute’s research, including Dr. Fauci, should cooperate with the investigation to help identify and close the loopholes that allowed such dangerous work to occur. The world must not continue to bear the intolerable risks of research with the potential to cause pandemics .

A successful investigation of the pandemic’s root cause would have the power to break a decades-long scientific impasse on pathogen research safety, determining how governments will spend billions of dollars to prevent future pandemics. A credible investigation would also deter future acts of negligence and deceit by demonstrating that it is indeed possible to be held accountable for causing a viral pandemic. Last but not least, people of all nations need to see their leaders — and especially, their scientists — heading the charge to find out what caused this world-shaking event. Restoring public trust in science and government leadership requires it.

A thorough investigation by the U.S. government could unearth more evidence while spurring whistleblowers to find their courage and seek their moment of opportunity. It would also show the world that U.S. leaders and scientists are not afraid of what the truth behind the pandemic may be.

More on how the pandemic may have started

Where Did the Coronavirus Come From? What We Already Know Is Troubling.

Even if the coronavirus did not emerge from a lab, the groundwork for a potential disaster had been laid for years, and learning its lessons is essential to preventing others.

By Zeynep Tufekci

Why Does Bad Science on Covid’s Origin Get Hyped?

If the raccoon dog was a smoking gun, it fired blanks.

By David Wallace-Wells

A Plea for Making Virus Research Safer

A way forward for lab safety.

By Jesse Bloom

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

Follow the New York Times Opinion section on Facebook , Instagram , TikTok , WhatsApp , X and Threads .

Alina Chan ( @ayjchan ) is a molecular biologist at the Broad Institute of M.I.T. and Harvard, and a co-author of “ Viral : The Search for the Origin of Covid-19.” She was a member of the Pathogens Project , which the Bulletin of the Atomic Scientists organized to generate new thinking on responsible, high-risk pathogen research.

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The End of Merch

By Samuel Hine

It’s Merch Week at GQ. Check out our 41 Most Iconic Pieces From the Golden Age of Merch , and read Why Does Gen Z Love Nirvana Tees, Thrasher Hoodies, and Bass Pro Shops Hats?

Recently, I was reorganizing my dresser drawers when I discovered a thick layer of graphic T-shirts buried under my solid white standbys, undisturbed for many months. As I unfolded the creased garments, I found mementos I had bought as far back in 2017 at concerts, restaurants, and from random people on Instagram, all of which I wore for a while then all but forgot about. It was a stockpile from the years when merch occupied a special cultural position, when graphics were the language of style and fashion embraced souvenirs and novelty. I placed my minor collection into a plastic tub for long-term storage. I can’t imagine getting rid of any of it. But I also can’t really imagine wearing any of it anymore.

For about a decade starting in 2013, merch was everything in fashion. Definitions of “merch” are subjective, but a good place to start is any branded item of clothing or accessory that is distributed to promote something, like a New Yorker tote bag or a Beyoncé Renaissance tour tee. Whatever the subject matter, merch is a way to endorse things you admire, to establish yourself as a member of a fandom or subculture. Merch “signals people who are like-minded,” says the artist Andrew Kuo, an avid collector and longtime designer of merch. “It’s a way to come together,” he says.

There’s ordinary merch—and then there’s the merch that constitutes the one-time hottest trend in fashion. A Yankees hat is the former, a Yankees x MoMA ballcap the latter. The addition of an embroidered MoMA logo on the side of a Yankees hat turns an iconic accessory into a style statement and, more importantly, a vector of taste. The modern merch wave was driven by these collectible signifiers. For those with the merch bug, a hat that says your interests meet at the intersection of modern art and the Bronx Bombers hits much harder than any old team colors.

And as it turned out, there was no event too big or small, no spot too grand or unassuming to get its own merch. Your morning coffee spot stocks beanies, the MTA sells socks and baby onesies for every subway line, the New York Times sells Connections tees (you missed out on the NYT x Sacai gear in 2018), your job comes with a custom Stanley cup, your date notes that the restaurant lists a dad hat on the menu, and she’s wearing a Paris, Texas sweatshirt designed four decades after the Wim Wenders film’s release. The funny tweet you hearted earlier? It’s already splashed across a sweatshirt on Etsy.

