what's the difference between narrative essay and story

The Difference between an Essay and a Narrative

When you tell your mom all about the horrible day you've had, or you tell a friend a story about what happened on your first day of school, or even when you're just describing how you felt when you woke up this morning, you're offering a narrative. Sometimes, you may even want to write that narrative down in a diary or a story. For an essay, you're going to have to put pen to paper or fingers to keyboard.

What is an Essay?

An essay is a short, informative piece of writing. It includes an introductory paragraph, a body of at least three paragraphs, and a conclusion. The tone of an essay varies among the different types, but the intention of an essay is to make a specific point and inform readers.

There are four basic types of essays: persuasive, expository, descriptive, and narrative. A narrative essay tells a story in a first-person point of view to make a specific point.

What is A Narrative?

In short, a narrative is any story told in first-person through the recounting of a sequence of events. In fiction writing, the story may be told through either the writer's voice, a fictional character's view, or through the voices of a group of characters that vary by chapter or section. The term is used in a more abstract way outside of writing. For instance, one political party may accuse another of using a false narrative around a news event or social issue. In other words, there is a story being created around that topic. Narratives can be both written and spoken and can be both fiction and non-fiction.

Written Narratives

If the narrative, or story, you're writing makes a specific point and is written using the structure of an essay, you've written a narrative essay. However, narratives come in many other forms, as well. Some books are narrative, such as F. Scott Fitzgerald's The Great Gatsby, because the authors tell their story using a character's (or narrator's) voice that takes a reader through a sequence of connected events. Poems, reflections, journals, and speeches can all be narrative as long as they recount events using first-person perspective.

A good narrative is believable and makes a reader or listener feel as if they are living the story themselves. Using descriptive language and expressing your own or your character's emotions well help make a narrative one that readers and listeners will enjoy.

Frequently asked questions

What’s the difference between a narrative essay and a descriptive essay.

The key difference is that a narrative essay is designed to tell a complete story, while a descriptive essay is meant to convey an intense description of a particular place, object, or concept.

Narrative and descriptive essays both allow you to write more personally and creatively than other kinds of essays , and similar writing skills can apply to both.

Frequently asked questions: Writing an essay

For a stronger conclusion paragraph, avoid including:

• Important evidence or analysis that wasn’t mentioned in the main body
• Generic concluding phrases (e.g. “In conclusion…”)
• Weak statements that undermine your argument (e.g. “There are good points on both sides of this issue.”)

Your conclusion should leave the reader with a strong, decisive impression of your work.

Your essay’s conclusion should contain:

• A rephrased version of your overall thesis
• A brief review of the key points you made in the main body
• An indication of why your argument matters

The conclusion may also reflect on the broader implications of your argument, showing how your ideas could applied to other contexts or debates.

The conclusion paragraph of an essay is usually shorter than the introduction . As a rule, it shouldn’t take up more than 10–15% of the text.

An essay is a focused piece of writing that explains, argues, describes, or narrates.

In high school, you may have to write many different types of essays to develop your writing skills.

Academic essays at college level are usually argumentative : you develop a clear thesis about your topic and make a case for your position using evidence, analysis and interpretation.

The “hook” is the first sentence of your essay introduction . It should lead the reader into your essay, giving a sense of why it’s interesting.

To write a good hook, avoid overly broad statements or long, dense sentences. Try to start with something clear, concise and catchy that will spark your reader’s curiosity.

Your essay introduction should include three main things, in this order:

• An opening hook to catch the reader’s attention.
• Relevant background information that the reader needs to know.
• A thesis statement that presents your main point or argument.

The length of each part depends on the length and complexity of your essay .

Let’s say you’re writing a five-paragraph  essay about the environmental impacts of dietary choices. Here are three examples of topic sentences you could use for each of the three body paragraphs :

• Research has shown that the meat industry has severe environmental impacts.
• However, many plant-based foods are also produced in environmentally damaging ways.
• It’s important to consider not only what type of diet we eat, but where our food comes from and how it is produced.

Each of these sentences expresses one main idea – by listing them in order, we can see the overall structure of the essay at a glance. Each paragraph will expand on the topic sentence with relevant detail, evidence, and arguments.

The topic sentence usually comes at the very start of the paragraph .

However, sometimes you might start with a transition sentence to summarize what was discussed in previous paragraphs, followed by the topic sentence that expresses the focus of the current paragraph.

Topic sentences help keep your writing focused and guide the reader through your argument.

In an essay or paper , each paragraph should focus on a single idea. By stating the main idea in the topic sentence, you clarify what the paragraph is about for both yourself and your reader.

A topic sentence is a sentence that expresses the main point of a paragraph . Everything else in the paragraph should relate to the topic sentence.

The thesis statement is essential in any academic essay or research paper for two main reasons:

• It gives your writing direction and focus.
• It gives the reader a concise summary of your main point.

Without a clear thesis statement, an essay can end up rambling and unfocused, leaving your reader unsure of exactly what you want to say.

The thesis statement should be placed at the end of your essay introduction .

Follow these four steps to come up with a thesis statement :

• Ask a question about your topic .
• Write your initial answer.
• Develop your answer by including reasons.
• Refine your answer, adding more detail and nuance.

A thesis statement is a sentence that sums up the central point of your paper or essay . Everything else you write should relate to this key idea.

An essay isn’t just a loose collection of facts and ideas. Instead, it should be centered on an overarching argument (summarized in your thesis statement ) that every part of the essay relates to.

The way you structure your essay is crucial to presenting your argument coherently. A well-structured essay helps your reader follow the logic of your ideas and understand your overall point.

The structure of an essay is divided into an introduction that presents your topic and thesis statement , a body containing your in-depth analysis and arguments, and a conclusion wrapping up your ideas.

The structure of the body is flexible, but you should always spend some time thinking about how you can organize your essay to best serve your ideas.

The vast majority of essays written at university are some sort of argumentative essay . Almost all academic writing involves building up an argument, though other types of essay might be assigned in composition classes.

Essays can present arguments about all kinds of different topics. For example:

• In a literary analysis essay, you might make an argument for a specific interpretation of a text
• In a history essay, you might present an argument for the importance of a particular event
• In a politics essay, you might argue for the validity of a certain political theory

At high school and in composition classes at university, you’ll often be told to write a specific type of essay , but you might also just be given prompts.

Look for keywords in these prompts that suggest a certain approach: The word “explain” suggests you should write an expository essay , while the word “describe” implies a descriptive essay . An argumentative essay might be prompted with the word “assess” or “argue.”

In rhetorical analysis , a claim is something the author wants the audience to believe. A support is the evidence or appeal they use to convince the reader to believe the claim. A warrant is the (often implicit) assumption that links the support with the claim.

Logos appeals to the audience’s reason, building up logical arguments . Ethos appeals to the speaker’s status or authority, making the audience more likely to trust them. Pathos appeals to the emotions, trying to make the audience feel angry or sympathetic, for example.

Collectively, these three appeals are sometimes called the rhetorical triangle . They are central to rhetorical analysis , though a piece of rhetoric might not necessarily use all of them.

