account of a true event essay

• Scriptwriting

Adapting a True Story: Examples of Writing Fiction Based on True Events

T hink back to the last movie you saw whose characters were real people, or whose story was based on true events. Did it surprise you? Enrage you? Straight-forward biopics might cut corners here and there but what happens with truth is bent even further? When writers and directors play fast and loose with the truth, interesting things can happen. So, let’s take a look at writing fiction based on true events. Where the truth can be used in creative ways with Tarantino, Charlie Kaufman, and the Safdie Bros. as our guides.

SPOILER ALERT! If you haven’t seen  Once Upon a Time…in Hollywood ,  Adaptation , or  Uncut Gems , we are about to discuss major plot points in detail. You’ve been warned!

Page to Picture: Fact Meets Fiction

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Writing A True Story

Tarantino's revisionist history.

When Quentin Tarantino premiered Once Upon a Time… in Hollywood   at the Cannes Film Festival, he was faced with immediate backlash. Some questioned why Sharon Tate, played by Margot Robbie, spoke so few words in the film’s 161-minute runtime.

Others praised the writer-director for allowing Sharon to live out her life on-screen and reclaiming her story from only ever being about her tragic death at the hands of the Manson Family.

Writing fiction based on true events is always tricky but it gets even trickier when you tackle such high-profile and such tragic events.

But almost no one assumed that the real people and true events in the film would be free from a creative license. Audiences anticipated a story that would toy with our ideas about the “real” Sharon and the “real” Manson Family, and that’s a huge reason why the film elicited such sharply divided reactions.

A real tragedy turned into real fiction

Everyone has their own idea of “the truth,” and most people are savvy enough to know that any film that represents reality is exactly that — a representation .

In our video essay, we turn to Once Upon a Time… in Hollywood as our quintessential example of “revisionist history.” Tarantino’s technique taps into a range of emotions about the Manson murders that remain ingrained in our collective consciousness.

As ever, the effectiveness of this approach comes from Tarantino’s dialogue . In the film’s climax, the script combines real quotes with fictional action to create tension and comic relief in equal measure.

On the night of the murders, Tex Watson infamously told Tate’s friend, Wojciech Frykowski, “I’m the devil, and I’m here to do the devil’s business.” In Tarantino’s version, Tex (played by Austin Butler) delivers this line verbatim. But when Cliff (Brad Pitt) is allowed to retort, the dialogue treats Tex’s words like a setup to a punchline.

Watch how the scene plays out below:

Tarantino's revisionist ending

Once this confrontation erupts, Cliff and Rick Dalton (Leonardo DiCaprio), defend Rick’s home from the invading cultists, saving Sharon from the doom she met in real life.

Some viewers may find Tarantino’s resolution to the story cathartic. Others may scoff at its alleged insensitivity toward a tragedy.

This is by design.

Once Upon a Time… in Hollywood ’s wish-fulfillment fantasy is built to stir the pot of cultural discourse. By making a new myth out of an already mythological true crime, Tarantino inserts himself in an ongoing conversation about a uniquely American horror story. The end result ranks amongst the best Tarantino films to date.

Of course, sparking heated debate isn’t the only purpose that writing fiction based on true events serves. Sometimes, it's much more personal.

Writing About Yourself

Kaufman's meta-memoir.

Tarantino is comfortable courting controversy but other screenwriters tweak the truth for entirely different reasons. To embellish an autobiography, to drive the plot, or simply to give the world a lived-in look and feel.

Consider Adpatation , from director Spike Jonze and writer Charlie Kaufman. Our video essay refers to Kaufman’s screenplay as a “meta- memoir .” In movies like this, the narrator heightens audiences’ awareness of a story’s creation, while offering a subjective account of how its true events took place.

Here's Kaufman briefly explaining how his early attempts at faithful adaptations inspired him to "leap into insanity" with  Adaptation , a script high on the list of Kaufman's best screenplays .

Kaufman on the evolution of his adaptations

Kaufman wrote himself, and a fictitious twin brother named Donald, into the film as major characters. The story depicts a crippling case of writer’s block that Charlie experienced in real life. Specifically, his failed bid to adapt Susan Orlean’s The Orchid Thief into a screenplay.

Donald, a mirror image of Charlie, is a figment of Kaufman’s imagination. But in Adaptation , he’s depicted as real — a constant reminder of the career Charlie could have and whose presence only intensifies Charlie’s insecurity and self-doubt.

Let’s take a closer look at how Kaufman pulls this off on the page. We’ve added the script to StudioBinder’s screenwriting software :

Adaptation  •  Charlie's insecurities  •   Read Full Scene

By riffing on the twin personalities, Cage’s performance at once captures voices of eternal optimism (Donald) and perpetual self-doubt (Charlie). Voice that compete for attention in the real Kaufman’s head.

Unlike Once Upon a Time… in Hollywood , Adaptation doesn’t revise historical events to affect audiences. Instead, the film’s meta-memoir framework presents its narrator’s perspective as an authoritative account of what it’s like to have writer’s block. Kaufman uses creative license to dramatize the reality of his personal experience, rather than alter the outcome of someone else’s.

What if a screenwriter sees reality as something that isn’t up for debate? Isn’t a matter of perspective?

Working The System

The safdie brothers' docufiction.

In  Uncut Gems , writers Josh and Benny Safdie and Ronald Bronstein treat writing fiction based on true events as cold, hard facts. And yet, the results are still extremely creative — not in spite of their approach, but because of it.

Before we jump into adapting a true story like the Safdie Brothers, let's watch them and their crew explain the challenges behind making such an audacious film.

The Safdies on how they pulled off Uncut Gems

The taut chronology of Uncut Gems unfolds throughout the month of May 2012. Why? Because one of the film’s most important characters is NBA superstar Kevin Garnett. A key plot point is centered around the seven-game playoff series he played in at that time.

Here’s where it gets tricky. The Safdies and Bronstein made Uncut Gems without an NBA licensing agreement.

Under Fair Use laws, a screenwriter can use copyrighted material without permission from the copyright holders. So, the Safdies and Bronstein could legally use any NBA footage they wanted…but only a limited amount, and it couldn’t be altered in any way.

This is a massively creative way of writing fiction based on true events that circumvents the usual red tape involved with obtaining the rights. 

These parameters proved to be one of the script’s greatest strengths. After all, Howard is a character less defined by words than by actions. The Safdies and Bronstein could write his compulsive gambling to directly correspond to Garnett’s real performance in the games.

When Howard lends Garnett a rare black opal from his store — the “gem” of the film’s title — Garnett is convinced that the stone’s magic aura will make him unstoppable in the next game he plays.

Naturally, Howard senses that the gem’s effect on Garnett may give him a betting advantage.

Uncut Gems  •  Getting a Betting Advantage  •   Read Full Scene

By putting their fictitious gem in the hands of KG, they create opportunities to use actual footage of Garnett dominating the court.

Uncut Gems  •  Garnett Court Domination  •   Read Full Scene

And each time Howard watches footage of the real Garnett playing at his best, he’s further emboldened to ramp up his reckless gambling spree.

Uncut Gems  •  Howard’s Gambling Spree  •   Read Full Scene

Uncut Gems ’ nesting of historical events inside scripted drama is what we might call “docufiction.” The Safdies and Bronstein are no strangers to this narrative and visual style.

Their 2014 feature Heaven Knows What , for instance, features real-life heroin addict Arielle Holmes in its lead role to elevate its aura of authenticity. In Uncut Gems , they take the technique to new heights, using audiences’ familiarity with famous figures to immerse us in the film’s fictional universe.

How to Write an Adaptation

Bring the truth to your writing.

What twist will you put on your true-ish story?

Using revisionist history, you’re free to appropriate and alter the words and actions of an important historical event.

With the meta-memoir, you can engender empathy from your audience by aligning them with your narrator’s perspective of a true story.

In docufiction, you can let true events as they actually happened steer the course of your characters’ narrative trajectory.

With any of these three approaches in your artistic arsenal, you’ll be ready to blend fact and fiction in a world of your own making.

Academy rules on adapted scripts

After covering such creative adapted screenplays, you might be inspired to actually write on yourself. Despite Tarantino, Kaufman and the Safdie Brothers' redefining "creative license," there are other factors that go into writing an adapted screenplay. We'll cover the Academy rules, tips on obtaining rights and advice from some of today's top screenwriters.

Up Next: Adapted screenplays explained →

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Writing Fiction Based On True Events: The Definitive Guide

The entire concept of fiction based on true events can be confusing. Does it mean that the story is non-fictional?

Or does it mean that it’s fictional but based on real people and events?

Can a book be both fiction and non-fiction at the same time?

The simple answer to all these questions is yes, but there are some subtleties to keep in mind.

To understand what “fiction based on true events” really means, you have to look at the different ways that authors use elements of reality in their fiction.

The genre of fiction has a very interesting history, no doubt about that.

Fiction writers are constantly researching and educating themselves on all sorts of topics, from ancient Greeks to celebrity gossip.

In the end, though, it is all about making up an entertaining story. Yet, that story doesn’t have to be completely made up.

It can be rooted in real life or taken right out of current events.

When you read a book, watch a movie or play a game, you expect to immerse yourself in the storyline.

Let’s take a look!  

Writing Fiction Based On True Events

What is fiction based on true events.

A lot of movies we watch are based on true stories. To know what is fiction based on true events, we have to look up the definition of fiction.

Fiction simply means a product of someone’s imagination. It may be the story of an imaginary character or something that never existed before.

A story based on a real person, event, or time period is considered historical fiction. To be considered historical, the story must have happened at least 20-30 years in the past. Historical fiction can take place any time before the present day.

Historical fiction is very similar to nonfiction in that it gives readers a glimpse into another time or place. However, historical fiction is not just “nonfiction in disguise.”

Writers of historical novels do not just serve as reporters from history; they are artists and storytellers, who use their imaginations to create stories that capture their readers’ interest and attention.

The dividing line between fact and fiction can seem very thin at times, though it doesn’t mean that we shouldn’t believe what we read. It simply means that we need to be able to discern between what was actual and what is imagined.

Blending fact with fiction isn’t just a creative Try; it’s an art form that brings true events to life in a way that’s both engaging and enlightening.

We’ll explore how to weave real-world experiences into your narratives, ensuring authenticity resonates through every page.

Crafting characters and plots around actual occurrences requires a delicate balance of truth and imagination.

We’re here to guide you through the process, sharing tips and techniques that’ll help you capture the essence of reality while spinning a tale that captivates your readers.

The Art Of Blending Fact With Fiction

In the world of cinematic storytelling, the line between fact and fiction is often a delicate one.

We understand that authentic stories draw from real-life events , creating a rich tapestry that resonates deeply with audiences.

But, when bringing these stories to the screen, there’s a balance to be struck.

We weave together fact and artistic interpretation to produce work that’s both compelling and credible.

Films like The Social Network demonstrate how creative liberties can shape a narrative.

The essence of truth in the story is maintained, yet dramatic elements heighten the cinematic experience.

We must be diligent in our research to ensure that our foundation is solid.

It’s the nuances of actual events that lend authenticity and depth to the fictionalization.

Here are some of our key strategies for blending fact with fiction:

• Always start with thorough research – understanding the true story is the bedrock of authenticity,
• Identify the core truths that are crucial to the narrative – these become your non-negotiables,
• Determine where dramatic license can enhance the story – this is where your creativity comes into play,
• Develop multidimensional characters inspired by real individuals – their complexities make them relatable – Employ dialogue that reflects genuine interactions while serving the story’s rhythm.

Our aim is to respect the facts while crafting a story that captivates.

Our approach involves a melding where reality informs fiction, and creative liberties illuminate the truths we’re depicting.

In threading these elements together, we create not just a movie but a reflection of life, complex and nuanced.