We don’t need all of this stuff, but merch scratches a distinctly modern itch. “Not to get too philosophical about it, but we're all brands now,” says Alix Ross, who cofounded sprawling merch empire Online Ceramics with Elijah Funk in 2016. In the online age, Funk explains, merch offers a succinct and legible way for people to define themselves. “It’s such an easy way to communicate to strangers, Hey, we might have something to talk about. It is social collateral.” Merch, Funk says, is part of “a conversation that's happening actively everywhere all the time.”

The rise and fall of trends is a predictable cycle. Early adopters get a style popping, and by the time it has trickled down to the masses those on the bleeding edge of cool have long since moved on. Merch had a long, steady rise. It was cheap, plentiful , and often incredibly compelling. The low barrier to entry—all you needed to make your own line of tees was Photoshop and a screen-printing plug—meant there was always a new wave of exciting original graphic design, as well as a constant stream of new iterations of an increasingly gonzo aesthetic.

But the decline of merch was extraordinarily swift. By the time pandemic restrictions were all but a memory, we reentered the world with a specific kind of anxiety. In an increasingly chaotic cultural landscape, our merch was ourselves, how we fixed the boundaries of our identity. But at a certain point it felt like our niche combination of interests, or at least the heavily stylized graphic garments that advertised them, was simply one big trend that had gone way too far.

“When I was younger, if I saw another guy in a Rancid And Out Come the Wolves tee, I would be like, Holy shit, we can have a conversation about this ,” says Lawrence Schlossman of the menswear podcast Throwing Fits. The most fundamental dynamic behind the end of merch is this: We once got excited to see other people wearing our interests on our sleeves. And then it began to terrify us. “Today,” says Schlossman, “if you’re walking down the street and see somebody wearing Erewhon merch or something, you're not going to stop and talk to that person about whether or not they tried the Hailey Bieber smoothie. ”

It’s hard to avoid the feeling that all of the merch we’ve collected doesn’t add up to much more than a fuzzy bicoastal identity. When everything became merch, what did any of it mean? When you see other people wearing these specific but ubiquitous signifiers, continues Schlossman, “if anything, you’re thinking, Ugh, I thought I was so smug and special, and here's this other fucking idiot who also thinks they're so smug and special. ” Merch once made us feel unique. Then it made us realize that we’re not so unique after all.

The merch boom started with a “fart.”

That’s how the artist Wes Lang describes the amount of time it took for him and Virgil Abloh to come up with the designs for Kanye “Ye” West’s 2013 Yeezus tour merch . “It was like: This is it,” Lang recalls. “There was no time from the ask to do it until the night of the first show. It just happened.” Thus began the trend we know as merch.

Lang, who says he was “born in a graphic T-shirt,” was nonetheless an unlikely collaborator for an enormous rap tour. The Los Angeles painter’s previous merch credits included making Grateful Dead bootlegs for a small group of friends; he went official in 2012 when he used the spooky skull-and-roses iconography that permeates his eminently tattooable work to design a Grateful Dead box set (merch included). But Abloh, who at the time ran Ye’s Donda creative studio, was a visionary when it came to graphic tees. In 2010, he launched the DJ collective Been Trill alongside Matthew M. Williams and Heron Preston . Been Trill threw a great party, but is best remembered by the Goosebumps-core tees they passed out from behind the booth.

By the time the Yeezus tour kicked off in the fall of 2013, Abloh had launched the proto-fashion line Pyrex Vision and was well versed in remixing diverse design languages to sensational effect. Still, the tour merch, which juxtaposed a vampiric Yeezus logo with skeletons pulled from Lang’s canvases and the words “God Wants You,” was a rare kind of alchemy.

“It didn't just change high fashion,” says Lang of the Yeezus merch. “It changed everything.”

The Yeezus merch sparked a movement. “It was a mic drop from the first night of the first show,” Lang recalls. Fans were cleaning the merch stands, sure, but the real innovation came a few tour dates later, when the Yeezus gear hit PacSun. You no longer had to fight through the crowds at a concert to get your hands on it—you could just go to your local mall.

Lang was living in Hollywood at the time, and recalls a time when he would see people wearing Yeezus merch every time he left his house. The mass distribution didn’t render it uncool. In fact, it made it even more of a status symbol. “I got hit up by every person I ever met asking me for that shit,” Lang says. In fusing a luxury streetwear sensibility with a zeitgeisty musical project and Lang’s heady iconography, the Yeezus merch signaled that you were hip to the scene at the center of the rapidly converging worlds of art, music, and fashion. At the time, there was nothing cooler.