The term “text” in a rhetorical analysis essay refers to whatever object you’re analyzing. It’s frequently a piece of writing or a speech, but it doesn’t have to be. For example, you could also treat an advertisement or political cartoon as a text.

The goal of a rhetorical analysis is to explain the effect a piece of writing or oratory has on its audience, how successful it is, and the devices and appeals it uses to achieve its goals.

Unlike a standard argumentative essay , it’s less about taking a position on the arguments presented, and more about exploring how they are constructed.

You should try to follow your outline as you write your essay . However, if your ideas change or it becomes clear that your structure could be better, it’s okay to depart from your essay outline . Just make sure you know why you’re doing so.

If you have to hand in your essay outline , you may be given specific guidelines stating whether you have to use full sentences. If you’re not sure, ask your supervisor.

When writing an essay outline for yourself, the choice is yours. Some students find it helpful to write out their ideas in full sentences, while others prefer to summarize them in short phrases.

You will sometimes be asked to hand in an essay outline before you start writing your essay . Your supervisor wants to see that you have a clear idea of your structure so that writing will go smoothly.

Even when you do not have to hand it in, writing an essay outline is an important part of the writing process . It’s a good idea to write one (as informally as you like) to clarify your structure for yourself whenever you are working on an essay.

Comparisons in essays are generally structured in one of two ways:

• The alternating method, where you compare your subjects side by side according to one specific aspect at a time.
• The block method, where you cover each subject separately in its entirety.

It’s also possible to combine both methods, for example by writing a full paragraph on each of your topics and then a final paragraph contrasting the two according to a specific metric.

Your subjects might be very different or quite similar, but it’s important that there be meaningful grounds for comparison . You can probably describe many differences between a cat and a bicycle, but there isn’t really any connection between them to justify the comparison.

You’ll have to write a thesis statement explaining the central point you want to make in your essay , so be sure to know in advance what connects your subjects and makes them worth comparing.

Some essay prompts include the keywords “compare” and/or “contrast.” In these cases, an essay structured around comparing and contrasting is the appropriate response.

Comparing and contrasting is also a useful approach in all kinds of academic writing : You might compare different studies in a literature review , weigh up different arguments in an argumentative essay , or consider different theoretical approaches in a theoretical framework .

If you’re not given a specific prompt for your descriptive essay , think about places and objects you know well, that you can think of interesting ways to describe, or that have strong personal significance for you.

The best kind of object for a descriptive essay is one specific enough that you can describe its particular features in detail—don’t choose something too vague or general.

If you’re not given much guidance on what your narrative essay should be about, consider the context and scope of the assignment. What kind of story is relevant, interesting, and possible to tell within the word count?

The best kind of story for a narrative essay is one you can use to reflect on a particular theme or lesson, or that takes a surprising turn somewhere along the way.

Don’t worry too much if your topic seems unoriginal. The point of a narrative essay is how you tell the story and the point you make with it, not the subject of the story itself.

Narrative essays are usually assigned as writing exercises at high school or in university composition classes. They may also form part of a university application.

When you are prompted to tell a story about your own life or experiences, a narrative essay is usually the right response.

The majority of the essays written at university are some sort of argumentative essay . Unless otherwise specified, you can assume that the goal of any essay you’re asked to write is argumentative: To convince the reader of your position using evidence and reasoning.

In composition classes you might be given assignments that specifically test your ability to write an argumentative essay. Look out for prompts including instructions like “argue,” “assess,” or “discuss” to see if this is the goal.

At college level, you must properly cite your sources in all essays , research papers , and other academic texts (except exams and in-class exercises).

Add a citation whenever you quote , paraphrase , or summarize information or ideas from a source. You should also give full source details in a bibliography or reference list at the end of your text.

The exact format of your citations depends on which citation style you are instructed to use. The most common styles are APA , MLA , and Chicago .

An argumentative essay tends to be a longer essay involving independent research, and aims to make an original argument about a topic. Its thesis statement makes a contentious claim that must be supported in an objective, evidence-based way.

An expository essay also aims to be objective, but it doesn’t have to make an original argument. Rather, it aims to explain something (e.g., a process or idea) in a clear, concise way. Expository essays are often shorter assignments and rely less on research.

An expository essay is a common assignment in high-school and university composition classes. It might be assigned as coursework, in class, or as part of an exam.

Sometimes you might not be told explicitly to write an expository essay. Look out for prompts containing keywords like “explain” and “define.” An expository essay is usually the right response to these prompts.

An expository essay is a broad form that varies in length according to the scope of the assignment.

Expository essays are often assigned as a writing exercise or as part of an exam, in which case a five-paragraph essay of around 800 words may be appropriate.

You’ll usually be given guidelines regarding length; if you’re not sure, ask.

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What Is a Narrative Essay? Definition & 20+ Examples

Ever wondered how life’s vibrant, personal experiences could transform into compelling stories? Welcome to the world of narrative essays, where the art of storytelling meets the essence of self-expression.

This vibrant genre paints vivid pictures, provoking emotions and connecting readers to experiences, perhaps similar to their own or completely novel. Embark on this literary journey with us as we delve into the heart of narrative essays, unearthing the magic of narrating tales spun from threads of personal experiences, historical events, and more.

Prepare to immerse yourself in the fascinating universe where life and literature intertwine.

Table of Contents

Defining Narrative Essay

A narrative essay is a genre of writing that tells a story, often from the writer’s personal perspective. In this type of essay, the author provides a series of events, characters, and settings, allowing readers to immerse themselves in the experience. Although typically written in the first person, narrative essays can be written in the third person as well.

The purpose of a narrative essay is not only to entertain but also to convey a meaningful message or lesson. These essays can be drawn from real-life experiences or fictional scenarios, but they should be engaging and create an emotional connection with the reader. Narrative essays are often used to explore personal growth, relationships, and various worldviews and experiences.

In a narrative essay, it is essential to use vivid, descriptive language and a clear structure to help the reader follow the narrative. While engaging the reader’s emotions, the essay must maintain a consistent point of view and avoid unnecessary complexity or ambiguity.

History of Narrative Essay

The narrative essay has its roots in oral storytelling traditions dating back to ancient civilizations. The art of telling stories has been present across cultures and continents as a means to communicate, preserve history, and entertain. Early examples of narratives were usually passed down through generations of storytellers, which led narratives to transform and adapt over time.

In the Middle Ages , the invention of the printing press allowed for written narratives to become more widely accessible, leading to the rise of written narrative essays. Literature, like Chaucer’s “Canterbury Tales” and Boccaccio’s “Decameron,” showcased the importance of storytelling as a medium to understand and reflect on human experiences.

During the Romantic period in the 18th and 19th centuries , the narrative essay took on new life as authors like Samuel Taylor Coleridge and Edgar Allan Poe explored the genre’s creative and intellectual potential. They used narrative essays to express their individual perspectives and encouraged readers to think beyond conventions and social norms.

During the 20th century , the narrative essay became even more prevalent, with the rise of digital technology and the internet making it easier for writers to share their stories via blogs , social media , and online literary publications .