This process isn’t straightforward, but it’s where the magic of filmmaking truly lies.

Why Write Fiction Based On True Events?

We often strive to tell stories that resonate with audiences on a deep level.

Tapping into true events allows us to weave narratives grounded in reality while exploring the creative expanse of fiction.

This blend can result in powerful storytelling that is both relatable and engaging.

After all, truth is often stranger than fiction, and it’s the strange, captivating tales that grab attention.

In the filmmaking world, crafting fiction from real-life events serves several purposes.

It provides a sense of relevance and urgency for the audience.

Let’s consider Schindler’s List – the harrowing realism interlaced with fictional elements magnified the emotional impact, bringing history to life in a way that pure documentary or complete fiction might not have achieved.

Stories based on true events often have built-in emotional resonance.

They touch upon shared human experiences which audiences can connect with on a personal level.

Our approach in crafting these narratives is not about inventing drama but about highlighting the inherent drama that exists within life’s stories.

For instance, Catch Me If You Can tells the gripping chase of a con artist, allowing viewers to experience the thrill from a safe distance.

Here are a few reasons we jump into true events for fictional storytelling:

• Relatability – Audiences see themselves in real characters and scenarios.
• Educational Value – They often provide historical or societal insights.
• Emotional Depth – Real events carry an intrinsic emotional weight that can be profound.
• Originality – True events provide fresh, untouched material outside of the typical tropes.

By working with real events, we’re tasked with a respectful portrayal of the truth while also being permitted to take creative liberties when necessary.

This balance is what creates compelling narratives that stand the test of time.

Through meticulous research and creative interpretation, we strive to honor the authenticity of the events and the characters involved while crafting a story that deeply moves our audience .

Filmmaking gives us the unique opportunity to blend fact with fiction in a visually stunning way.

We tell stories that might otherwise be forgotten or overlooked, bringing new perspectives to light.

A well-crafted film or series like Chernobyl doesn’t just recount events; it compels us to grapple with complex characters and moral quandaries.

Finding Inspiration In Real-world Experiences

We often find that our most profound stories emerge from the raw materials of life itself.

Real-world experiences act as a treasure trove for storytellers, offering a rich palette of emotions, situations, and characters to draw from.

The power lying within personal anecdotes or historical events can be transformative when adapted for the screen.

By tapping into these sources, we uncover truths that resonate with audiences on a deep level.

Films like Schindler’s List and The King’s Speech are sterling examples of how personal and political struggles are compelling narrative engines.

It’s not just about documenting events; it’s about finding the human connection within them.

Here are just a few ways we can harness real-world experiences for our storytelling:

• Identifying emotionally charged moments for character development,
• Extracting pivotal events that can serve as narrative milestones,
• Observing people’s reactions in real-life scenarios to craft authentic dialogue.

Yet, the creative process isn’t merely replication; it’s about embellishment and interpretation.

Real-world inspirations are starting points on the journey to fiction.

We jump into history’s chapters not just to retell but to reimagine.

Amadeus took the life of Mozart and spun it into a tale of rivalry that, while not entirely accurate, captivated viewers with its drama and energy.

Thorough research into the chosen real-world experience lays a groundwork of credibility.

But from there, creative license charts a course through unexplored territories, offering audiences a glimpse of what could be.

Our quest for authenticity shapes the narrative, guiding us towards stories that feel both true to life and larger than life.

The balancing act is in blending factual integrity with inventive flare to evoke a sense of wonder and connection.

Balancing Truth And Imagination In Your Narrative

Crafting stories that weave together fact and fiction is akin to walking a tightrope.

It demands a precise balance – too much fact, and the story can feel dry and educational; too much fiction, and it risks losing the grounding effect of reality.

To achieve this equilibrium, we consider the anchor point s of the story.

These are the non-negotiable facts that form the skeleton of the narrative.

Around them, we flesh out the body with imaginative overlays that elevate the tale to new heights.

The key is in the details.

We carefully select which elements to fictionalize:

• Character backstories,
• Plot developments,
• Settings and timelines.

These allow the audience to escape into our created world without losing their foothold in the truth.

We also recognize the emotional truth that permeates the core of real events.

Even when characters and plots diverge from their factual counterparts, the emotional journeys should remain authentic.

The resonance of these emotions with the viewer is what eventually defines the success of our narrative.

By intertwining the strands of fact and creative liberty, we create a rich tapestry that captivates and informs.

Take Amadeus for example – the liberties taken with Mozart’s life story crafted a compelling narrative while preserving the essence of his genius.

But, it’s also crucial to navigate the ethical considerations.

We must respect the lives and experiences that inspire our stories, avoiding distortion that could diminish or misrepresent their truth.

We strive for a story that honors its factual foundations while soaring on the wings of imagination.

It’s about capturing the spirit, not just the letter, of the historical record.

Techniques For Ensuring Authenticity In Your Writing

Crafting Compelling Characters And Plots From Real Life

When we base our characters on actual people, we jump deeply into their lives for inspiration.

It’s about capturing the essence of the individual – their motivations, quirks, and conflicts.

Character development is paramount in creating someone who feels real on screen.

We explore their background , their interpersonal relationships , and life-altering events that shaped them.

Plot construction from true events requires a keen sense of storytelling .

We’re tasked with weaving the intricate threads of real-life stories into a narrative that captures audiences.

Our plots must serve the dual purpose of staying true to the source while also being engaging.

A strong plot does justice to the real story by maintaining narrative tension and emotional resonance .

Here are some proven strategies for turning real life into artful cinema:

• Understanding the core conflict – the driving force of real-life stories,
• Identifying transformative moments – pivot points that change the course of the individual’s life,
• Building tension through foreshadowing and pacing.

Films like Schindler’s List and The Social Network show how real events are molded into cinematic form.

These movies stay grounded in factual accuracy while presenting a compelling story.

They demonstrate that it’s not just about what happened, but also about how we tell it.

Crafting dynamic dialogue is just as critical as structuring a plot, for dialogue brings our characters to life.

Our audience connects with characters who are flawed, hopeful, determined, or downtrodden.

We strive to portray these human conditions through the lens of our storytelling.

This approach yields figures who are more than mere representations of real individuals – they become relatable icons on screen.

Ensuring emotional truth serves as the backbone of our character portrayal.

While factual accuracies are pursued, it’s the human experience that resonates most with viewers.

Audiences often remember how they felt about a character long after the details of the plot have faded.

Captivating Your Readers With Engaging And Enlightening Stories

Crafting captivating narratives from true events often hinges on the interplay between engaging storytelling and enlightening moments.

By leveraging this delicate balance, we manage to hold our readers’ attention and provide them with meaningful insights.

Authenticity and intrigue serve as our guiding lights when we transform real experiences into compelling stories.

Our focus is on finding the heart within the narrative and allowing that emotional current to drive the storytelling.

We know that our readers seek out stories that both entertain and inform, offering them new perspectives on familiar subjects.

This is where our detailed research and character development play a pivotal role in breathing life into the stories we tell.

Films like Schindler’s List or Catch Me If You Can exemplify the art of weaving factual accuracy with narrative creativity – achieving a blend that satisfies both historical detail and cinematic appeal.

To ensure that we’re delivering content that resonates, we adhere to several key strategies:

• Honing our narrative voice to match the tone of the story,
• Painting vivid scenes through rich, descriptive language,
• Prioritizing the emotional journey of our characters.

Innovation in our storytelling process is crucial to stand out in today’s saturated market.

We seek unique angles to approach each true event, encouraging our readers to see the extraordinary in the ostensibly ordinary.

By presenting fact-based narratives without sacrificing the allure of fiction, we offer our readers a gateway into stories that might otherwise seem distant or unapproachable.

Our goal is to leave them more informed, more engaged, and eagerly anticipating the next tale we choose to tell.

Writing Fiction Based On True Events – Wrap Up

We’ve explored the intricate dance of weaving truth into fiction, a craft that demands both authenticity and imagination.

By employing thorough research and ethical storytelling, we create worlds that captivate and resonate deeply with our audience.

Our commitment to emotional truth and character development ensures that each narrative we spin not only entertains but also enlightens.

As we continue to innovate within the realm of storytelling, we’re excited to share more tales that bridge the gap between reality and fiction, leaving our readers not just satisfied but transformed.

https://youtube.com/watch?v=1vAq2ZQnoSs

Frequently Asked Questions

How important is authenticity in blending fact with fiction.

Authenticity is crucial in storytelling as it ensures the narrative remains compelling and credible, even when creative liberties are taken.

Thorough research and maintaining ethical sensitivity contribute to the story’s believability.

What Strategies Can Be Employed For Blending Fact With Fiction?

Key strategies include thorough research, identifying core truths, using dramatic license, and developing multidimensional characters with genuine dialogue, all of which help create a seamless blend of fact and fiction.

Why Is Character Development Important In Storytelling?

Character development is vital as it builds a connection with the audience.

Understanding core conflicts, transformative moments, and building tension aid in crafting compelling and relatable characters.

How Does Emotional Truth Impact Storytelling?

Emotional truth resonates with viewers by providing an authentic representation of characters’ feelings and experiences, which adds depth and relatability to the narrative, making it more engaging.

What Is The Role Of Narrative Voice In Storytelling?

The narrative voice guides the audience through the story, setting the tone, and providing perspective.

It serves as a tool to hone the storytelling, paint vivid scenes, and prioritize the emotional journey of the characters.

How Can Writers Maintain Readers’ Engagement With Their Stories?

Writers can maintain engagement by incorporating authenticity, painting vivid scenes, honing narrative voice, and ensuring the emotional journeys of characters resonate with readers, leaving them informed and eager for more.

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

By 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

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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10.1 Narration

Learning objectives.

• Determine the purpose and structure of narrative writing.
• Understand how to write a narrative essay.

Rhetorical modes simply mean the ways in which we can effectively communicate through language. This chapter covers nine common rhetorical modes. As you read about these nine modes, keep in mind that the rhetorical mode a writer chooses depends on his or her purpose for writing. Sometimes writers incorporate a variety of modes in any one essay. In covering the nine modes, this chapter also emphasizes the rhetorical modes as a set of tools that will allow you greater flexibility and effectiveness in communicating with your audience and expressing your ideas.

The Purpose of Narrative Writing

Narration means the art of storytelling, and the purpose of narrative writing is to tell stories. Any time you tell a story to a friend or family member about an event or incident in your day, you engage in a form of narration. In addition, a narrative can be factual or fictional. A factual story is one that is based on, and tries to be faithful to, actual events as they unfolded in real life. A fictional story is a made-up, or imagined, story; the writer of a fictional story can create characters and events as he or she sees fit.

The big distinction between factual and fictional narratives is based on a writer’s purpose. The writers of factual stories try to recount events as they actually happened, but writers of fictional stories can depart from real people and events because the writers’ intents are not to retell a real-life event. Biographies and memoirs are examples of factual stories, whereas novels and short stories are examples of fictional stories.

Because the line between fact and fiction can often blur, it is helpful to understand what your purpose is from the beginning. Is it important that you recount history, either your own or someone else’s? Or does your interest lie in reshaping the world in your own image—either how you would like to see it or how you imagine it could be? Your answers will go a long way in shaping the stories you tell.

Ultimately, whether the story is fact or fiction, narrative writing tries to relay a series of events in an emotionally engaging way. You want your audience to be moved by your story, which could mean through laughter, sympathy, fear, anger, and so on. The more clearly you tell your story, the more emotionally engaged your audience is likely to be.

On a separate sheet of paper, start brainstorming ideas for a narrative. First, decide whether you want to write a factual or fictional story. Then, freewrite for five minutes. Be sure to use all five minutes, and keep writing the entire time. Do not stop and think about what to write.