The merch arms race was now officially on. Tour merch was beginning to represent a much-needed revenue stream for artists in the digital age, but for those with ambitions in fashion, it could also function like their own clothing line : a platform for collaborations with designers, and an arm of their image-making campaigns.

Come spring of 2016, when Beyoncé dropped “Boycott Beyoncé” tees to hit back at the reaction to her “Formation” video, merch was a thriving subgenre of fashion itself. Many artists worked with rising designers, like when Justin Bieber collaborated with Fear of God’s Jerry Lorenz o (who also worked on Yeezus ) on a line of upscale Purpose tour gear that was sold at Barneys and VFiles that summer. When Rihanna released her punkish Anti merch at legendary boutique Colette in Paris at around the same time, merch was officially welcome on the luxury-retail racks.

Not to be outdone, the next month Ye—the alpha and omega of fashion merch —set up his own immersive retail experience , launching his Cali Thornhill DeWitt–designed The Life of Pablo merch into the stratosphere with a simultaneous 21-city pop-up shopping experience that Vogue compared to a “social experiment-cum-art project.”

It’s no coincidence that Ye, Abloh, and Lorenzo were three of the main instigators behind the streetwear revolution that turned the fashion industry upside down in the mid-2010s. At the time, there was a real celebration of subcultures in the air as hip-hop and skateboarding defined what was cool in the broader fashion world. The corollary was that everything was up for grabs. If merch is a way to find the like-minded, it’s also about excluding others. Which is now impossible, says Andrew Kuo. “If you can just go online and consume all of Black Flag's records in an hour, you have the agency to wear a Damaged T-shirt, or the logo, you know?”

In the free-for-all merch arena, menswear Tumblr guys wore Been Trill T-shirts and Abloh wore Grateful Dead bootlegs. Anyone could walk into Supreme and buy a Scarface or Nan Goldin tee—what used to look like poser behavior became a mark of good taste. To keep up with the shifting cultural understanding of cool, the layers of references in the merch system became extremely intricate, which made the whole scene even more subversive and interesting. Vetements put a yellow DHL deliveryman tee on the runway, a commentary on—what, exactly? Nobody could be sure, but it launched a spirited debate about the nature of luxury, not to mention countless memes.

By 2018, when Abloh—who redefined graphic T-shirts as luxury objects and preached appropriation as a design ethic—became the creative director of Louis Vuitton men’s, the abstract aesthetic of merch was a more important statement than the content itself.

In this new paradigm, merch was fashion. Few understood this better than Ross and Funk, who were the leading edge of a wave of young designers who built names for themselves with inventive merch during this period. The friends from Ohio didn’t intend to run a clothing business; they were Deadheads who wanted to be fine artists . Their first designs were bootlegs that they sold outside Dead & Company shows to pay their way along the band’s tours.

If there was a visual thread running through the golden age of merch, it stretched from Stanley “Mouse” Miller and Alton Kelley’s ’60s jam band posters to Wes Lang’s grinning skulls to Online Ceramics. Ross and Funk employed recognizable Dead iconography, but added their own totally imaginative spin. As Abloh once said, “Graphic tees are vibes.” Ross and Funk’s were the vibiest; their graphics felt like portals to a singular and strange dimension, a world narrated in gothic typeface and filled with dancing flowers, spooky scarecrows, and skeletons absolutely shredding the guitar. (Abloh was an Online Ceramics customer and fan.)

Ross and Funk quickly found themselves at the sharp end of a rapidly evolving industry. In 2017 they went official with Dead & Co, collaborating with bandleader John Mayer on a drop of tie-dye hoodies, and by 2018 they were partnering with culty film studio A24 on merch for the horror flick Hereditary , which spawned a cottage industry of official and unofficial movie merch. Jonah Hill and Emily Ratajkowski and Ty Dolla $ign bought Online Ceramics tie-dyes, and Zendaya wore an Online Ceramics x Fela Kuti hoodie in Euphoria . The pair worked with the edgy artist Jordan Wolfson and the estate of spiritual guru Ram Dass and everyone in between.

“Ever since we've discovered that every person wants merch, and people know that we’re the guys that do the merch, we’ve been in this super exploratory place of like, Oh, what can we make merch for now?” says Funk. “Which also opens up this complete can of worms, which is that anything can have merchandise. But it's made our job pretty entertaining.”