Today , the narrative essay has evolved into a versatile genre that continues to remain a popular form of expression in literature and the digital age.

Although the format of narrative essays has changed over the years, their central purpose — to share personal experiences , entertain readers , and reflect on the human condition — has remained consistent, contributing to the genre’s enduring appeal.

Functions of Narrative Essay

Storytelling.

Narrative essays serve as an effective platform for storytelling. Through these essays, writers impart exciting and entertaining tales to their readers as they incorporate essential elements such as plot , setting , and character .

One primary function of a narrative essay is to engage the audience by keeping them hooked. With its descriptive and vivid language style, it captures the reader’s imagination and evokes curiosity.

Narrative essays also play a role in imparting valuable knowledge and life lessons. They can portray real-life events and experiences that provide readers with a deeper understanding of the world.

These essays offer a medium for reflecting on personal experiences, growth, and emotional journeys, allowing both the writer and the reader to gain valuable insights from past events and decisions.

Though narrative essays primarily tell stories, they can also serve as a tool for persuasion. By presenting a narrative from a specific perspective, writers can subtly influence the reader’s opinions and beliefs on a particular topic.

Through sharing personal stories and experiences, narrative essays help build a connection between the writer and the reader. They create a sense of empathy and relatability, bridging the gap between different backgrounds and perspectives.

Exploration of Themes

Narrative essays allow for an in-depth exploration of themes ranging from morality to the complexities of human relationships. Writers can weave these themes into their stories to provoke thought and discussion.

Character Development

Character development is an essential aspect of narrative essays. By showcasing the growth and transformation of a character, the essay becomes more engaging and dynamic while also revealing insights into human behavior and psychology.

Characteristics of Narrative Essay

Narrative essay tells a story.

A narrative essay presents a story with a clear beginning , middle , and end . The writer’s goal is to engage the reader with vivid descriptions and captivating events, drawing them into the story and encouraging them to experience the emotions and events alongside the characters.

First-Person Perspective

Often written in first-person perspective, narrative essays allow the writer to share their experiences and thoughts with the reader. This point of view connects the reader with the protagonist, creating a more personal and intimate experience.

Characters and Dialogue

Well-developed characters and believable dialogue contribute to the overall authenticity of a narrative essay. The writer achieves this by creating dynamic characters with distinct voices and personalities, with the dialogue often propelling the story forward.

Descriptive Language

Using descriptive language helps paint a picture in the reader’s mind, immersing them in the story’s setting and atmosphere. Adjectives, sensory details, and imagery are essential tools in crafting a vivid narrative.

Plot and Structure

A narrative essay must have a clear, well-structured plot with a beginning, middle, and end. The writer unfolds the story in a way that builds tension and excitement, driving the reader to anticipate the resolution.

Chronological Order

Events in a narrative essay usually unfold in chronological order, following the natural progression of time. This allows the reader to follow the story easily and maintain their engagement.

Theme or Message

Narrative essays often explore themes or convey a message to the reader. The writer subtly weaves this message throughout the story, allowing the reader to understand and appreciate the underlying meaning gradually.

Conflict and Resolution

Conflict drives the story forward, creating excitement and tension that keeps the reader engaged. The narrative essay should present a central conflict that the characters encounter and, ultimately, resolve.

Narrative essays frequently include reflective moments, during which the writer pauses to consider the significance of the events, characters, or conflicts they are describing. These moments help the reader gain a deeper understanding of the writer’s thoughts and the message they are conveying.

Importance of Narrative Essay

Narrative essay enables individuals to articulate their emotions.

Narrative essays enable writers to express their thoughts, feelings, and experiences. They provide an opportunity for individuals to articulate their emotions and insights through storytelling. This promotes a sense of self-awareness, helping individuals better comprehend their own actions and beliefs.

Narrative Essay Engages Readers

Narrative essays engage readers by presenting stories in artistic and imaginative ways. They captivate the audience through vivid descriptions, colorful language, and emotionally resonant themes. This creates an immersive experience, allowing readers to not only learn from the writer’s experiences but also feel emotionally connected to them.

Narrative Essay Enhances One’s Communication Skills

Writing narrative essays enhances one’s communication skills. It requires clear and concise language, as well as the ability to convey ideas in an organized and coherent manner. This practice hones one’s writing ability and overall communication skills.

Narrative Essay Promotes Empathy

A well-written narrative essay promotes empathy by allowing readers to experience events from different perspectives. It encourages understanding and appreciation for the distinct viewpoints of other individuals, fostering respect and appreciation for diversity.

Narrative Essay Challenges a Writer’s Critical Thinking

Developing a narrative essay challenges a writer’s critical thinking ability to evaluate experiences and draw meaningful conclusions. This process of reflection provides an opportunity for personal growth and learning, ultimately cultivating a well-rounded individual.

Narrative Essays Convey Themes or Messages

Narrative essays often relay themes and messages that reflect the writer’s beliefs or values. By sharing these themes, writers provide insights that readers may relate to and learn from, leading to personal growth and understanding.

Narrative Essay Builds Empathy

Sharing personal stories through narrative essays can help build empathy among readers. By connecting with the experiences and emotions presented, readers have the opportunity to develop a deeper understanding of others and foster compassion in their own lives.

Narrative Essay Encourages Individuals to Explore

Narrative essays entice readers with engaging stories that are interesting and emotionally impactful. This motivation to read can foster an appreciation for literature, encouraging individuals to further explore and engage with written works.

Elements of Narrative Essay

In a narrative essay, the plot is the sequence of events that make up the story. It typically follows a chronological order and includes an exposition , rising action , climax , falling action , and resolution . Each event should contribute to the overall theme and message of the essay.

Characters are the people, animals, or other beings that participate in the story. They have individual personalities, motivations, and conflicts. The main character, or protagonist , is the central figure in a narrative essay, and readers often empathize with them as they undergo various experiences.

The setting is the time and place in which the story occurs. It can be a specific location or a more general environment. The setting contributes to the overall atmosphere and mood of the narrative essay, and it can influence how characters interact with one another.

Point of View

Point of view refers to the perspective from which the story is told. In a third-person narrative essay, the author uses “he,” “she,” “it,” or “they” to tell the story. This allows the writer to provide a more objective view, showing events and character actions without the bias of a first-person narrator.

Conflict is the struggle between opposing forces that drives the plot forward. It can be internal, within a character’s own mind or emotions, or external, between characters or against an outside force. Conflict creates tension and keeps the reader engaged in the story.

Theme refers to the underlying message or central idea that the writer wants to convey through their narrative essay. It can be a commentary on society, human nature, or other universal concepts. A strong theme helps to tie the essay together and contributes to its overall impact on the reader.

Dialogue is the conversation between characters in a narrative essay. It helps to establish character relationships, reveal information, and move the plot forward. Effective dialogue should sound natural and reflect the speaker’s personality and voice.

Narrative Structure

The narrative structure is the organization and arrangement of events in the essay. It includes elements like flashbacks , foreshadowing , and parallel plotlines to create a cohesive and engaging reading experience.