The following are some topics to consider as you get going:

The Structure of a Narrative Essay

Major narrative events are most often conveyed in chronological order , the order in which events unfold from first to last. Stories typically have a beginning, a middle, and an end, and these events are typically organized by time. Certain transitional words and phrases aid in keeping the reader oriented in the sequencing of a story. Some of these phrases are listed in Table 10.1 “Transition Words and Phrases for Expressing Time” . For more information about chronological order, see Chapter 8 “The Writing Process: How Do I Begin?” and Chapter 9 “Writing Essays: From Start to Finish” .

Table 10.1 Transition Words and Phrases for Expressing Time

The following are the other basic components of a narrative:

• Plot . The events as they unfold in sequence.
• Characters . The people who inhabit the story and move it forward. Typically, there are minor characters and main characters. The minor characters generally play supporting roles to the main character, or the protagonist .
• Conflict . The primary problem or obstacle that unfolds in the plot that the protagonist must solve or overcome by the end of the narrative. The way in which the protagonist resolves the conflict of the plot results in the theme of the narrative.
• Theme . The ultimate message the narrative is trying to express; it can be either explicit or implicit.

Writing at Work

When interviewing candidates for jobs, employers often ask about conflicts or problems a potential employee has had to overcome. They are asking for a compelling personal narrative. To prepare for this question in a job interview, write out a scenario using the narrative mode structure. This will allow you to troubleshoot rough spots, as well as better understand your own personal history. Both processes will make your story better and your self-presentation better, too.

Take your freewriting exercise from the last section and start crafting it chronologically into a rough plot summary. To read more about a summary, see Chapter 6 “Writing Paragraphs: Separating Ideas and Shaping Content” . Be sure to use the time transition words and phrases listed in Table 10.1 “Transition Words and Phrases for Expressing Time” to sequence the events.

Collaboration

Please share with a classmate and compare your rough plot summary.

Writing a Narrative Essay

When writing a narrative essay, start by asking yourself if you want to write a factual or fictional story. Then freewrite about topics that are of general interest to you. For more information about freewriting, see Chapter 8 “The Writing Process: How Do I Begin?” .

Once you have a general idea of what you will be writing about, you should sketch out the major events of the story that will compose your plot. Typically, these events will be revealed chronologically and climax at a central conflict that must be resolved by the end of the story. The use of strong details is crucial as you describe the events and characters in your narrative. You want the reader to emotionally engage with the world that you create in writing.

To create strong details, keep the human senses in mind. You want your reader to be immersed in the world that you create, so focus on details related to sight, sound, smell, taste, and touch as you describe people, places, and events in your narrative.

As always, it is important to start with a strong introduction to hook your reader into wanting to read more. Try opening the essay with an event that is interesting to introduce the story and get it going. Finally, your conclusion should help resolve the central conflict of the story and impress upon your reader the ultimate theme of the piece. See Chapter 15 “Readings: Examples of Essays” to read a sample narrative essay.

On a separate sheet of paper, add two or three paragraphs to the plot summary you started in the last section. Describe in detail the main character and the setting of the first scene. Try to use all five senses in your descriptions.

Key Takeaways

• Narration is the art of storytelling.
• Narratives can be either factual or fictional. In either case, narratives should emotionally engage the reader.
• Most narratives are composed of major events sequenced in chronological order.
• Time transition words and phrases are used to orient the reader in the sequence of a narrative.
• The four basic components to all narratives are plot, character, conflict, and theme.
• The use of sensory details is crucial to emotionally engaging the reader.
• A strong introduction is important to hook the reader. A strong conclusion should add resolution to the conflict and evoke the narrative’s theme.

Writing for Success Copyright © 2015 by University of Minnesota is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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True Event Adaptation: Scripting Real Lives

These essays all—in various ways—address the relationship between adaptation, “true events,” and cultural memory. They ask (and frequently answer) the question: how do we script stories about real events that are often still fresh in our memories and may involve living people? True Event Adaptation: Scripting Real Lives contains essays from scholars committed to interrogating historical and current hard-hitting events, traumas, and truths through various media. Each essay goes beyond general discussion of adaptation and media to engage with the specifics of adapting true life events—addressing pertinent and controversial questions around scriptwriting, representation, ethics, memory, forms of history, and methodological interventions. Written for readers interested in how memory works on culture as well as screenwriting choices, the collection offers new perspectives on historical media and commercial media that is currently being produced, as well as on media created by the book’s contributors themselves.

Related Papers

Rethinking History

Esin Paça-Cengiz

In film scholarship, historical film has been identified as a form that portrays events and experiences that took place in the past. By building on Caruth’s concept of indirect representation, however, this article identifies a new historical film form that is not necessarily set in the past, but engages with questions regarding history, memory and historical representation. It conceptualizes this new form of ‘historical essay film’, and by analysing Voice of My Father, argues that rather than manifesting a desire to represent traumatic events directly, historical essay films refrain from the presumption that the medium of film can represent the reality of past events. To this end, they engage with past traumas indirectly through narratives that are set in the present day. The study further contends that the main thrust of historical essay films is to probe the discursive fields in which certain moments of the past are fixed, narrated and become predominant while others remain overlooked and unaccounted for. The article concludes with the claim that, as a consequence of their unconventional formal structures, historical essay films diminish the temporal distance between the past, present and future while also opening up new possibilities for rethinking what historical representation means.

Jouko Aaltonen

There has been a significant increase in the number of history programmes and documentary films about history shown on television since the 1990s. This is due to technological and institutional changes in international television but also to the wider commodification of history. The new technological means and approaches have also provided new opportunities for filmmakers in the field of history documentaries. In this article, we are interested in the role of history in television and documentary filmmaking in general, and in how developments in television and documentary filmmaking have affected the nature of historical documents on television. We explore new forms of film, such as re-enactments, reality-experiential history documentaries, mockumentaries and counterfactualities. What is the relationship between history documentaries and academic historical research? What do these changes mean from the point of view of both academics and filmmakers? We approach the question from the...

Ilha do Desterro A Journal of English Language, …

Fernando Vugman

Rasool Rahmanzadeh

The essay film, as a separate entity yet still as part of the nonfiction genre, presents an argument by examining the three concepts of history, subjectivity, and collective memory. This article seeks to study the roots of the essay film through a theoretical and historical overview to assess how essay films represent the traumatic events and how they create traumatic images in order to remove the passivity from their audience to make them socially active.

Alea Ibrahim

Academia Letters

Julia Meyer Gross

Leidschrift : Verleden in beeld. Geschiedenis en mythe in film

Robert Burgoyne

Hacettepe University Journal of Faculty of Letters

Focusing on major differences between nostalgic and documentary memory in contemporary plays, this paper argues how The Laramie Project (2001) by Moises Kaufmann and The Exonerated (2002) by Jessica Blank and Eric Jensen reinvigorate the concept of memory as an alternative political stand on stage. Memory plays use historical documentation as a forerunner of their dramatic material. In this respect, The Exonerated tells the story of six wrongfully convicted death row inmates through testimonies of the freed convicts, court recordings, and other documents. The Laramie Project belongs to another category of verbatim plays, which is still centered on edited interviews and testimonies but it is characterized by the elimination of the protagonist. It reconstructs and rewrites the story of brutally murdered Matthew Shepard to question this tragedy and disclose the reasons for his murder, but Shepard himself is not represented as a character on stage. The Laramie Project is similar to The Exonerated, but their methodology and construction have fundamentally different incentives and elements. Their emphasis on identity politics and insistence upon a more extended public discussion of politics and social issues separates them from other genres and trends. The way memory is stripped of its nostalgic layers in these documentary plays aims to foster a new understanding of dramatic constructions while challenging mainstream accounts and shifting to side of the silenced figures. Although there is little overlap between the contents and messages of the plays, a key point in both of these works is their emphasis on current issues through a variety of memory forms. Their accent on harsh realities of history is especially pronounced when audience members are invited to witness the flaws of our society. It might be a wrongfully convicted person, a screened and scrutinized life of a transvestite, or a brutally murdered homosexual, but in the end, documentary drama shows us the urgent need to look back to understand the present. Our mistakes are all buried in the magical box of the past. They can be our guides for tomorrow as long as we do not glorify them.

University of Cape Town

Madeleine Bazil

My short documentary, Grandpa Ernest Speaks (2021), is the creative research portion of my master's degree submission. The film is heavily influenced by post-structuralist theory regarding the archive as an experiential entity as well as posttraumatic cinema discourse (in particular, Joshua Hirsch's phases of posttraumatic cinema). This critical reflection therefore investigates the intersection of these two theoretical paradigms: looking at how archival materials may specifically be used in personal documentary films dealing with family/ancestral trauma and posttraumatic memory, and positing that these films' engagement with the archive fits into the larger framework of posttraumatic cinema. I reflect on Grandpa Ernest Speaks in conversation with two other personal posttraumatic documentaries, The Imam and I (dir. Khalid Shamis, South Africa, 2011) and Stories We Tell ( dir. Sarah Polley, Canada, 2012). I conduct a semiotic and content analysis of portions of all three films in order to both situate them within the posttraumatic imaginary-specifically, within Hirsch's second phase-and examine the role of the archive and artefacts in each. In doing so, I confront the question of record vs. representation in documentary, and argue that-in the archival-based posttraumatic documentary-the distinction between the two lies in the way that the artefact is interpreted or contextualised via meta-textual captioning. This study demonstrates that posttraumatic memory may be nonlinear and non-chronological. The analysis of my film and the two additional case study films examines how this complication of past and present, archival and contemporary, is articulated onscreen: conveying the transmutation of memory as well as the ongoing and self-reflexive act of contributing to the familial archive.

Ofer Ashkenazi

In the past three decades, due to the work of some distinguished historians, the discussion of film is being slowly integrated into Western historiography. However, while relatively few academic historians would deny today film’s ability to instigate awareness to and enrich the understanding of historical experiences, many fewer are willing – and able – to incorporate film analysis in their own research and teaching. This impasse is particularly apparent in the case of “historical films,” in which past events and experiences are reconstructed, invented and framed in varying degrees of sophistication. The convincing arguments that established film as a “legitimate” narrator of historical reality often fell short of explicating how film should be integrated into academic history discourse. This article reads Rosenstone and Parvulescu’s recent collection of essays A Companion to Historical Film as a demonstration of different approaches taken by contemporary historians in an attempt to meet this challenge. Within this context, it identifies four paradigms, each involves different premises about the nature of film’s realism, its role as an agent of social change, and its dialog with “conventional” (national, institutional, etc.) narration of the past. The analysis of these paradigms – and the ways they have been implemented by the contributors to A Companion to Historical Film – shows their potential contribution to the study of historical realities, as well as their weaknesses and limitations. Insightfully presenting and discussing these approaches, I argue, Rosenstone and Parvulescu’s volume is an important step forward in the ongoing endeavor to methodologically incorporate film analysis in the academic research of history.

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True Event Adaptation

Scripting Real Lives

• © 2018
• Davinia Thornley 0

Department of Media, Film and Communication, University of Otago, Dunedin, New Zealand

You can also search for this editor in PubMed   Google Scholar

• Marks an original contribution because it investigates a previously under-examined area of adaptation: that of stories based on true events
• Employs a cross-disciplinary approach, by offering insights into history, theatre studies, film and media studies, organizational analysis, and literary/aesthetic theory
• Offers useful and practical findings on the relationship between real life events and cultural memory

Part of the book series: Palgrave Studies in Adaptation and Visual Culture (PSADVC)

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Alternate History

• screenwriting
• representation
• true stories
• real life events
• visual culture
• cultural memory

Table of contents (10 chapters)

Front matter, scripting real lives in the past, introduction: scripting real lives.