Despite Ross and Funk’s hyper-specific references, there is a remarkably universal appeal to the Online Ceramics aesthetic, which toes the line of sincerity and satire. One of their most popular tees depicts the earth inside a cartoon heart under the phrase “WE’RE ALL GONNA DIE.” By the time of its release in 2020, the Yeezus edge had been replaced by a more nuanced and ironic message, one that spoke directly to the catastrophic moments we were living through. During the Trump years, as global events rushed toward a pandemic and social media became another vector of the chaos, it had become all the more urgent to align ourselves with the things that meant the most to us. But at a time when sincerity felt grossly trite, the best merch fed into our irony-pilled personas. Were you wearing a frog-covered Online Ceramics “Toadal Chaos” tee as a joke? Was the joke on you? Did it matter?

As merch became more ubiquitous, and its meaning more multilayered, it became increasingly impossible to understand who someone was based on what they wore. Cynthia Lu of Cactus Plant Flea Market has designed some of the most memorable merch of the past decade for artists like Pharrell, Ye, Kid Cudi, Playboi Carti, André 3000, and the Rolling Stones, and brands like Comme des Garçons, Denim Tears, Stüssy, and Nike. Lu’s bubbly designs, which resemble the “Life Is Good” universe on acid, have become a fixture of the modern streetwear landscape.

Last year, Erewhon released a line of charming Cactus Plant merch. This came six months after McDonald’s —perhaps the greatest spiritual enemy to Erewhon’s organic empire—released a line of its own Cactus Plant gear. Lu’s trippy aesthetic world is remarkably consistent, and all of her designs share a distinct graphic language. From afar, it would be hard to tell if you were a raw water enthusiast or on your way to pick up a McFlurry.

With the onset of COVID, merch became a lifeline for venues and restaurants—and maybe for ourselves. I bought a ball cap from a beloved local tapas restaurant. In a stark political moment, there was plenty of cool political merch to choose from. I bought a Black Lives Matter fundraiser T-shirt from Online Ceramics, and a T-shirt bearing an image of Bernie Sanders and the phrase “Rage Against the Machine” from the LA artist Sonya Sombrieul. I was mostly sitting at home, but boy did it feel like I was doing something. The pursuit of merch gave life meaning. I remember spending hours browsing the websites of merch-y fashion labels Beepy Bella, Denim Tears, Awake, Sky High Farms, Noah, Bianca Chandon and many other smallish fashion labels that I figured could use a little extra business while physical retail was all but closed.

An early sign that the merch trend was heading toward a cliff was the widespread adoption of preorders. Merch was once tied up with ideas of exclusivity. It was ephemeral and limited edition. You wanted to be one of a small hard-core group of fans to have earned those stripes. And then merch operators small and large embraced preorders and drop-shipping e-commerce models, meaning the only thing limiting merch quantity was how many people were willing to buy (and then wait several weeks for) a Bernie “Rage” tee, a Dark Brandon coffee mug, an Astroworld hoodie, or a Cactus Jack x McDonald’s pillow in the shape of a chicken nugget. The scarcity model, once the key to the intertwined rise of merch and streetwear, was becoming a thing of the past.

And the more merch we bought, the more merch flooded the market, and all the energy that had built the trend began to vanish. “It happened so fast,” says Andrew Kuo, “that I think it really zapped the endorphins from the movement.” A lot of the merch I amassed reflected something genuine about my life: I love going to the Odeon and bought a cap embroidered with the Tribeca boîte’s logo at the bar. My somewhat extensive Online Ceramics collection spoke to my love for the Grateful Dead and admiration for Ross and Funk’s work.

But the truth is merch was coming to resemble a physical manifestation of the algorithm. For every original and visually compelling merch design that perfectly aligns with my interests, there is a boatload of sweatshirts bearing a one-liner delivered by Gwyneth Paltrow in a Park City, Utah, courtroom , or coffee mugs emblazoned with Donald Trump’s mugshot, the cynical merch version of fast fashion. “Merch used to actually mean something,” says Lawrence Schlossman. “Now, it’s more of a broad-stroke signifier that represents some type of nonspecific message about what you care about. A billboard that says you live in New York or spent two weeks walking around Silver Lake, or whatever.”