Description

The description is the use of sensory details and vivid language to help the reader visualize the story. It can include the appearance of characters, settings, and objects, as well as sounds, smells, and other sensory details. Effective description enhances the reader’s immersion in the story and supports the emotional impact.

Reflective Aspect

The reflective aspect of a narrative essay refers to the author’s insights and personal growth as a result of the events in the story. It is an opportunity for the author to analyze and reflect on the experiences and emotions they have conveyed, providing a deeper level of understanding for the reader.

Structure of Narrative Essays

Introduction.

Narrative essays generally begin with an introduction that presents the background and sets the stage for the story. This section introduces the main characters, their relationships, and the setting or context in which the story takes place.

The introduction also establishes the purpose or main idea of the essay, grabbing the reader’s attention and sparking their interest in the unfolding events.

Rising Action

The rising action includes a series of events or experiences that create tension and suspense, gradually building toward the pivotal point of the story. In this section, the writer conveys the various challenges and obstacles faced by the main characters while developing the plot and providing insights into their personalities and motivations.

The rising action helps the reader become emotionally invested in the characters and their journey.

The climax is the turning point or the most intense moment in the story, where the central conflict reaches its peak. It is at this stage that the main characters confront the challenges or adversities they have been facing, often resulting in dramatic, emotional, or transformative consequences.

The climax is a crucial moment in the narrative essay, as it determines the outcome of the story and the eventual fate of the characters.

Falling Action

Following the climax, the story enters its falling action phase . In this section, the events and repercussions of the climax begin to unfold, and tensions start to subside. The writer gradually moves towards a resolution of the main conflict while also tying up loose ends and potentially introducing ancillary outcomes that result from the central events.

Conclusion or Resolution

The conclusion or resolution offers a sense of closure or finality by addressing the outcome of the story. It may present the characters reflecting on their experiences, lessons learned, or the consequences of their actions. Ideally, the resolution leaves the reader with a feeling of satisfaction, having followed the characters on their journey and reached an appropriate conclusion.

A narrative essay may also include a reflection section, where the writer discusses the significance of the story or its broader implications. This section allows the writer to share their personal insights, thoughts, or feelings about the events in the narrative and may offer a deeper perspective on the themes or messages explored in the essay.

The reflection, when included, can help to elevate the narrative by adding depth and context to the overall story.

Popular Narrative Essay Topics

Personal experiences.

Narrative essays often focus on personal experiences as they allow the writer to share a unique story with their readers. These topics could include a memorable childhood event, a life lesson learned, or overcoming a significant obstacle.

Travel Experiences

Travel experiences are also popular in narrative essays, as they provide rich and vivid details for the reader to imagine. The writer can recount a fantastic trip, a cultural exchange experience, or even a challenging adventure, capturing the essence of the journey.

Achievements and Failures

Writing about achievements and failures enables the writer to reflect on their personal growth and share the lessons they’ve learned. Topics can range from winning a competition, conquering a fear, or overcoming failure to succeed in the end.

Relationships and Interactions

Narrative essays on relationships and interactions capture the emotions, lessons, and insights gained from interacting with others. The writer could tell a story of forming an unlikely friendship, navigating a challenging relationship, or learning from a mentor.

Historical or Current Events

Addressing historical or current events in narrative essays allows writers to share their perspectives and analyses. Stories could focus on significant moments in history, political events, or social movements, detailing how they’ve impacted the writer and their understanding of the world.

School and Work Experiences

School and work experiences can serve as compelling sources of inspiration for narrative essays. Writers can recount stories of innovative projects, first-time experiences, or memorable teachers and coworkers, sharing valuable insights and reflections.

Techniques Used in Narrative Essay Writing

When writing a narrative essay, authors should use various techniques to create an engaging and well-written piece. These techniques will help to capture the reader’s attention, establish a connection with the audience, and effectively convey the story.

Showing Rather than Telling

One critical technique used in narrative essay writing is showing rather than telling. It involves the use of vivid imagery and descriptions to draw the reader into the story. This allows the reader to create mental images of the events and experiences described in the essay.

For example, instead of merely stating that a character was sad, a writer could describe their frowning face or a tear rolling down their cheek.

Including conversations between characters helps to bring the story to life and provides insight into the thoughts and feelings of those involved. When writing dialogue, it’s essential to maintain a consistent tone and voice and pay attention to punctuation to ensure clarity for the reader.

The use of chronological order is also important when composing a narrative essay. Presenting events in the order they occurred is the most straightforward approach and helps the reader follow along effortlessly. While some writers may choose to mix up the sequence for a more dramatic effect, it is crucial to ensure that the narrative remains clear and easy to understand.

Character development plays a significant role in creating a compelling narrative essay. The thoughts, emotions, and experiences of the characters should evolve throughout the story. A well-developed character with realistic reactions and growth helps engage the reader and creates a deeper connection to the narrative.

Strong Narrative Voice

Employing a strong narrative voice is crucial to a successful narrative essay. The narrative voice can be the author’s own or a fictional character, but it should be consistent and engaging. The voice should provide a unique perspective on the events taking place and help guide the reader through the story.

Types of Narrative Essay

Personal narrative essay.

A personal narrative essay is written from the author’s perspective and shares a personal story or experience. This type of essay often involves reflection on the significance of the event, as well as how it has shaped the author’s life.

Biographical Narrative Essay

A biographical narrative essay focuses on telling the life story of an individual other than the author. It may cover key events or experiences from the person’s life and often requires research to gather accurate information about the subject.

Literacy Narrative Essay

A literacy narrative essay explores an individual’s experiences with reading , writing , or language . It can discuss how these experiences have shaped the individual’s understanding and use of language, as well as any challenges they have faced in their literacy journey.

Historical Narrative Essay

A historical narrative essay tells the story of a significant event, era, or person within a historical context. This type of essay requires the author to research and gather accurate historical information while weaving it into a well-structured narrative.

Reflective Narrative Essay

A reflective narrative essay involves the author discussing an experience or event in their life and examining its impact on their personal growth and development. The focus is on how the event has shaped the individual’s values, beliefs, or understanding of the world.

Descriptive Narrative Essay

A descriptive narrative essay aims to paint a vivid picture of a person, place, or situation through detailed observations and sensory language. It can evoke emotions and immerse the reader in the setting, creating an engaging narrative experience.

Examples of Narrative Essay in Literature

Short story, examples of narrative essay in pop culture, creative writing, how to write a narrative essay.

A narrative essay is a type of essay that tells a story or recounts an event, often through the author’s personal experiences. Writing a narrative essay can be an enlightening and engaging experience for both the writer and the reader.

Impacts of Narrative Essay on Literature

Narrative essays play a significant role in literature, as they provide authors with a platform to express their thoughts, feelings, and ideas in a compelling manner. They enable readers to connect with the story, allowing them to empathize with the author or the characters.

Understanding of Human Experience

Narrative essays offer an opportunity for writers to share their own life experiences, making them relatable and captivating to readers. This form of writing encourages a deeper understanding of human emotions, challenges, and growth.

Exploration of Themes and Issues

Through narrative essays, authors can delve into various themes and issues, such as love, loss, friendship, conflict, and societal norms. This allows readers to see multiple perspectives, fostering critical thinking and empathy.