Davinia Thornley

The Study of Historical Films as Adaptation: Some Critical Reflections

• Patrick Cattrysse

Waiting for the Great Swell of ‘74: John Milius and Autobiographical Self-Projection in Big Wednesday

• Alfio Leotta

Making Robert Sarkies’ Film Out of the Blue : Adaptation and Indigenization in Aotearoa New Zealand

Scripting real lives in the present, when the truth becomes too hard to tell: jocelyne saab & dunia (2005).

• Margaret McVeigh

Making It “Real”/“Reel”: Truth, Trauma, and American Exceptionalism in Zero Dark Thirty

• Jennifer L. Gauthier

(The Facts Before) The Fiction Before the Facts: Suburra from Novel (to Trial) to Feature to TV Serial

• Paolo Russo

Reaching Young Audiences Through Research: Using the NABC Method to Create the Norwegian Web Teenage Drama SKAM/Shame

• Eva Novrup Redvall

Scripting Real Lives for the Future

An adaptation of life: ethnographically grounded fiction as a method of inquiry into personal accounts of traumatic events.

• Ester T. Roura

Writing the Screenplay for the History Film: A Case Study Featuring the Historical Figure, C. Y. O’Connor

• Nadia Meneghello

Back Matter

Editors and affiliations, about the editor, bibliographic information.

Book Title : True Event Adaptation

Book Subtitle : Scripting Real Lives

Editors : Davinia Thornley

Series Title : Palgrave Studies in Adaptation and Visual Culture

DOI : https://doi.org/10.1007/978-3-319-97322-7

Publisher : Palgrave Macmillan Cham

eBook Packages : Literature, Cultural and Media Studies , Literature, Cultural and Media Studies (R0)

Copyright Information : The Editor(s) (if applicable) and The Author(s) 2018

Hardcover ISBN : 978-3-319-97321-0 Published: 09 October 2018

Softcover ISBN : 978-3-030-07334-3 Published: 26 January 2019

eBook ISBN : 978-3-319-97322-7 Published: 26 September 2018

Series ISSN : 2634-629X

Series E-ISSN : 2634-6303

Edition Number : 1

Number of Pages : XIII, 237

Number of Illustrations : 3 illustrations in colour

Topics : Adaptation Studies , Genre , Memory Studies

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Module 4: Narrative Essay

Writing for success: narration.

This section will help you determine the purpose and structure of narration in writing.

The Purpose of Narrative Writing

Narration means the art of storytelling, and the purpose of narrative writing is to tell stories. Any time you tell a story to a friend or family member about an event or incident in your day, you engage in a form of narration. In addition, a narrative can be factual or fictional. A factual story is one that is based on, and tries to be faithful to, actual events as they unfolded in real life. A fictional story is a made-up, or imagined, story; the writer of a fictional story can create characters and events as he or she sees fit.

The big distinction between factual and fictional narratives is based on a writer’s purpose. The writers of factual stories try to recount events as they actually happened, but writers of fictional stories can depart from real people and events because the writers’ intents are not to retell a real-life event. Biographies and memoirs are examples of factual stories, whereas novels and short stories are examples of fictional stories.

Know Your Purpose

Because the line between fact and fiction can often blur, it is helpful to understand what your purpose is from the beginning. Is it important that you recount history, either your own or someone else’s? Or does your interest lie in reshaping the world in your own image—either how you would like to see it or how you imagine it could be? Your answers will go a long way in shaping the stories you tell.

Ultimately, whether the story is fact or fiction, narrative writing tries to relay a series of events in an emotionally engaging way. You want your audience to be moved by your story, which could mean through laughter, sympathy, fear, anger, and so on. The more clearly you tell your story, the more emotionally engaged your audience is likely to be.

The Structure of a Narrative Essay

Major narrative events are most often conveyed in chronological order, the order in which events unfold from first to last. Stories typically have a beginning, a middle, and an end, and these events are typically organized by time. Certain transitional words and phrases aid in keeping the reader oriented in the sequencing of a story. Some of these phrases are listed here:

Chronological Transitional Words

Other basic components of a narrative are:

• Plot – The events as they unfold in sequence.
• Characters – The people who inhabit the story and move it forward. Typically, there are minor characters and main characters. The minor characters generally play supporting roles to the main character, also known as the protagonist.
• Conflict – The primary problem or obstacle that unfolds in the plot that the protagonist must solve or overcome by the end of the narrative. The way in which the protagonist resolves the conflict of the plot results in the theme of the narrative.
• Theme – The ultimate message the narrative is trying to express; it can be either explicit or implicit.

Writing a Narrative Essay

When writing a narrative essay, start by asking yourself if you want to write a factual or fictional story. Then freewrite, brainstorm, or mindmap about topics that are of general interest to you. For more information about pre-writing, review the materials in “My Writing Process – Prewriting and Draft.”

Once you have a general idea of what you will be writing about, you should sketch out the major events of the story that will compose your plot. Typically, these events will be revealed chronologically and climax at a central conflict that must be resolved by the end of the story. The use of strong details is crucial as you describe the events and characters in your narrative. You want the reader to emotionally engage with the world that you create in writing.

Keep the Senses in Mind

To create strong details, keep the human senses in mind. You want your reader to be immersed in the world that you create, so focus on details related to sight, sound, smell, taste, and touch as you describe people, places, and events in your narrative.

As always, it is important to start with a strong introduction to hook your reader into wanting to read more. Try opening the essay with an event that is interesting to introduce the story and get it going. Finally, your conclusion should help resolve the central conflict of the story and impress upon your reader the ultimate theme of the piece.

Narratives Tell A Story

Every day, you relate stories to other people through simple exchanges. You may have had a horrible experience at a restaurant the night before, or you may have had some good news you are ready to share. In each one of these experiences there’s a story, and when you begin to share a personal experience, you often communicate in a narrative mode.

Although narratives can vary widely, most share several common features. Generally, storytellers establish:

• Characters , the person/people (sometimes they are animals) the story is about, which may include the storyteller
• Conflict , or struggle in the story, that builds their audience’s interest
• Details , or descriptions, that appeal to the  senses  of sight, sound, smell, touch, and taste
• A sequence  of  events  in a  plot , or order of what happens in the story, that keeps the audience engaged as the story unfolds
• Reflection of events around a  theme , or unifying idea, for telling the story

Narratives of Love and War

Consider two narratives that couldn’t be more different—a tale of love and a story of war: John Hodgman’s sweet, geeky tale of falling in love and Emmanuel Jal’s story of being a child soldier and learning to forgive his enemies. Review these videos below then engage in a discussion following the directions as listed.

John Hodgman: A Brief Digression on Matters of Lost Time

Emmanuel Jal: The Music of a War Child

Narrative Essay Example

Read the following example of a narrative essay. Note how it reflects the basic components and common features of narratives, as discussed above.

My College Education

By Scott McLean, in Writing for Success

The first class I went to in college was philosophy, and it changed my life forever. Our first assignment was to write a short response paper to the Albert Camus essay “The Myth of Sisyphus.” I was extremely nervous about the assignment as well as college. However, through all the confusion in philosophy class, many of my questions about life were answered.

I entered college intending to earn a degree in engineering. I always liked the way mathematics had right and wrong answers. I understood the logic and was very good at it. So when I received my first philosophy assignment that asked me to write my interpretation of the Camus essay, I was instantly confused. What is the right way to do this assignment, I wondered? I was nervous about writing an incorrect interpretation and did not want to get my first assignment wrong. Even more troubling was that the professor refused to give us any guidelines on what he was looking for; he gave us total freedom. He simply said, “I want to see what you come up with.”

Full of anxiety, I first set out to read Camus’s essay several times to make sure I really knew what was it was about. I did my best to take careful notes. Yet even after I took all these notes and knew the essay inside and out, I still did not know the right answer. What was my interpretation? I could think of a million different ways to interpret the essay, but which one was my professor looking for? In math class, I was used to examples and explanations of solutions. This assignment gave me nothing; I was completely on my own to come up with my individual interpretation.

Next, when I sat down to write, the words just did not come to me. My notes and ideas were all present, but the words were lost. I decided to try every prewriting strategy I could find. I brainstormed, made idea maps, and even wrote an outline. Eventually, after a lot of stress, my ideas became more organized and the words fell on the page. I had my interpretation of “The Myth of Sisyphus,” and I had my main reasons for interpreting the essay. I remember being unsure of myself, wondering if what I was saying made sense, or if I was even on the right track. Through all the uncertainty, I continued writing the best I could. I finished the conclusion paragraph, had my spouse proofread it for errors, and turned it in the next day simply hoping for the best.

Then, a week or two later, came judgment day. The professor gave our papers back to us with grades and comments. I remember feeling simultaneously afraid and eager to get the paper back in my hands. It turned out, however, that I had nothing to worry about. The professor gave me an A on the paper, and his notes suggested that I wrote an effective essay overall. He wrote that my reading of the essay was very original and that my thoughts were well organized. My relief and newfound confidence upon reading his comments could not be overstated.

What I learned through this process extended well beyond how to write a college paper. I learned to be open to new challenges. I never expected to enjoy a philosophy class and always expected to be a math and science person. This class and assignment, however, gave me the selfconfidence, critical-thinking skills, and courage to try a new career path. I left engineering and went on to study law and eventually became a lawyer. More important, that class and paper helped me understand education differently. Instead of seeing college as a direct stepping stone to a career, I learned to see college as a place to first learn and then seek a career or enhance an existing career. By giving me the space to express my own interpretation and to argue for my own values, my philosophy class taught me the importance of education for education’s sake. That realization continues to pay dividends every day.

Key Takeaways

• Narration is the art of storytelling.
• Narratives can be either factual or fictional. In either case, narratives should emotionally engage the reader.
• Most narratives are composed of major events sequenced in chronological order.
• Time transition words and phrases are used to orient the reader in the sequence of a narrative.
• The four basic components to all narratives are plot, character, conflict, and theme.
• The use of sensory details is crucial to emotionally engaging the reader.
• A strong introduction is important to hook the reader. A strong conclusion should add resolution to the conflict and evoke the narrative’s theme.
• Provided by : Lumen Learning. Located at : http://lumenlearning.com/ . License : CC BY: Attribution
• Successful Writing. Provided by : Anonymous. Located at : http://2012books.lardbucket.org/books/successful-writing/s14-01-narration.html . License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike
• My College Education. Authored by : Scott McLean. Located at : http://2012books.lardbucket.org/books/successful-writing/s19-02-narrative-essay.html . License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike
• A Brief Digression on Matters of Lost Time. Authored by : John Hodgman . Provided by : TED Talks. Located at : http://youtu.be/8W51H1croBw . License : All Rights Reserved . License Terms : Standard YouTube License
• The Music of a War Child. Authored by : Emmanuel Jal. Provided by : TED Talks. Located at : http://youtu.be/nF_dHdNOgSA . License : All Rights Reserved . License Terms : Standard YouTube License

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Telling Short, Memorable Stories From Your Life: ‘My Secret Pepsi Plot’

An invitation to students to tell a meaningful story in a limited number of words, with an example from The Times’s Lives column to help.

By Katherine Schulten

Our new Mentor Text series spotlights writing from The Times that students can learn from and emulate.

This entry, like several others we are publishing, focuses on an essay from The Times’s long-running Lives column to consider skills prized in narrative writing. We are starting with this genre to help support students participating in our 2020 Personal Narrative Essay Contest .

Our Personal Narrative Essay Contest is inspired by The New York Times’s Lives column, which ran from 1996 to 2017 and featured “short, powerful stories about meaningful life experiences .”

The editor of the column once posted some advice on “How to Write a Lives Essay” to guide those who submitted to the column annually. Much of that advice applies to our contest as well.

For example, several points boil down to reminders to keep it simple, including tips like:

Don’t try to fit your whole life into one “Lives.”