Fashion isn’t always great at being a mirror of our times. But the luxury establishment knows a thing or two about how to create desire through exclusivity, and in the past couple of years the industry executed a hard pivot toward understatement and elegance . The graphic tees that had dominated fashion runways for years vanished, replaced by cashmere sweaters in sophisticated tones. People began saying things like “texture is the new logo.” The most lasting visual legacy of Succession is the quiet luxury sensibility of the show’s Loro Piana–clad plutocrats, not the Waystar Royco branded vests that were for sale in HBO’s online shop.

Of course, the death of merch might be news to the hundreds of people who camped out next to a six-lane highway in the rain to get their hands on Taylor Swift merch before an Eras Tour show last spring in Tampa . Some were there for literally days to secure an unexceptional (but purportedly rare) blue Eras Tour crewneck. Similar scenes played out in cities across the world. Swift’s US tour alone is estimated to have brought in $200 million in official merch sales, which nets out to just shy of $4 million per night, and doesn't even count the cash going to the bootleggers in the parking lot. As a category of consumer goods, merch is undoubtedly bigger than ever.

Still, I have yet to see a single Eras Tour merch design in the wilds of downtown NYC—not even as part of an ironic outfit collage in Dimes Square. Neither the biggest tour in human history nor Beyoncé’s Renaissance tour launched an enduring fashion moment offstage. There is no “Boycott Beyoncé” T-shirt of 2024. And even if there was, it might not be clear which side you were actually on.

Around when I started writing this essay, I received a delivery at the office. It was a gift from the fashion brand Loewe. Inside, I found the T-shirt of the moment if there ever was one: a luxury replica of the “I Told Ya” tee worn in Challengers by Josh O’Connor and Zendaya. Loewe’s buzzy creative director, Jonathan Anderson , did the film’s costumes, and based the T-shirt off one that JFK Jr. wore in the ’80s.

As Andrew Kuo told me, at some point the merch craze “is going to get fired back up.” Kuo, who makes bootleg artist merch under the brand name Shrits , is a merch optimist. “All it takes,” he says, “is one or two tees. All we need is something to inspire us again.”

If the merch decade was launched by Yeezus , couldn’t it be revived by Challengers ? I put the tee at the top of my dresser drawer. Whatever effect it might have on the wider merch world, it had a profound effect on me. For the first time in recent memory, I couldn’t wait to wear a T-shirt that tied together a bunch of threads I found meaningful: menswear history, Anderson’s work, and the sweaty tennis ménage à trois movie that makes me want to wear plaid shorts all summer. The feeling didn’t last long. The first time I threw mine on, I was barely out of my front door when I saw another guy wearing one just like it.

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How the first National Book Awards reflected 1950s America

In the start of a new series reflecting on 75 years of the awards, Viet Thanh Nguyen writes about how societies and juries read and recognize literature

The National Book Awards will celebrate its 75th anniversary at this year’s ceremony, on Nov. 20. To mark the occasion, The Washington Post has collaborated with the administrator and presenter of the awards, the National Book Foundation, to commission a series of essays by National Book Award-honored authors who will consider (and reconsider), decade by decade, the books that were recognized and those that were overlooked; the preoccupations of authors, readers and the publishing industry through time; the power and subjectivity of judges and of awards; and the lasting importance of books to our culture, from the 1950s to the present day. In this essay, Viet Thanh Nguyen — a finalist in 2016 for “Nothing Ever Dies: Vietnam and the Memory of War” and longlisted in 2023 for “A Man of Two Faces: A Memoir, A History, A Memorial” — looks back at the 1950s.

It’s tempting to think that literary awards go to the “best” books of a given year, and most tempting for the winners. As Saul Bellow said while accepting a National Book Award for “The Adventures of Augie March,” in 1954, “When you get a prize you feel very virtuous.” Bellow’s name still carries weight among readers, but many prize winners have been forgotten; conversely, many older books still read today never won awards in their time. Prizes sometimes predict a future member of the literary hall of fame; sometimes they’re simply given to the books that a majority of judges can agree on. Juries are not immune to the passions and prejudices of their times, so it’s no surprise that they can be both prophetic and fallible.