Development of Narrative Skills

Aspiring writers can hone their narrative skills by writing narrative essays, learning to organize their thoughts, developing interesting plotlines, and creating captivating characters. This process helps writers improve their storytelling techniques, making their work more engaging.

Reflection and Learning

Writing narrative essays encourages self-reflection and introspection, allowing authors to analyze their own experiences and learn from them. It serves as a therapeutic outlet and a learning tool for personal growth and development.

Versatility

Narrative essays are versatile forms of writing that can be adapted to various genres and styles, such as fiction , nonfiction , and even poetry . This flexibility allows writers to experiment with different forms and voices, expanding their creative horizons.

Influence on Other Literary Forms

The narrative essay format has had a profound impact on other literary forms, such as novels , short stories , and memoirs . The storytelling techniques developed through writing narrative essays contribute to the richness and depth of these other literary works.

Frequently Asked Questions

What are some common mistakes to avoid in a narrative essay.

Common mistakes to avoid when writing a narrative essay include a lack of focus, insufficient development of the story, and an unclear message. To avoid these pitfalls, ensure that the story has a clear central theme, develop the narrative with ample details, and convey a discernible message or lesson.

What is the difference between a narrative essay and a short story?

While both a narrative essay and a short story tell a tale, the main difference lies in their purpose. A narrative essay aims to share a personal experience and often a lesson learned from it, while a short story primarily aims to entertain. Narrative essays are usually written in the first person, while short stories can be written from any point of view.

Can a narrative essay be fictional?

Yes, while many narrative essays are based on personal experiences, they can also be entirely fictional. The key is to tell a compelling story that conveys a clear theme or message, whether it’s based on real events or is a product of the author’s imagination.

Narrative essays offer a compelling medium to share your unique stories, experiences, and perspectives. By weaving together the threads of plot, character, setting, and conflict, you can create an engaging narrative that captivates your readers, immerses them in your world, and leaves them with a lasting impression.

Remember, each narrative essay is not just about recounting a tale; it’s an opportunity to express personal growth, share lessons learned, and convey themes that resonate. So, the next time you have a story to tell, consider a narrative essay, where life’s experiences transform into a literary tapestry of meaning and connection. Happy writing!

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Aerielle Ezra

Narrative Essay

Definition of narrative essay, difference between a narrative essay and a short story, elements of a narrative essay, how to choose a topic for narrative essay, mla and apa formats in narrative essay, reflective narrative essay, examples of narrative essays in literature, example #1:  new directions (by maya angelou).

“Annie, over six feet tall, big-boned, decided that she would not go to work as a domestic and leave her “precious babes” to anyone else’s care. There was no possibility of being hired at the town’s cotton gin or lumber mill, but maybe there was a way to make the two factories work for her. In her words, “I looked up the road I was going and back the way I come, and since I wasn’t satisfied, I decided to step off the road and cut me a new path.” She told herself that she wasn’t a fancy cook but that she could “mix groceries well enough to scare hungry away and keep from starving a man.”

Example #2: Saturday Evening Post (by Russell Baker)

“When I burst in that afternoon she was in conference with an executive of the Curtis Publishing Company. She introduced me. He bent low from the waist and shook my hand. Was it true as my mother had told him, he asked, that I longed for the opportunity to conquer the world of business? My Mother replied that I was blessed with a rare determination to make something of myself. ‘That’s right,’ I whispered. ‘But have you got the grit, the character, the never-say-quit spirit it takes to succeed in business?’ My Mother said I certainly did.”

Example #3: Only Daughter (by Sandra Cisneros)

“Once several years ago, when I was just starting out my writing career, I was asked to write my own contributor’s note for an anthology I was part of, I wrote: ‘ I am the only daughter in a family of six sons. That explains everything.’ “Well, I’ve thought about that ever since, and yes, it explains a lot to me, but for the reader’s sake I should have written: ‘I am the only daughter in a Mexican family of six sons.’ Or even: ‘I am the only daughter of a Mexican father and a Mexican-American mother.’ Or: ‘I am the only daughter of a working-class family of nine.’ All of these had everything to do with who I am today.”

Function of Narrative Essay

Synonyms of narrative essay, related posts:, post navigation.

Essay vs. Short Story

What's the difference.

Essays and short stories are both forms of written expression, but they differ in their purpose and structure. Essays are typically non-fiction pieces that aim to inform or persuade the reader about a specific topic. They often follow a formal structure with an introduction, body paragraphs, and a conclusion. On the other hand, short stories are fictional narratives that focus on character development and plot. They can be written in various genres and styles, allowing for more creativity and imagination. While essays prioritize facts and logical arguments, short stories prioritize storytelling and evoking emotions in the reader.

Further Detail

Introduction.

When it comes to literary forms, essays and short stories are two popular choices that captivate readers with their unique attributes. While both share the goal of conveying a message or exploring a theme, they differ in various aspects, including structure, length, and narrative techniques. In this article, we will delve into the characteristics of essays and short stories, highlighting their similarities and differences.

One of the primary distinctions between essays and short stories lies in their structure. Essays typically follow a more formal and structured format, often consisting of an introduction, body paragraphs, and a conclusion. The introduction sets the stage by presenting the topic and thesis statement, while the body paragraphs provide supporting evidence and analysis. Finally, the conclusion summarizes the main points and offers a closing thought.

On the other hand, short stories have a more flexible structure. They often begin with an exposition, introducing the characters, setting, and conflict. The plot then unfolds through rising action, climax, and resolution. Unlike essays, short stories allow for more creative freedom in terms of narrative structure, with authors employing various techniques such as flashbacks, foreshadowing, or nonlinear storytelling to engage readers.

Another significant difference between essays and short stories is their length. Essays are typically shorter in length, ranging from a few hundred to a few thousand words. The brevity of essays allows writers to present their ideas concisely and directly, making them suitable for conveying arguments or exploring specific topics in a focused manner.

On the contrary, short stories are longer and more expansive in nature. They can range from a few pages to several dozen pages, providing authors with ample space to develop characters, build suspense, and create intricate plotlines. The extended length of short stories allows for a deeper exploration of themes and emotions, often leaving readers with a more immersive and satisfying reading experience.

Narrative Techniques

While both essays and short stories employ narrative techniques to engage readers, they differ in their approach. Essays primarily rely on logical reasoning, evidence, and analysis to convey their message. Writers use persuasive techniques, such as ethos, pathos, and logos, to appeal to the reader's intellect and emotions. The narrative in essays is often more straightforward and focused on presenting a coherent argument or viewpoint.

In contrast, short stories utilize a wide range of narrative techniques to create a captivating and immersive experience. Authors employ descriptive language, dialogue, and vivid imagery to bring characters and settings to life. They can experiment with different points of view, shifting perspectives, and unreliable narrators to add depth and complexity to the story. The narrative in short stories is often more imaginative and allows for a greater exploration of the human experience.

Themes and Messages

Both essays and short stories aim to convey themes and messages to their readers, but they do so in distinct ways. Essays often focus on presenting an argument or discussing a specific topic, aiming to inform, persuade, or provoke thought. The themes in essays are typically more explicit and directly related to the subject matter being discussed.