Don’t try to tell the whole story.

Tell a small story — an evocative, particular moment.

Better to start from something very simple that you think is interesting (an incident, a person) and expand upon it, rather than a large idea that you then have to fit into a short essay. For example, start with “the day the Santa Claus in the mall asked me on a date” rather than “the state of affairs that is dating in an older age bracket.”

This advice is similar to advice often given to high school seniors writing college essays : You have only 650 words to show admissions officers something important, interesting or memorable about who you are and what matters to you. A list of awards you’ve won won’t do it, but an engaging story about making brownies with your stepbrother just might.

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What is a Narrative Essay? How to Write It (with Examples)

Narrative essays are a type of storytelling in which writers weave a personal experience into words to create a fascinating and engaging narrative for readers. A narrative essay explains a story from the author’s point of view to share a lesson or memory with the reader. Narrative essays, like descriptive essays , employ figurative language to depict the subject in a vivid and creative manner to leave a lasting impact on the readers’ minds. In this article, we explore the definition of narrative essays, list the key elements to be included, and provide tips on how to craft a narrative that captivates your audience.

Table of Contents

What is a narrative essay, choosing narrative essay topics, key elements in a narrative essay, creating a narrative essay outline, types of narrative essays, the pre-writing stage, the writing stage, the editing stage, narrative essay example, frequently asked questions.

Narrative essays are often based on one’s personal experience which allows the author to express himself/herself in compelling ways for the reader. They employ storytelling elements to convey the plot and captivate the reader while disclosing the story’s theme or purpose. The author must always have a purpose or theme in mind when writing a narrative essay. These essays may be assigned to high school students to assess their ability to create captivating stories based on personal experiences, or they may be required as part of a college application to assess the applicant’s personal traits. Narrative essays might be based on true events with minor tweaks for dramatic purposes, or they can be adapted from a fictional scenario. Whatever the case maybe, the goal is to tell a story, a good story!

In narrative essays, the emphasis is not so much on the narrative itself as it is on how you explain it. Narrative essay topics cover a range of experiences, from noteworthy to mundane, but when storytelling elements are used well, even a simple account can have weight. Notably, the skills required for narrative writing differ significantly from those needed for formal academic essays, and we will delve deeper into this in the next section.

You can talk about any narrative, but consider whether it is fascinating enough, has enough twists and turns, or teaches a lesson (It’s a plus if the story contains an unexpected twist at the end). The potential topics for a narrative essay are limitless—a triumphant story, a brief moment of introspection, or a voyage of self-discovery. These essays provide writers with the opportunity to share a fragment of their lives with the audience, enriching both the writer’s and the reader’s experiences. Narrative essay examples could be a write-up on “What has been your biggest achievement in life so far and what did it teach you?” or “Describe your toughest experience and how you dealt with it?”.

While narrative essays allow you to be creative with your ideas, language, and format, they must include some key components to convey the story clearly, create engaging content and build reader interest. Follow these guidelines when drafting your essay:   

• Tell your story using the first person to engage users.
• Use sufficient sensory information and figurative language.
• Follow an organized framework so the story flows chronologically.
• Include interesting plot components that add to the narrative.
• Ensure clear language without grammar, spelling, or word choice errors.

Narrative essay outlines serve as the foundational structure for essay composition, acting as a framework to organize thoughts and ideas prior to the writing process. These outlines provide writers with a means to summarize the story, and help in formulating the introduction and conclusion sections and defining the narrative’s trajectory.

Unlike conventional essays that strictly adhere to the five-paragraph structure, narrative essays allow for more flexibility as the organization is dictated by the flow of the story. The outline typically encompasses general details about the events, granting writers the option to prioritize writing the body sections first while deferring the introduction until later stages of the writing process. This approach allows for a more organic and fluid writing process. If you’re wondering how to start writing a narrative essay outline, here is a sample designed to ensure a compelling and coherent narrative:

Introduction

• Hook/Opening line: The introduction should have an opening/hook sentence that is a captivating quote, question, or anecdote that grabs the reader’s attention.
• Background: Briefly introduce the setting, time, tone, and main characters.
• Thesis statement: State clearly the main theme or lesson acquired from the experience.
• Event 1 (according to occurrence): Describe the first major event in detail. Introduce the primary characters and set the story context; include sensory elements to enrich the narrative and give the characters depth and enthusiasm.
• Event 2: Ensure a smooth transition from one event to the next. Continue with the second event in the narrative. For more oomph, use suspense or excitement, or leave the plot with cliffhanger endings. Concentrate on developing your characters and their relationships, using dialog to bring the story to life.
• Event 3: If there was a twist and suspense, this episode should introduce the climax or resolve the story. Keep the narrative flowing by connecting events logically and conveying the feelings and reactions of the characters.
• Summarize the plot: Provide a concise recap of the main events within the narrative essay. Highlight the key moments that contribute to the development of the storyline. Offer personal reflections on the significance of the experiences shared, emphasizing the lasting impact they had on the narrator. End the story with a clincher; a powerful and thought-provoking sentence that encapsulates the essence of the narrative. As a bonus, aim to leave the reader with a memorable statement or quote that enhances the overall impact of the narrative. This should linger in the reader’s mind, providing a satisfying and resonant conclusion to the essay.

There are several types of narrative essays, each with their own unique traits. Some narrative essay examples are presented in the table below.

How to write a narrative essay: Step-by-step guide

A narrative essay might be inspired by personal experiences, stories, or even imaginary scenarios that resonate with readers, immersing them in the imaginative world you have created with your words. Here’s an easy step-by-step guide on how to write a narrative essay.

• Select the topic of your narrative

If no prompt is provided, the first step is to choose a topic to write about. Think about personal experiences that could be given an interesting twist. Readers are more likely to like a tale if it contains aspects of humor, surprising twists, and an out-of-the-box climax. Try to plan out such subjects and consider whether you have enough information on the topic and whether it meets the criteria of being funny/inspiring, with nice characters/plot lines, and an exciting climax. Also consider the tone as well as any stylistic features (such as metaphors or foreshadowing) to be used. While these stylistic choices can be changed later, sketching these ideas early on helps you give your essay a direction to start.

• Create a framework for your essay

Once you have decided on your topic, create an outline for your narrative essay. An outline is a framework that guides your ideas while you write your narrative essay to keep you on track. It can help with smooth transitions between sections when you are stuck and don’t know how to continue the story. It provides you with an anchor to attach and return to, reminding you of why you started in the first place and why the story matters.

• Compile your first draft

A perfect story and outline do not work until you start writing the draft and breathe life into it with your words. Use your newly constructed outline to sketch out distinct sections of your narrative essay while applying numerous linguistic methods at your disposal. Unlike academic essays, narrative essays allow artistic freedom and leeway for originality so don’t stop yourself from expressing your thoughts. However, take care not to overuse linguistic devices, it’s best to maintain a healthy balance to ensure readability and flow.

• Use a first-person point of view

One of the most appealing aspects of narrative essays is that traditional academic writing rules do not apply, and the narration is usually done in the first person. You can use first person pronouns such as I and me while narrating different scenarios. Be wary of overly using these as they can suggest lack of proper diction.

• Use storytelling or creative language

You can employ storytelling tactics and linguistic tools used in fiction or creative writing, such as metaphors, similes, and foreshadowing, to communicate various themes. The use of figurative language, dialogue, and suspense is encouraged in narrative essays.

• Follow a format to stay organized

There’s no fixed format for narrative essays, but following a loose format when writing helps in organizing one’s thoughts. For example, in the introduction part, underline the importance of creating a narrative essay, and then reaffirm it in the concluding paragraph. Organize your story chronologically so that the reader can follow along and make sense of the story.

• Reread, revise, and edit

Proofreading and editing are critical components of creating a narrative essay, but it can be easy to become weighed down by the details at this stage. Taking a break from your manuscript before diving into the editing process is a wise practice. Stepping away for a day or two, or even just a few hours, provides valuable time to enhance the plot and address any grammatical issues that may need correction. This period of distance allows for a fresh perspective, enabling you to approach the editing phase with renewed clarity and a more discerning eye.

One suggestion is to reconsider the goals you set out to cover when you started the topic. Ask yourself these questions:

• Is there a distinct beginning and end to your story?
• Does your essay have a topic, a memory, or a lesson to teach?
• Does the tone of the essay match the intended mood?

Now, while keeping these things in mind, modify and proofread your essay. You can use online grammar checkers and paraphrase tools such as Paperpal to smooth out any rough spots before submitting it for publication or submission.

It is recommended to edit your essay in the order it was written; here are some useful tips:

• Revise the introduction

After crafting your narrative essay, review the introduction to ensure it harmonizes with the developed narrative. Confirm that it adeptly introduces the story and aligns seamlessly with the conclusion.

• Revise the conclusion and polish the essay

The conclusion should be the final element edited to ensure coherence and harmony in the entire narrative. It must reinforce the central theme or lesson outlined initially.

• Revise and refine the entire article

The last step involves refining the article for consistent tone, style, and tense as well as correct language, grammar, punctuation, and clarity. Seeking feedback from a mentor or colleague can offer an invaluable external perspective at this stage.

Narrative essays are true accounts of the writer’s personal experiences, conveyed in figurative language for sensory appeal. Some narrative essay topic examples include writing about an unforgettable experience, reflecting on mistakes, or achieving a goal. An example of a personal narrative essay is as follows:

Title: A Feline Odyssey: An Experience of Fostering Stray Kittens

Introduction:

It was a fine summer evening in the year 2022 when a soft meowing disrupted the tranquility of my terrace. Little did I know that this innocent symphony would lead to a heartwarming journey of compassion and companionship. Soon, there was a mama cat at my doorstep with four little kittens tucked behind her. They were the most unexpected visitors I had ever had.

The kittens, just fluffs of fur with barely open eyes, were a monument to life’s fragility. Their mother, a street-smart feline, had entrusted me with the care of her precious offspring. The responsibility was sudden and unexpected, yet there was an undeniable sense of purpose in the air , filling me with delight and enthusiasm.

As the days unfolded, my terrace transformed into a haven for the feline family. Cardboard boxes became makeshift cat shelters and my once solitary retreat was filled with purrs and soothing meows. The mother cat, Lily, who initially observ ed me from a safe distance, gradually began to trust my presence as I offered food and gentle strokes.

Fostering the kittens was a life-changing , enriching experience that taught me the true joy of giving as I cared for the felines. My problems slowly faded into the background as evenings were spent playing with the kittens. Sleepless nights turned into a symphony of contented purring, a lullaby filled with the warmth of trust and security . Although the kittens were identical, they grew up to have very distinct personalities, with Kuttu being the most curious and Bobo being the most coy . Every dawn ushered in a soothing ritual of nourishing these feline companions, while nights welcomed their playful antics — a daily nocturnal delight.

Conclusion:

As the kittens grew, so did the realization that our paths were destined to part. Finally, the day arrived when the feline family, now confident and self-reliant, bid farewell to my terrace. It was a bittersweet moment, filled with a sense of love and accomplishment and a tinge of sadness.

Fostering Kuttu, Coco, Lulu, and Bobo became one of the most transformative experiences of my life. Their arrival had brought unexpected joy, teaching me about compassion and our species’ ability to make a difference in the world through love and understanding. The terrace, once a quiet retreat, now bore the echoes of a feline symphony that had touched my heart in ways I could have never imagined.

The length of a narrative essay may vary, but it is typically a brief to moderate length piece. Generally, the essay contains an introductory paragraph, two to three body paragraphs (this number can vary), and a conclusion. The entire narrative essay could be as short as five paragraphs or much longer, depending on the assignment’s requirements or the writer’s preference.