The worldliness of prizes, including what John O’Hara teasingly called the National Book Reward (of which he was the 1956 fiction recipient for “Ten North Frederick”), also make them an awkward fit with how many writers see their art. For Wallace Stevens, who won in 1955 for his collected poems, “awards and honors have nothing to do” with the life of a poet. “He does not accept them as a true satisfaction because there is no true satisfaction for the poet but poetry itself.” That same year, William Faulkner, who won the fiction prize for “A Fable,” said that writers are “doomed to fail,” because what they accomplish cannot match their aspirations.

From the vantage point of today, the awards from the 1950s are a mixed record, if measured by the current reputations of the 224 nominated authors (of 274 books) who were winners or finalists. Readers will know many of the names, but far from all. Let’s begin with the famous: William Carlos Williams was an eight-time finalist across categories during the ’50s, winning once for poetry; Stevens, Faulkner and Robert Penn Warren had three each; John Steinbeck, Rachel Carson and Hannah Arendt had two apiece. Most of the nominated authors scored only one appearance, including Mary McCarthy, Ezra Pound and Flannery O’Connor. Finalist recognition went to highbrow writers like E.E. Cummings (twice) and to middlebrow writers like Herman Wouk (also twice). Under which brow should a writer like Ayn Rand, a finalist in fiction for “Atlas Shrugged” in 1958, be filed? I have yet to read that novel, so I cannot say for sure.

I confess to having read only 12 of the books (although I have read poems by many of the poets) and to having heard of only 97 of the authors. Among those I had not heard of, to pick three at random: Ralph L. Rusk, nonfiction winner for “The Life of Ralph Waldo Emerson” (1950); Horace Gregory, poetry finalist for his “Selected Poems” (1952); and H.L. Davis, fiction finalist for “Winds of Morning” (1953). Then there are authors whose names I knew but whose nominated books I have not read, including: George F. Kennan, “Russia Leaves the War” (nonfiction winner, 1957); John Ciardi, “As If” (poetry finalist, 1956); and Paul Bowles, “The Spider’s House” (fiction finalist, 1956). I consider myself a fairly literary person, but these results indicate not only my ignorance but also how few of these books are still widely read, or even available to read.

Umberto Eco’s notion of one’s library as inevitably being composed mostly of books one has not read may be helpful here. “It is foolish to think that you have to read all the books you buy,” Eco wrote, and we might approach lists of literary award winners and finalists in the same spirit: They are aspirational, a log of what we could be reading and might yet read. These lists also remind us that we are probably overlooking work today that will be considered important in the future. Countercultural writers Jack Kerouac, Allen Ginsberg and William S. Burroughs are still read, but they did not merit notice from the National Book Awards in the 1950s. Neither did Isaac Asimov (“I, Robot”) or Ray Bradbury (“Fahrenheit 451”), foundational authors working in a genre that literary purists might have been prone to look down on as lowbrow and minor then, but one that is more esteemed in our time.

Science fiction was far from the only genre neglected by high-profile awards during the 1950s. Américo Paredes published “With a Pistol in His Hand,” John Okada wrote “No-No Boy,” Paule Marshall appeared with “Brown Girl, Brownstones,” Jade Snow Wong achieved success with “Fifth Chinese Daughter,” and C.Y. Lee shook up popular culture with “Flower Drum Song,” which became a Broadway musical and a landmark movie for Asian Americans. These works by writers of color helped push American literature to grapple with the complexity and heterogeneity of American experiences, but none were finalists for a National Book Award.

The equivalent of these books today might be more competitive for awards. The cultural landscape has shifted a great deal because of political and social transformations that became increasingly visible starting in the 1950s, such as the civil rights movement and the Beat Generation. Greater attention is now paid to diversity in literature, from the ranks of published authors and their editors to the composition of literary juries and the recipients of awards. While some decry this concern for diversity of various kinds, the symbolic power of book awards to address inequity was already visible in the 1950s, most notably for Jewish writers.

By my count, they made up 25 of the finalists, as compared with 42 women and only two Black writers, James Baldwin and Ralph Ellison, who won in fiction for “Invisible Man.” White men made up all the other finalists. Some Jewish American writers did not write books having to do with Jewishness, like Henry Kissinger (“Nuclear Weapons and Foreign Policy,” nonfiction finalist, 1958); some are now obscure, like Eli Siegel, a finalist in poetry in 1958 for “Hot Afternoons Have Been in Montana”; and some notably dealt with Jewishness and became enduring names, like Bernard Malamud, winner in fiction for “The Magic Barrel” (1959) and finalist for “The Assistant” (1958). Were these writers being rewarded purely for literary merit? Or was the shadow of the Holocaust influencing the decisions of the judges, who might have become more sensitive or oppositional to the racist and antisemitic treatment of Jewish people that was more common before the 1950s in the United States?