On the other hand, short stories explore themes and messages through storytelling and the experiences of characters. They often delve into complex human emotions, moral dilemmas, or societal issues, allowing readers to reflect on the deeper meaning behind the narrative. The themes in short stories are often more implicit, requiring readers to analyze the story's events and characters to uncover the underlying messages.

In conclusion, while essays and short stories share the common goal of conveying a message or exploring a theme, they differ significantly in terms of structure, length, narrative techniques, and the way they approach themes. Essays offer a more formal and structured approach, focusing on presenting arguments and analysis concisely. On the other hand, short stories provide a more immersive and imaginative experience, allowing for the exploration of complex characters, plotlines, and themes. Both forms of writing have their unique merits and appeal, catering to different reading preferences and purposes.

Comparisons may contain inaccurate information about people, places, or facts. Please report any issues.

Daily Writing Tips

Narrative, plot, and story.

What’s the difference between narrative, plot, and story? Not much, but enough that it matters. Here are the distinctions, explained with aids of analogy, plus some details:

Narrative is the structure of events — the architecture of the story, comparable to the design of a building. Story is the sequence of events, the order in which the narrative occurs — the tour through the building. Plot is the sum of the events, told not necessarily in sequential order, but generally consistent with the story and often considered synonymous with the narrative — the building itself.

But these similar and even overlapping components of composition are further affected by the narrative mode — the techniques the author employs to tell the story. Among these strategies are narrative point of view and narrative voice.

Narrative Point of View

A first-person narrator relates the story by using the pronoun I (or, rarely, if two or more narrators are telling the story simultaneously, we ). This device enables the reader to know the narrator’s internal thoughts and feelings as well. This narrative style may indicate that the narrator may or may not consciously be aware of a reading audience. Also, the first-person narrator is not necessarily the main character, or even central to the story.

Second-person narrative, rare in literature, is that in which the narrator refers to a character as “you.” The most frequent mode, third-person narrative, involves reference to characters as “he,” “she,” “they,” or “it.”

Variety is achieved by the author’s decision to narrate subjectively, revealing characters’ thoughts and feelings, or objectively, without internal insight into any of the characters, as well as choice of omniscient or limited point of view: The author either knows all that is occurring in the story or is restricted to sharing only what is known to the focal character. Narrative point of view can vary within the same story, either by section or chapter or even within the same passage.

Narrative Voice

Narrative voice is the style in which the narrative is presented — for example, a character’s recounting of events, or a privileged window into the character’s thoughts and feelings.

A narrator may be a participant, a character in the story who describes events, or a nonparticipant, an objective (but not necessarily accurate) observer who is not integrated into the story. Another technique is to feature an unreliable narrator, one whose narrative is initially or ultimately suspect because it contradicts what the reader learns from nonnarrated exposition or other points of view.

For instance, in the Japanese film Rashomon , based on two short stories, four characters give conflicting accounts of an event. In Adventures of Huckleberry Finn , the title character’s naiveté, a plot device enabling author Mark Twain to demonstrate his gift for social satire, makes him an unreliable narrator.

Note that narrative applies to nonfiction as well as fiction, and even plot and story have a place in nonfiction, as reporters and authors often manipulate an account by constructing a narrative more sophisticated than the who, what, when, where, and why formula of traditional journalism. There’s even a term for this approach: creative nonfiction.

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1 thought on “Narrative, Plot, and Story”

Thanks, Mark!

Might I point out that non-fiction is rarely ‘objective’ – not only does every author select the ‘facts,’ she spins them according to her own agenda (personal or professional) and perceptions (conscious or unconscious), her prospective audience and the ‘accepted’ worldview of the society in which she is writing.

I think the only ‘objective’ non-fiction you’ll find is in a maths textbook.

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STRATEGIC NARRATIVE INSIGHTS  

Story vs. Narrative? And Why it Matters

For most of us, story and narrative are the same, interchangeable.

Pay attention to your next conversation and let me know if you notice that too.

In a way, it is correct. Collinsdictionary.com says the following:

• Story: a story is a description of imaginary people and events.
• Narrative: a story or an account of a series of events.

But lately, I started obsessing over the difference between those two words beyond their literal definition and the meaning created by that difference.

After all, if there are two different words for what seems to be the same thing, isn’t it for a reason?

Story versus narrative has generated quite some debate amongst experts. It’s not new. In researching and following that conversation, I ended up getting stuck and confused at some point.

I know, this sounds like the kind of technical stuff that only people with lots of time on their hands would care about. But I care enough about helping people build resilient businesses to see value in that stuff.

It turns out there is a nuance that should matter to you.

People will pay for a story, but people will die for a narrative.

Stories have the power to draw our attention. But when the story ends, it’s up to you to draw your own conclusion.

“Someone died” is a story.

A narrative makes people take extraordinary measures. It shifts the way we think, for good or for the worst. Notice how there is a narrative at the core of any significant movement, whether it is social, political, religious, economic or business-related.

“Someone died, and that was very wrong” starts a narrative that can turn into a revolution.

Framed like this, a narrative is a way of presenting or understanding a situation or a series of events that reflects and promotes a particular point of view or set of values. That’s from Merriam-Webster, by the way.

Here is why this matters in the context of business strategy.

You can have a great story about your business, and that’s nice. But who cares, really? Fine, put it on the about page of your website.

If you have a narrative, you make people do impossible things to get your product. They will “almost die” for it.

People camp in front of Apple stores the night before a new version of the iPhone is released not because Apple has a cool story, but because Apple is a narrative in itself.

When you have a narrative, and hopefully a strong one:

• Your brand becomes magnetic.
• Your employees know exactly what to do and stay.
• Your team collaborates at their best.
• Your investors believe in the long term success of your company.
• You look and sound very different from your competitors.
• Your customers see why it is urgent that they adopt your product.

Then come the stories of all the customers who believed in your narrative, and whose lives you changed thanks to your product.

For me, story and narrative will never be the same thing again.

How about you?

Narrative vs Descriptive Writing: Understanding the Key Differences

By: Author Paul Jenkins

Posted on May 13, 2023

Categories Storytelling , Writing

Narrative and descriptive writing are two of the most common writing styles used in literature. Both styles are used to convey a story, but they differ in their purpose and approach. Narrative writing is designed to tell a complete story, while descriptive writing conveys an intense description of a particular place, object, or concept.

Narrative writing involves telling a story with a beginning, middle, and end. It is often used in novels, short stories, and memoirs. Narrative writing can entertain, inform, or persuade the reader. It is a powerful tool for writers to convey their message and connect with their audience.

On the other hand, descriptive writing creates a vivid image in the reader’s mind. It is often used in poetry, descriptive essays, and travel writing. Descriptive writing allows the writer to use sensory details to create a picture in the reader’s mind. It is a powerful tool for writers to create a mood or atmosphere. Descriptive writing can entertain, inform, or persuade the reader.