You can write a narrative essay when you have a personal experience to share, or a story, or a series of events that you can tell in a creative and engaging way. Narrative essays are often assigned in academic settings as a form of writing that allows students to express themselves and showcase their storytelling skills. However, you can also write a narrative essay for personal reflection, entertainment, or to communicate a message.

A narrative essay usually follows a three-part structure: – Introduction (To set the stage for the story) – Body paragraphs (To describe sequence of events with details, descriptions, and dialogue) – Conclusion (To summarize the story and reflect on the significance)

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What is a Descriptive Essay? How to Write It (with Examples)

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18 Narrative and Memoir Essays

Narrative writing.

Human beings tell stories every day. We understand most of nature through stories. Though facts can be memorized, stories — the details, the description, the experience — make us believe.

Therefore, as we begin to study writing, we need to begin with the properties of the story. How do good storytellers make us believe? How can good writing draw a reader into a story? How can we harness the power of the story to make a point, even in a dry, academic context?

The purpose of narrative writing is to tell stories. This is a form we are familiar with, as any time we tell a story about an event or incident in our day, we are engaging in a form of narration. In terms of writing, narration is the act of describing a sequence of events. Sometimes this is the primary mode of an essay—writing a narrative essay about a particular event or experience, and sometimes this is a component used within an essay, much like other evidence is offered, to support a thesis. This chapter will discuss the basic components of narration, which can be applied either as a stand-alone essay or as a component within an essay.

Ultimately, narrative writing tries to relay a series of events in an emotionally engaging way. You want your audience to be moved by your story, which could mean through laughter, sympathy, fear, anger, and so on. The more clearly you tell your story, the more emotionally engaged your audience is likely to be.

WHERE DO WE FIND NARRATIVE?

We talk about narrative writing in many ways. Books will introduce it as Narration, Narrative, and Storytelling. Narrative creeps into most of the other kinds of writing we learn about, too. Persuasive essays use short stories — often called anecdotes  — to engage a reader’s attention and sympathy. Consider the difference between these two openings to the same essay:

Which opening makes you want to read more? The second one engages its readers with a story — and we’re hard-wired, as humans, to want to hear the end of a story.

Television plays on this characteristic all the time. Think of your favorite show and the maddening, brief preview that starts before the credits roll. It’s always a quick snippet that makes you stay tuned because the writers and producers know their audience will sit through several minutes of mindless commercials just to find out how the story will continue.

In our own writing, we can use stories in just the same way. We can draw our readers into our own experiences, even if they’ve never been through anything even similar to what we have, by telling our own stories.

HOW DO WE WRITE A NARRATIVE?

A narrative essay is a piece that tells one consistent, cohesive story. In academic writing, a narrative essay will also always convey a lesson, a moral, or a point that the writer wishes the reader to take.

When we say “moral,” some people think of after-school specials and having “good behavior” tips crammed down their throat. However, the most powerful lessons conveyed through writing are often done with great subtlety. True, the punishing pace of writing expected in a college course may not leave enough time to develop a nuanced story — no one is going to churn out War and Peace  or even  The Hobbit  in ten weeks — but not every story has to have the moral stated clearly, in bold font, at the very beginning.

Think about it this way: When you were a kid, if your grandmother had sat you down and said, “Listen. We’re now going to have a thirty-minute conversation about how it’s really bad if you start smoking,” would you have listened? Probably not. If, however, your grandmother took you to visit your uncle Larry, who had terminal lung cancer, and then casually mentioned as you left that Larry had been smoking since he was your age — would you get the lesson? Would you remember it? Do you remember better the 200 lectures you had as a teenager about not being a bully, or do you remember the one time that you witnessed its effects firsthand?

In a narrative, we want to pull that same kind of trick on our readers: get our point across, but do it in a way that engages the imagination and attention. Use the power of the story.

The narrative relies on the same components that all good writing does: it needs detail, clear organization, and a central purpose (AKA our friends Development, Organization, and Unity).

NARRATIVE DEVELOPMENT: BRING THE DETAILS

Consider this passage from the very first Sherlock Holmes mystery, “A Study in Scarlet,” which describes a major character:

The author includes detail upon detail to describe this gentleman. He could have simply said, “He was dying from hunger and from thirst,” which would tell us everything we need to know. Instead, he describes how these feelings have had an effect upon the man — he is  gaunt , he’s starting to look like a skeleton, and he can barely stand without the support of his rifle.

Think of the best book you’ve ever read (or the best television show you’ve ever watched, or the movie you love), and you may be able to relate to this. Good description is the difference between hearing a game on the radio and watching it live in the stadium (or on a ginormous 3-D television). The very breath of life in a narrative will always be your ability to describe a scene.

This relies on the use of specific language. As you read through the revision section, you were encouraged to avoid phrases that your audience might find misleading. Consider this as you write a story. With every sentence, ask, “What does my audience know? What do they think?” If you say a car is “beautiful,” will your audience think of a 2018 Hybrid Honda Accord or of a 1966 Chevelle (pictured at right)? If there’s some doubt, change your words to reflect your meaning.

You may have heard the advice that asks you to “show, not tell” in writing. This is what we mean: be so descriptive in telling a story that the reader feels s/he is there beside you, seeing the swimming pool or the school’s front doors or the new car or the new child with his/her own eyes.

NARRATIVE ORGANIZATION

Narrative traditionally follows time order, or  chronological order , throughout. This seems obvious when you think about it — we tell stories in time order, starting (usually) at the beginning and working through to the end.

In an essay, pieces of the story can be organized into timespans by paragraph. For instance, if I’m describing a particularly harrowing day at work, I might have a paragraph just for the morning, and then a paragraph about my terrible lunch break, and then a paragraph about my afternoon.

Narrative essays usually can’t cover more ground than a day or two. Instead of writing about your entire vacation experience, study abroad month, two years of work at the plant, or 18 years living at home, focus on one particular experience that took place over a day or two. That’s enough for a reader to digest in a few pages, and it will also give you a chance to really lay in details without feeling rushed.

Sometimes, we start stories out of order. Many popular movies and television shows do this regularly by showing a clip of something that happens later before starting the whole show. If you’ve ever seen an episode of NCIS, you’ll be familiar with this technique: they start each section of the show with a photo of the ending scene, then start an hour or two before that scene in the live-action. Shows often jump to “One Week Earlier” between commercial breaks.

Think of the emotional impact that has upon you as a viewer. Again, it’s a trick the writers pull with their story to drive you through the boring/silly/pointless/insulting commercials so that you’ll stay with them. We want to know how the characters get to that end.

You can manipulate your audience in this way, too, but be careful; giving away too much of the ending may sometimes make a reader simply put down what they’re reading. It’s safer (though not always better) to just start at the beginning and write things down as they happened. Particularly in a first draft, sticking to the natural story order will be a good way to make sure nothing gets missed.

Chronological order , the order in which events unfold from first to last, is the most common organizational structure for narratives. Stories typically have a beginning, a middle, and an end. Certain transitional words and phrases aid in keeping the reader oriented in the sequencing of a story. Some of these phrases are listed below.

Figure 5.2 Transition Words and Phrases for Expressing Time

The following are the other basic components of a narrative:

•  Plot . The events as they unfold in sequence.

•  Characters . The people who inhabit the story and move it forward. Typically, each narrative has there are minor characters and main characters. The minor characters generally play supporting roles to the main character, or the protagonist.

•  Conflict . The primary problem or obstacle that unfolds in the plot, which the protagonist must solve or overcome by the end of the narrative. The way in which the protagonist resolves the conflict of the plot results in the theme of the narrative.

•  Theme . The ultimate message the narrative is trying to express; it can be either explicit or implicit.

Writing at Work

When interviewing candidates for jobs, employers often ask about conflicts or problems a potential employee had to overcome. They are asking for a compelling personal narrative. To prepare for this question in a job interview, write out a scenario using the narrative moved structure. This will allow you to troubleshoot rough spots as well as better understand your own personal history. Both processes will make your story better and your self-presentation better, too.

Narrative Anecdotes

An  anecdote  is a short, personal  narrative  about something specific. It is often used as a component in an essay, acting as evidence to support your thesis, as an example to demonstrate your point, and/or as a way to establish your credibility. It always has a point in telling it.

Elements of an Anecdote

1. Who, Where, When

Have you ever wondered why children’s stories begin something like this?

Once upon a time, in a galaxy far, far away, the teachers were revolting …

It is the start of a simple narrative. It also contains all the elements of a beginning to any narrative: when, where, and who. An anecdote, because it is short, will begin similarly:

One day, while I was sitting at a stop sign waiting for the light to change…

This little particle of an anecdote tells when, who, and where before the first sentence even ends.

Note : An anecdote sets up a particular incident; it does not tell about a long period of time.

2. What Happened (Sequence of Events)

Any narrative also includes a sequence of events. You should be able to read an anecdote and tell what happens first, what happens next, and so on. In the following anecdote, the bolded words suggest each event in the sequence.

Example Anecdote:

My first day of college I parked in the “South Forty,” which is what everyone called the huge parking lot on the edge of the campus. It was seven forty-five in the morning, hazy and cool. I walked across the parking lot, crossed a busy street, walked over a creek, through a “faculty” parking lot, crossed another street, and came to the first row of campus buildings. I walked between buildings, past the library and the student mall. I passed many quiet, nervous-looking students along the way. Many of them smiled at me. One trio of young girls was even chuckling softly among themselves when they all smiled and said “Hi” to me at once. By the time I got to my classroom, far on the other side of campus from the parking lot, I was smiling and boldly saying “Hi” to everyone, too, particularly the girls. Every single one of them smiled or responded with a “Hi” or made a friendly comment or even chuckled happily. It was my first day of college.

When I found the building I was looking for, a friend from high school appeared. She was in my first class! I smiled at her and said, “Hi!” She looked at me. She smiled. Then she laughed. She said, “Why are you wearing a sock on your shirt?” I looked down. A sock had come out of the dryer clinging to my shirt.

3. Implied Point

Most of us want to make sure that we “get the point across” to whatever story we are telling, assuming it has a point. To do this, we tend to explain what we are telling. It is sometimes very difficult to stop. However, stopping in a timely way allows the reader to draw his or her own conclusions.

Show, don’t tell

In the anecdote above, I am very tempted to tell the reader what I felt at the moment I realized that everyone was laughing AT me rather than just being friendly. For the ending, where the point is in this case, it is best to let the reader infer (draw conclusions, fill in the blanks) what happens implicitly rather than to state explicitly what the point is, or what the narrator felt, or anything else.

The more indirect you are about your object or place the better. In the anecdote above, it might be obvious that my object is a sock or my place is a parking lot. The point is, it is not an anecdote “about” a sock; it is referred to indirectly.

How do we show rather than tell? First, describe what you see (I don’t really see anything with “I was SO embarrassed…”) or what you smell, hear, or taste, but NOT what you feel. An easy way to check whether you are showing or telling is to go through your anecdote and underline the verbs. If the verbs are “be”-verbs (is, was, were, etc.) or verbs that describe actions we cannot see (“I thought…” “I believed…” “I imagined…” “it made me upset…” and so on) then you are probably telling. In the sentence above I used “walked,” “lecturing,” “ripped,” and “said.”

Most Common Question:

“What makes stories or anecdotes interesting and something I can relate to?”

Actually, it is a simple principle, even though it may not be obvious. We “relate” or “connect” most easily to situations we recognize and so fill in the blanks. If you “tell” me, for example, “I was SO embarrassed …” then you have not let me fill in MY embarrassment. On the other hand, if you “show” me a scene, it allows me to fit my own experience into it:

“I walked past the corner of the aluminum whiteboard tray while lecturing to a class. It ripped my pants. After a moment I said, ‘Class dismissed.’”