Without access to the deliberations and thoughts of the jurists, we do not know. But the 1950s were an important decade in American Jews’ transition from being considered non-White in the early 20th century to being accepted as conditionally White. Literature played a crucial role, with Jewish writers like Bellow, Malamud and Philip Roth (fiction winner for “Goodbye, Columbus” in 1960) grappling with the ambivalent, fraught condition of Jewishness in American life. Today, when more than 90 percent of Jewish Americans identify as White and are generally seen as such, the urgency of rewarding literature by and about Jewish Americans seems to have receded, if the taste of the judges is any indication. So far as I can tell, only one or two Jewish writers have been shortlisted for an award this decade.

The finalists of this decade (who include non-American authors in a translated literature category, which did not exist in the 1950s) look radically different from those of seven decades earlier: By my count, there are 54 men, 42 women and three nonbinary people; about half of the authors are White, and the rest — American or international — are Black, African, Asian, Latino, Middle Eastern, Arab, Native or Pacific Islander. Several are queer, compared with only one openly gay writer in the 1950s, Truman Capote, a finalist for his novel “The Grass Harp” (1952). For some critics , this shift away from the dominant Whiteness, maleness and straightness of the 1950s indicates the troubling triumph of a suspect diversity. The ’50s, they might argue, were a time of perhaps less tolerance but greater objectivity about artistic accomplishment.

The liberal deification of minority trauma and representative “voices for the voiceless” undoubtedly exists, as Percival Everett’s “Erasure” (2001) scathingly depicts. The novel (recently adapted into the Oscar-winning “American Fiction”) includes a hilarious satire of a prestigious literary prize that looks suspiciously like the National Book Award, with an overwhelmingly White jury that votes unanimously — except for the lone Black judge — to reward a novel by a Black writer that dwells excessively on Black pain and dysfunction. But the opposite of this trauma porn scenario — the supposedly universal aesthetic standards of the ’50s — could also be seen as the genteel literary equivalent of White supremacy.

By mid-century, racial engineering through immigration law had altered the American population. In 1882, the United States excluded the Chinese from entering, and in 1924 the government shut down all Asian immigration while greatly limiting other immigrants from non-Western countries. Not until 1965 would the bans on Asian immigrants, and the low quotas on other immigrants, be fully lifted, allowing White people more than 80 years to inhibit economic, cultural and political competition from immigrants. If the Chinese immigrant population had continued its trajectory from 1880 , when it accounted for 9 percent of California’s population, and if Chinese men had been allowed to bring wives from China and form families, then by the 1950s there might have been a large pool of second- and third-generation Chinese American writers to compete for awards.

This is exactly what has happened since 1965, with at least a dozen Asian American writers among the finalists in the 2020s.

Race probably affected not only who became writers but the decisions of judges. In their survey of 35 years of National Book Award decisions, Alexander Manshel and Melanie Walsh concluded that “when a majority of the judges in the room were people of color … the shortlist becomes significantly more diverse.” That majority has happened only five times in National Book Award history. And the reverse is also true: “When the jury was composed of only white judges, they selected a white winner every single time.” Ellison appears to have been the only judge of color in the 1950s, serving once. The overwhelming majority of judges were men, with perhaps one or two women in each of the years for which we have the rosters. If the gender composition of those juries foreshadowed the subsequent decades, the results were predictable: Fiction prizes have been awarded to women only 24 times.

One of the major themes of literature by writers from minoritized populations is the erasure and silencing of those who are dominated, both past and present. That theme extends to how societies and juries read and recognize literature. While some of the National Book Award winners and finalists are undoubtedly phenomenal works, the lists from which they are drawn inevitably include between their lines the potential for alternative literary histories, composed of those who might have won and those never nominated. Even these alternate lists are a palimpsest, layered over a haunting possibility: the books that might have been written by those who were suppressed before they even had the opportunity to find a voice.

Viet Thanh Nguyen is the author of the Pulitzer Prize-winning novel “The Sympathizer” and the memoir “A Man of Two Faces,” among other books.