Narrative Writing

Narrative writing is a style of writing that tells a story or describes an event. It can be fiction or non-fiction and is often written in the first-person point of view. The purpose of narrative writing is to entertain, inform or persuade the reader.

Narrative writing aims to engage the reader by telling a story that captures their attention. Narrative writing is often used in fiction writing, but it can also be used in non-fiction writing, such as memoirs or personal essays. The purpose of narrative writing is to create a vivid picture in the reader’s mind and make them feel like they are part of the story.

Narrative writing has several key elements that help to create a compelling story. These elements include characters, plot, point of view, narration, chronological order, action, setting, and theme. Characters are the people or animals that are involved in the story. The plot is the sequence of events that make up the story. Point of view is the perspective from which the story is told. Narration is how the story is told, such as first-person or third-person narration. Chronological order is the order in which events occur in the story. Action is the events that take place in the story. The setting is the time and place in which the story takes place. The theme is the underlying message or meaning of the story.

Examples of narrative writing include novels, short stories, and narrative essays. In fiction writing, the protagonist is the main character who drives the story forward. In a narrative essay, the writer tells a personal story that has a point or lesson to be learned. Narrative writing often uses first-person narration to create a more personal connection between the reader and the story.

In summary, narrative writing is a style of writing that tells a story or describes an event. It has several key elements that help to create a compelling story, including characters, plot, point of view, narration, chronological order, action, setting, and theme. Narrative writing can be used in fiction and non-fiction and is often used to entertain, inform, or persuade the reader.

Descriptive Writing

Descriptive writing is a type of writing that aims to provide a detailed description of a person, place, object, or event. It uses sensory details to create an image in the reader’s mind. The writer tries to make the reader feel like they are experiencing the scene.

Descriptive writing aims to create a vivid and detailed picture in the reader’s mind. It is often used to set the scene in a story or to provide a detailed description of a character or place. Descriptive writing can also create an emotional response in the reader.

Descriptive writing uses sensory details to create an image in the reader’s mind. It should be written in a logical order, so the reader can easily follow along. The following elements are commonly used in descriptive writing:

• Sensory detail (smell, taste, sight, sound, touch)
• Appearance and characteristics of the subject
• Description of the place or object
• Exposition of the subject
• Figurative language (metaphors, similes, onomatopoeia)

Here are a few examples of descriptive writing:

• The sun was setting over the mountains, casting a warm glow across the valley. The air was filled with the sweet scent of wildflowers and birds singing in the trees.
• The old house sat at the end of the street, its peeling paint and broken shutters a testament to its age. The front porch creaked as I stepped onto it, and the door groaned as I pushed it open.
• The chocolate cake was rich and decadent, with a moist crumb and a smooth, velvety frosting. Each bite was like a little slice of heaven, the flavors blending perfectly.

In conclusion, descriptive writing is a powerful tool for creating vivid and detailed images in the reader’s mind. The writer can transport the reader to another time and place using sensory details and logical order.

Narrative vs. Descriptive Writing

Differences.

Narrative writing and descriptive writing are two distinct forms of writing that have different purposes. Narrative writing is used to tell a story, while descriptive writing is used to describe something in detail. The following table summarizes some of the key differences between the two:

In narrative writing, the writer is trying to convey a specific message or theme through the story they are telling. In contrast, descriptive writing is more concerned with creating a sensory experience for the reader. Descriptive writing often uses figurative language, such as metaphors and similes, to create vivid images in the reader’s mind.

Similarities

Despite their differences, narrative writing and descriptive writing also share some similarities. Both forms of writing require the writer to use descriptive language to create a vivid picture in the reader’s mind. Both can also be used in both fiction and non-fiction writing.

Another similarity is that both forms of writing can create emotional connections with the reader. In narrative writing, this is achieved by creating relatable characters and situations. Descriptive writing is achieved by using sensory details to create a visceral experience for the reader.

In conclusion, while narrative writing and descriptive writing have different purposes, they require the writer to use descriptive language to create a vivid picture in the reader’s mind. Understanding the differences and similarities between these two forms of writing can help writers choose the appropriate style for their writing project.

Narrative Writing Techniques

Narrative writing is a form of storytelling that conveys a series of events or experiences through a particular perspective. This section will explore some of the key techniques used in narrative writing.

The narrator is the voice that tells the story. They can be a character within the story or an outside observer. The narrator’s perspective can greatly affect the reader’s interpretation of events. For example, a first-person narrator may provide a more personal and subjective account of events, while a third-person narrator may offer a more objective perspective.

Dialogue is the spoken or written words of characters within the story. It can reveal character traits, advance the plot, and provide insight into relationships between characters. Effective dialogue should sound natural and reflect the character’s personality and background.

Point of View

Point of view refers to the perspective from which the story is told. It can be first-person, third-person limited, or third-person omniscient. The choice of point of view can affect the reader’s understanding of the story and its characters.

The plot is the sequence of events that make up the story. It should have a clear beginning, middle, and end, with each event building upon the previous one. A well-crafted plot should be engaging and keep the reader interested.

Characterization

Characterization is the process of creating and developing characters within the story. This can be achieved through various techniques, including dialogue, actions, and inner thoughts. Effective characterization should create characters that are believable and relatable to the reader.

In conclusion, narrative writing techniques are essential for creating a compelling and engaging story. Using techniques such as a well-developed narrator, natural-sounding dialogue, and effective characterization, writers can create stories that captivate and entertain their readers.

Descriptive Writing Techniques

Sensory details.

One of the most critical aspects of descriptive writing is the use of sensory details. This means including information that appeals to the five senses: sight, sound, smell, taste, and touch. Sensory details help the reader experience the scene or object being described, making the writing more vivid and engaging.

For example, instead of simply stating that a flower is beautiful, a writer might describe the vibrant colors of its petals, the sweet fragrance it emits, and the soft texture of its petals. This level of detail allows the reader to fully imagine the flower and feel like they are experiencing it themselves.

Logical Order

Descriptive writing should also be organized in a logical order. This can mean starting with a general description and moving on to more specific details. For example, describing a room starts with an overview, then moves on to describe individual items.

It’s also important to consider the perspective of the reader. For example, if describing a landscape, the writer should consider the reader’s viewpoint and describe the scene from left to right, top to bottom, or in another logical order that makes sense for the reader.

Descriptive writing should create a clear mental image in the reader’s mind. This can be achieved through the use of vivid imagery and figurative language. For example, a writer might describe a sunset as a “golden blanket draped over the sky” or a forest as a “lush, green cathedral.”

It’s important to balance detailed descriptions and allow readers to use their imagination. The goal is to provide enough detail to create a mental image but not so much that the reader feels overwhelmed or bored.

Finally, descriptive writing should aim to evoke emotions in the reader. This can be achieved through descriptive language conveying a mood or feeling. For example, a writer might describe a storm as “fierce and unrelenting,” creating a sense of danger and foreboding.

It’s important to consider the emotions that the reader should feel based on the subject being described. For example, if describing a peaceful meadow, the writer should use language that conveys a sense of calm and relaxation.

By using these techniques, writers can create engaging and vivid descriptions that allow the reader to experience the scene or object being described fully.