The writer of those statements, hopes the reader will fill in some similarly embarrassing moment without the writer clearly stating that this is what is supposed to be done. The connection, the act of “filling in,” is what people tend to refer to as “relating to.”

Interestingly, it does not even matter whether or not readers fill in what the writer intend for them to fill in; it is the act of filling in our own experiences that makes us “relate” to an incident. From a writer’s perspective, that means we should show rather than tell.

Second, resist the temptation to “explain.” Let the reader fill in the blanks! It is so much more personal when the reader participates by filling in.

Assignment 1

Write an anecdote that contains who, where, when, and what happens (a sequence of events). Think about an anecdote that  involves ,  alludes to, or otherwise includes your object or place ; it does not have to be “about” your place. It also does not have to be “true” in the strict sense of the word; we will not be able to verify any believable details if they add to the effect of the anecdote. Type it out. Keep it simple and to the point.

What are ‘clichés’ and why can’t we use them?

Clichés are figurative phrases and expressions that you have probably heard a million times. For our purposes, there are two kinds of clichés: the ones that jump out at you and the ones that we use without thinking.

If you are paying attention, you will notice that the two sentences above contain at least 3 clichés. You might also notice that clichés are best suited to spoken language, because they are readily available and sometimes when we speak, we don’t have time to replace a common expression with a unique one. However, we DO have time to replace clichés while we are writing.

The problem with clichés in writing is that they are too general when we should be much more specific. They also tend to tell rather than show. In the first sentence above, we have most likely heard the phrase, “have probably heard a million times.” In speech, that expression works. In writing, it should be  literal  rather than  figurative.  The first sentence is better this way:

Clichés are figurative phrases and expressions that we have heard so many times that we all share some understanding of what they mean.

Not exactly what you thought when you read it at the beginning of this answer, is it? That is why being  literal and specific  in writing is better than  figurative and vague  as a rule.

Here is a re-write of the second sentence at the start of this answer:

For our purposes, there are two kinds of clichés: the ones that are obvious expressions (like “You can lead a horse to water …”) and the ones that are not part of expressions but seem to “go” easily into a group of words (like “we use without thinking”).

The second type is more difficult to identify and eradicate. Usually it is a group of words we have heard before that doesn’t add anything to a statement. For example, instead of “We watched the donuts roll down the street every night,” you might be tempted to add to it this way: “We watched the donuts roll down the street each and every night.” Avoid clichés in your writing.

To see more see more commonly used clichés and for guidance on how to rewrite them, see this  handout (https://writingcenter.unc.edu/cliches/)from The University of North Carolina, Chapel Hill, Writing Center.

Some Other Rhetorical Tips

• To create strong details, keep the human senses in mind. You want your reader to be immersed in the world that you create, so focus on details related to sight, sound, smell, taste, and touch as you describe people, places, and events in your narrative.
• Create tension by making the reader nervous about what is going to happen through sentence structure, tone, and voice.
• Add dialogue to show the immediacy and drama of the personal interactions (re-creating conversations as necessary to make your narrative work).
• Name specific objects to re-create the scene by selecting details that leave the readers with a dominant impression of how things were.
• Show people in action by describing precise movements and dialogue to convey the action of the scene.

External Links:

“ Sixty-nine Cents ” (https://tinyurl.com/ybjasq9c) by Gary Shteyngart: In “Sixty-nine Cents,” author Gary Shteyngart describes a coming-of-age experience as a first-generation Russian-Jewish immigrant in modern America.

Sherman Alexie grew up on the Spokane Reservation in Washington State. He chronicles his challenges in school, starting in first grade, in  Indian Education (https://tinyurl.com/hlshngr).

Sandra Cisneros offers an example of a narrative essay in “ Only Daughter ”  (https://tinyurl.com/yc4srod7) that captures her sense of her Chicana-Mexican heritage as the only daughter in a family of seven children. The essay is also available here  (https://tinyurl.com/y7hzxhz6).

 Annie Dilliard offers an example of a narrative essay in an excerpt, often entitled “ The Chase ” (https://tinyurl.com/ycsen7r4) from her autobiography  An American Childhood , outlining a specific memorable event from her childhood. This essay is also available  here  (https://tinyurl.com/y7udsl88).

NARRATIVE UNITY

The final consideration in putting together a narrative essay should be unifying it around a single theme or lesson. As you draft, you may already have this lesson in mind:  everyone should wear a seatbelt.  However, remember that your reader needs to make up her own mind. Don’t insult a reader by beating them up with your lesson, and don’t leave them guessing about the meaning of your piece by leaving it out completely.

Many writers include a paragraph of reflection after telling a personal story in an essay that lets a reader know, directly, the significance that the story has on the writer’s life. This can be a good way to get a lesson across. Showing what you’ve learned or found important in an event will provide the reader with a clue about the overall meaning of the story.

You should use “I” in a personal, narrative essay . There are types of academic writing where “I” is inappropriate, but this is not one of those times. In fact, the best narratives will often be the most personal, the stories that avoid hiding behind “you” or “they” and instead boldly tell the writer’s own story.

NARRATIVE OUTLINES

The typical narrative essay follows an outline that should seem like common sense:

• Paragraph 1: Introduction
• Paragraph 2: Event #1
• Paragraph 3: Event #2
• Paragraph 4: Event #3
• Paragraph 5: Conclusion

This outline is flexible. Perhaps the first event in your story will take significant space to describe; it may need 2 paragraphs of its own. Maybe there are smaller events that happen within the larger events. Maybe for your piece, it makes sense to jump right into the story instead of spending an introduction paragraph to give some setup. What matters most is that a reader can easily follow the piece from beginning to end and that she will leave with a good understanding of what you wanted the reader to learn.

Student Sample Essay

My College Education

The first class I went to in college was philosophy, and it changed my life forever. Our first assignment was to write a short response paper to the Albert Camus essay “The Myth of Sisyphus.” I was extremely nervous about the assignment as well as college. However, through all the confusion in philosophy class, many of my questions about life were answered.

I entered college intending to earn a degree in engineering. I always liked the way mathematics had right and wrong answers. I understood the logic and was very good at it. So when I received my first philosophy assignment that asked me to write my interpretation of the Camus essay, I was instantly confused. What is the right way to do this assignment, I wondered? I was nervous about writing an incorrect interpretation and did not want to get my first assignment wrong. Even more troubling was that the professor refused to give us any guidelines on what he was looking for; he gave us total freedom. He simply said, “I want to see what you come up with.”

Full of anxiety, I first set out to read Camus’s essay several times to make sure I really knew what was it was about. I did my best to take careful notes. Yet even after I took all these notes and knew the essay inside and out, I still did not know the right answer. What was my interpretation? I could think of a million different ways to interpret the essay, but which one was my professor looking for? In math class, I was used to examples and explanations of solutions. This assignment gave me nothing; I was completely on my own to come up with my individual interpretation.

Next, when I sat down to write, the words just did not come to me. My notes and ideas were all present, but the words were lost. I decided to try every prewriting strategy I could find. I brainstormed, made idea maps, and even wrote an outline. Eventually, after a lot of stress, my ideas became more organized and the words fell on the page. I had my interpretation of “The Myth of Sisyphus,” and I had my main reasons for interpreting the essay. I remember being unsure of myself, wondering if what I was saying made sense, or if I was even on the right track. Through all the uncertainty, I continued writing the best I could. I finished the conclusion paragraph, had my spouse proofread it for errors, and turned it in the next day simply hoping for the best.

Then, a week or two later, came judgment day. The professor gave our papers back to us with grades and comments. I remember feeling simultaneously afraid and eager to get the paper back in my hands. It turned out, however, that I had nothing to worry about. The professor gave me an A on the paper, and his notes suggested that I wrote an effective essay overall. He wrote that my reading of the essay was very original and that my thoughts were well organized. My relief and newfound confidence upon reading his comments could not be overstated.

What I learned through this process extended well beyond how to write a college paper. I learned to be open to new challenges. I never expected to enjoy a philosophy class and always expected to be a math and science person. This class and assignment, however, gave me the self-confidence, critical-thinking skills, and courage to try a new career path. I left engineering and went on to study law and eventually became a lawyer. More important, that class and paper helped me understand education differently. Instead of seeing college as a direct stepping stone to a career, I learned to see college as a place to first learn and then seek a career or enhance an existing career. By giving me the space to express my own interpretation and to argue for my own values, my philosophy class taught me the importance of education for education’s sake. That realization continues to pay dividends every day.

Most People Don’t Understand Memoirs  

In 2006, James Frey wrote a memoir about parts of his life when he was under the influence of drugs called  A Million Little Pieces , and after Oprah had him on her show to discuss the book – it was featured in her popular book club, of course – she was told that he “lied” about certain parts. Well, he didn’t lie. Memoirs contain what we remember. What we remember isn’t always “fact.” What I always say is that if you have all of your family members report what happened at a family gathering – like a birthday party or Christmas – whose report would be correct? No ones! That’s what a memoir is. It’s still nonfiction because it’s what the person remembers, but it’s not false on purpose. If I remember that my sister responded to me in a snotty way one day and my other sister didn’t think so, no one is correct. It’s just my memory versus hers.

Now, typically, memoirs encompass just a chunk of someone’s life, like when James Frey wrote about his drug years, but sometimes, some famous person in their 70s (or older) will write his/her memoir. No matter what, it’s simply what they remember, and I suppose if someone’s on drugs or has an awful memory, the stories could appear to be false. But they aren’t. That’s why they say, “life is stranger than fiction.”

Memoirs are part of the nonfiction category of literature; they contain a lot of description and detail, and they are typically very, very personal in content.

The Bits and Pieces of Memoir

The memoir is a specific type of narrative. It is autobiographical in nature, but it is not meant to be as comprehensive as a biography (which tells the entire life story of a person). Instead, a memoir is usually only a specific “slice” of one’s life. The time span within a memoir is thus frequently limited to a single memorable event or moment, though it can also be used to tell about a longer series of events that make up a particular period of one’s life (as in Cameron Crowe’s film memoir Almost Famous ). It is narrative in structure, usually describing people and events that ultimately focuses on the emotional significance of the story to the one telling it. Generally, this emotional significance is the result of a resolution from the conflict within the story. Though a memoir is the retelling of a true account, it is not usually regarded as being completely true. After all, no one can faithfully recall every detail or bit of dialogue from an event that took place many years ago. Consequently, some creative license is granted by the reader to the memoirist recounting, say, a significant moment or events from his childhood some thirty years, or more, earlier. (However, the memoirist who assumes too much creative license without disclosing that fact is vulnerable to censure and public ridicule if his deception is found out, as what happened with James Frey and his memoir,  A Million Little Pieces .)

Furthermore, names of people and places are often changed in a memoir to protect those who were either directly or indirectly involved in the lives and/or event(s) being described.

Why read memoirs?

To learn about other people’s lives and their thoughts about events that have occurred.  Memoirs are a personalized look at history.

How to write memoirs?

Reflect n your life. write what you remember about events that matter to you from your unique point-of-view.

Dialogue is another way to bring life to your writing. Dialogue is conversation or people speaking in your story. An engaging dialogue goes beyond what is simply being said to include descriptions of non-verbal communication (facial expressions, body movement, changes in tone, and speed of speech) and characterization. The way people speak and interact while talking reveals much about them and the situation.

Writing a natural-sounding dialogue is not easy. Effective dialogue must serve more than one purpose – it should:

• Drive the plot forward,
• Reveal information about the characters, and
• Build tension or introduce conflict.

Sample Dialogue

“So, what was it really like?” I asked.

“I’ve told you. It was amazing.”

I shifted to my side so I could look at her. “You have to give me more than that,” I insisted, “and not the mom and dad version.”

Liv mirrored my move to her side and propped up her head with her arm. Her blue eyes searched my greens, looking for the right words. “I shouldn’t–”

We broke our gaze as we heard our mom call for us. Once again, I didn’t get the truth.

Basic Dialogue Rules

• “I want to go to the beach,” she said.
• He asked, “Where’s the champagne?”
• “That is,” Wesley said, “that neither you nor me is her boy.”
• Even if the speaker says only one word, with no accompanying attribution or action, it is a separate paragraph.
• Start a new paragraph when you wish to draw the reader’s attention to a different character, even if that character doesn’t actually speak.
• For internal dialogue, italics are appropriate.

Example Memoir

Chocolate Can Kill You

Just when you think your life could not get any better, the Great One Above throws you for a loop that causes you to think upon your life, yourself, and your “little” obsession with chocolate. I am somewhat ashamed of this story, but it taught me so much. I still remember Alisa’s face when I came crying into the Valley City gym, I can hear Dad’s echoing “Are you OKAY?” consistently in my mind as if it had been a childhood scolding, and I see the image of the snow coming at me at 70mph every time I drive on a highway now.

In 1997, the morning after Valentine’s Day, I took off to see my sister in Valley City. She was there because of a wrestling meet. She is one of their prized assistants and without her, they would never get to see how goofy they look in tights. It was a crisp morning, and I cannot remember if I filled the bronco’s tank, but I did purchase a Twix bar before heading out on I-94. I vaguely remember thinking, Gee a seat belt would be good, even though the roads were as clean as they could have been in a North Dakota February. On that ten-degree morning, I met up with no one on the highway.

I was just bee-bopping along the left side of the road, listening to the radio and singing aloud as if I was Mariah Carey. It was at this time that I chomped into my first Twix bar.

In an attempt at a different radio station or something or another, I dropped the last bar between my legs onto the floor of the black beastly bronco.

This is where I become a stupid human. I tried to recapture the chocolate bar thinking, or maybe not even thinking, It will only take me a second. Whoever has said that seconds count in any accident WAS RIGHT! All of a sudden, I look up to see that I am driving 70 mph into the median’s snowdrifts. I cranked the wheel, thinking I could just drive back onto the highway. I mumble a few swear words and realize I am going 70 MPH IN A VERY DEEP SNOWDRIFT! I take my foot off the accelerator and while the front end slows, the back end has accumulated too much energy or velocity (a good physics question) and begins to lift upwards. I close my eyes, cross my arms across my chest, and crouch back into my seat and start to feel the bronco as well as myself turn and twist and hover for what seemed an eternity in slow motion. I did not open my eyes once.

And then all of a sudden, the small jolted car lands- PLOP – ON ITS WHEELS! My chair has completely reclined, and I sit up seeing smoke coming from my engine. I forget how to work my car and instinctively get out as if to show God I am alive. I stand on top of the drift becoming taller than my boxy 4×4. There are small dents in the front where you would open the hood but that is the biggest damage I can see.

“Are you OKAY?” An old couple are parked and honking at me from the other side of the highway going towards Fargo. They tell me to come with them and turn off the engine. I grab my parka and make my way through the snow to sit down in the back seat of the long car and take in that old people smell. This is when I quietly cry.

“You did a flip! It’s amazing you walked away from it,” says the old man and I think to myself sarcastically to calm down, Yeah I tried to do that. I ask them to take me to Valley City trying not to sound three and a half. Another major thought echoes What will Dad say?

They turned around at the next available bridge which was a mile away and the lady told me the exit so I could give it to the people that will tow my little bruised bronco. They talked to themselves as I tried to think of what exactly happened, how glad I was to be alive, and how I felt about it. Once inside the gymnasium, I found Alisa’s eyes and she instantly frowned and looked scared.

“Did you and Jason fight?” No, I try to say but I am crying in front of a large crowd who all seem more interested in me now than the matches. I sit down beside her and say:

“I did a flip… the bronco… flipped … it did a 360.”

“The bronco did a WHAT! ARE YOU OKAY!” She panics. I go to call Dad as she tells her friends, and they also feel sympathetic and are quite amazed. I don’t know how I managed to remember my calling card number, but I reached Mom and Dad just waking up. Once again Dad frightens me with his voice and vows to be there as soon as possible and tells me to call the highway patrol.

I was the only accident that whole day on the highway, I think, so I looked pretty silly.

Mom and Dad showed up an hour later. Mom was half-awake, and Dad looked like he’d been chugging coffee left and right. They had seen the bronco being towed incorrectly towards Fargo, so Dad feared the transmission was screwed up again much less the rest of the car. We took off for Fargo and stopped at the spot seeing the tracks lead into the snow, then 25 feet of no tracks, and suddenly a large indentation where the bronco had sat down.

Once at the Mobile on I-29, Dad jumped into the bronco to try to start it. It revved right up. I shook my head and thought of the motto, Built Ford Tough. Only the alignment and steering was off from me trying to turn it back onto the road, and the steam I had seen was the radiator fluid splashing onto the hot engine.

We had to meet with a highway patrolman, so the bronco could get a sticker and photos could be taken. I also, fortunately for the taxpayers, had to pay a Care of Vehicle bill of thirty dollars which means that the government basically can fine someone for trashing his/her own vehicle. This pissed me off incredibly after a day like I had just had. My mom had to remind me though that at least it wasn’t a medical bill.

The highway patrolman reminds me how valuable it was that I had had a seat belt on because I would have for sure gone through the windshield with that type of event and all the tossing that I had endured. That does not make replaying this event in my memory any better. As if God was saying: “No, not yet.”

It’s a common joke to not let me eat while I am driving.

That day made me incredibly grateful for my life, and for the people who came to my aid, especially my parents for spending their whole Saturday with me. Whether we were trying to contact the highway patrolman, paying the tower and the ticket, or comforting me- they never complained. Who knew chocolate could lead to such a life-threatening, yet philosophical day?

Time to Write

Purpose:  This assignment will demonstrate the understanding of how to write a memoir

Task: This assignment frames a single event for the memoir essay.

Write a Memoir Essay.  This essay should clearly identify a significant event or series of closely tied events that convey the significance of that event or has somehow shaped your personal perspective.  Remember that you are writing for an audience that doesn’t share your knowledge of the event(s), people, setting, etc. It is up to you to make your memoir come to life.

Key Features of a Memoir:

• Invoke the 5 senses
• Use narrative suspense
• use metaphor
• include significant details
• provide descriptive language
• use effective dialogue
• include transitions

Key Grading Considerations

• The rhetorical purpose is clear, focused, and appropriate to the audience and assignment.
• The purpose is focused on the memoir.
• Shows engagement with issues of story, language, rhetoric, or thinking deeply about a personal event.
• The theme relates to a personal experience but also illustrates more universal principles.
• Transitions
• Learning Point Thesis Statement
• Topic Sentences
• Some Narrative Elements that flow with the paper
• Clear introduction, event story, and conclusion
• Dialogue is used
• Descriptions and quotes to help visualize the event
• Correct, appropriate, and varied integration of textual examples, including in-text citations
• Limited errors in spelling, grammar, word order, word usage, sentence structure, and punctuation
• Good use of academic English
• Demonstrates cohesion and flow
• Uses the rules of dialogue
• Date format

Attributions

• Memoir Content Adapted from Excelsior Online Writing Lab (OWL). (2020).  Excelsior College. Retrieved from https://owl.excelsior.edu/ licensed under a Creative Commons Attribution-4.0 International License .
• Narrative Writing Content Adapted from BETTER WRITING FROM THE BEGINNING . (2020).  Jenn Kepka. Retrieved from Better Writing from the Beginning licensed under a Creative Commons Attribution-4.0 International License .

English 101: Journey Into Open Copyright © 2021 by Christine Jones is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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F4 Writing- An account of a true event (pg 73)

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Writing an account of a true event

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Free Event Essay Examples & Topics

An essay describing certain events that happened to you or other people is called an event essay. It doesn’t matter if the situation you’re writing about happened to you or not since your overall task does not change. This task can be a challenging one. You need to include the illustrative details of the event to make the readers feel like they’re experiencing the event firsthand. It needs to be more than a mere description of an event and contain elements of the narrative style.

Two paper types are the most common for the task.

A narrative essay is designed to tell a story; think of it as a review of an event. It will try to persuade rather than describe a situation. Such papers are written in first-person, which is usually not acceptable for essay writing.

A descriptive essay should convey a description of an event. You can start by sharing some details of the situation, providing colorful characterizations. That is to say, you draw an illustrative picture of the event but in words.

On this page, our writers have combined a list of event essay examples on various topics. You will find the guidelines for writing papers about current situations and issues. Besides, you’ll discover what events can lay the foundation for a great essay.

Neither narrative nor descriptive essays can be simply subjective. You have to research the event you’re trying to convey, not mess the facts and details. Of course, there is no way to represent an event in a completely objective manner, but fact-checking never hurt anyone.

To write an excellent event essay, follow these steps:

Step 1: Choose the event.

Look for an event that you can describe in the form of an essay. You can do that by looking at reputable news sources. Ensure that the articles you are examining are fresh and up-to-date.

Step 2: Do your research.

Start your research by reading the picked articles several times. Ask yourself questions about the events such as:

• What happened?
• When did the situation occur?
• Where did it happen?
• Who was involved?
• What was the result?

Make sure not to plagiarize when you write your essay. If you use direct or indirect quotes, don’t forget to include proper citations.

Step 3: Describe the event.

After you are done with the initial research, you can start by describing the event. Answer all the questions you have come up with. If you think you don’t have enough information, consult other sources: documentaries, journals, diaries, etc. Present several points of view and perspectives to make your description more accurate.

Step 4: Outline your essay.

By writing an outline, you can effectively prepare your thoughts and ideas. Creating a structure is an excellent way to logically connect the information from different sources and your own story.

Step 5: Write and cite.

At this point, you have done all the needed research and outlined your arguments. It’s time to create a description of the event. So, the last step is to compose it and cite your sources.

If you are assigned to elaborate on current events, here are some notorious occasions happening today. We’ve selected a few, but there are many more that you can find.

So, here are current events to write about:

• Is the US economy becoming stronger or weaker in 2021?
• How will COVID-19 affect the labor market around the world?
• Can China take over the world economically in the next decade?
• Does international aid hurt African countries?
• What sport should be introduced to the 2022 Olympics?
• Can India become the next superpower in the post-COVID world?
• Is racism a problem in sports in American colleges?

As you could imagine, any good paper starts with a good idea. Additionally, any good idea for an event essay begins with the properly picked situation. We’ve selected fifteen topic ideas that are designed to inspire and encourage.

Check this list and find a perfect event essay topic:

• Describe a life-changing event or experience that impacted you or your behavior in a significant way.
• Tell about an experience when you overcame a fear or phobia and how it happened.
• Remember a school event you are ashamed of.
• Describe your experience attending a concert, a cultural event, or a festival and your emotions.
• Try to think about your childhood heroes and how they changed your life.
• Describe your feelings during the moment you understood someone lied to you.
• Retell your experience solving a problem or a dilemma.
• Recall some of the lessons you learned by helping others.
• Do you remember how you found out you will have a sibling? Describe your feelings, thoughts, and how your parents told you.
• Write a paper about the first time you went abroad.
• What is the most famous person you have ever met, and how did it happen?
• In this essay, write about a memorable event that broke your heart.
• What was the saddest day of your life so far? What upset you that day?
• What about the happiest day of your life? What significant event has happened?
• Describe an unexpected event or a day you have felt humiliated and ashamed.

Thank you for reading the article till the end. We hope you find it helpful, and it will inspire you to write the event essay in the best way possible. Share it with those who may need our advice, and check the samples below.

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The Geneva International Motor Show

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Third Annual Bay Area Travel and Adventure Show

Festival in greektown, chicago:.