Narrative vs. Descriptive Essays

When it comes to writing essays, there are two main types: narrative and descriptive. While they may seem similar, they have distinct differences in purpose, structure, and examples.

The purpose of a narrative essay is to tell a story. It typically includes characters, a plot, and a setting. It is meant to engage the reader and create an emotional response. Narrative essays can be based on real-life experiences or fictional stories.

On the other hand, the purpose of a descriptive essay is to provide a detailed description of a person, place, or thing. It is meant to paint a picture in the reader’s mind and create a sensory experience. Descriptive essays can be based on real-life experiences or imaginary scenarios.

Narrative essays typically have a chronological structure, meaning they follow a timeline. They often include dialogue and sensory details to create a vivid picture for the reader. The structure of a narrative essay can vary depending on the story being told.

On the other hand, descriptive essays typically have a spatial structure, meaning they describe something in a specific order. They often use sensory details and figurative language to create a vivid picture for the reader. The structure of a descriptive essay can vary depending on the topic being described.

A narrative essay example could be a personal experience, such as a memorable vacation or a life-changing event. It could also be a fictional story, such as a short story or novel.

A descriptive essay example could be describing a favorite place, such as a beach or a park. It could also be a description of a person, such as a family member or a celebrity.

In conclusion, narrative and descriptive essays have distinct differences in purpose, structure, and examples. It is important to understand these differences when deciding which type of essay to write.

Argumentative Essays

Argumentative essays are a type of writing that requires the writer to take a position on a topic and defend it using evidence and reasoning. This type of essay is often used in academic settings, such as in college courses or on standardized tests like the GRE or SAT.

An argumentative essay aims to persuade the reader to agree with the writer’s point of view. To do this, the writer must present a clear and compelling argument supported by evidence. The writer must also anticipate and address counterarguments to strengthen their argument.

An argumentative essay typically follows a five-paragraph structure, which includes an introduction, three body paragraphs, and a conclusion. The introduction should include a clear thesis statement that states the writer’s position on the topic. Each body paragraph should focus on a single point that supports the thesis statement. The conclusion should summarize the essay’s main points and restate the thesis statement in a new way.

Rhetorical Analysis

To write an effective argumentative essay, it is important to consider the rhetorical situation. This includes the audience, purpose, and context of the essay. The writer should also consider using ethos, pathos, and logos in their argument. Ethos refers to the writer’s credibility, pathos refers to emotional appeals, and logos refers to logical appeals.

Thesis Statement

The thesis statement is the most important part of an argumentative essay. It should be clear, concise, and specific. The thesis statement should state the writer’s position on the topic and provide a roadmap for the rest of the essay. It should also be arguable, meaning there should be evidence and reasoning to support the writer’s position.

Expository Essays

Expository essays are a common type of academic writing that aims to inform or explain a topic to the reader. This section will discuss the purpose, structure, and examples of expository essays.

The purpose of an expository essay is to present a balanced analysis of a topic or issue. The writer aims to explain or clarify the topic to the reader, using evidence and facts to support their arguments. Unlike narrative or descriptive writing, expository writing is focused on presenting information clearly and concisely.

The structure of an expository essay typically follows a five-paragraph format. The first paragraph is the introduction, which includes a thesis statement that summarizes the essay’s main point. The following three paragraphs are the body, which presents the evidence and arguments to support the thesis. Finally, the last paragraph is the conclusion, which restates the thesis and summarizes the essay’s main points.

Here are some examples of topics that could be covered in an expository essay:

• The causes and effects of climate change
• The history and significance of a particular event or invention
• The benefits and drawbacks of a particular technology or practice
• The process of learning a new skill or language

In conclusion, expository essays are academic writing that aims to inform or explain a topic to the reader. They follow a five-paragraph structure and present a balanced analysis using evidence and facts.

In conclusion, narrative and descriptive writing are two important styles of writing that serve different purposes. Narrative writing tells a story and conveys events, while descriptive writing paints a vivid picture of a person, place, or thing. Both styles can be used in various types of writing, such as fiction, poetry, biographies, and human interest stories.

When it comes to narrative writing, it is important to consider the basic elements of a story, such as the characters, plot, setting, and theme. Dialogue can also be used to add depth and realism to the story. On the other hand, descriptive writing focuses on sensory details, such as sight, sound, smell, taste, and touch, to create a vivid image in the reader’s mind.

It is important to note that narrative and descriptive writing are distinct styles, but they can also be used together to create a more engaging and compelling piece of writing. For example, a narrative essay can include descriptive elements to enhance the reader’s understanding and emotional connection to the story.

Overall, the key to effective narrative and descriptive writing is to use clear, concise, and engaging language. By mastering these styles, writers can create powerful and memorable works that resonate with readers long after they have finished reading.

Difference Between a Short Story and Narrative Essay

The art of writing information in a specific structure is what the essay is all about. The essay has a straightforward format and is written with a certain topic in mind. The essay’s three main parts are the introduction, the body, and the conclusion. Along with the factual data, the author also provides their opinion. What distinguishes writing essays from writing short stories, in more detail? Our team of thesis writers from the write my college essay service would love to help you figure it out.

Essay writing

Short stories, essay and short story comparison, the short stories’ outlines, arrangement of the essay.

Is a Narrative Essay Different From a Short Story?

26 sep 2017.

The term “narrative” can refer to a type of essay, short story or novel. However, each type of narrative has different elements. When writing a narrative essay, you will focus on telling a true story, usually something that happened in your past. When you write a short story, you create fictional characters and a plot. Understanding the differences between these types of narrative will help you recognize these works and may improve your writing skills.

Explore this article

• Fact vs. Fiction
• Similarities

1 Fact vs. Fiction

Short stories and narrative essays differ in a few ways, but one difference helps define each type of writing. In a narrative essay, you will use facts to tell the story, typically relying on your own memory. With short stories, you will make up the content, creating characters and events that suit the story. You may struggle to maintain accuracy when you rely on your own memory for details or exact dialogue, but so long as you relay information to the best of your memory and do not change events or people, you can say you remained factual in the content of your essay, says Janet Burroway, a writer and Distinguished Professor Emerita of Florida State University.

A narrative essay needs a thesis statement. This sentence belongs in the first paragraph of the essay and informs the reader of the main idea of your essay. For example, your thesis statement may say, “After I passed my driver’s test, I learned how difficult it is to be a good driver.” As you tell the story throughout your essay, you will work towards proving or showing the accuracy of your thesis statement.

Although a short story does not have a thesis statement, many short stories do have a central theme. Perhaps the writer aims to show the impact of loss, love or other concept. She will not typically state the theme for the reader, but, instead, she will show this through the characters, plot and other story elements.

3 Structure

The general structure of narrative essays and short stories will vary slightly. In a short story, you might place the reader in the middle of action from the first word. However, in a narrative essay, you will need to have an introductory paragraph, a body and a concluding paragraph. The introduction will give the reader background to the essay, and you will state your thesis, the main idea behind the essay. In the conclusion, you will help the reader summarize the content of your essay and how your story proves the thesis statement.

4 Similarities

These two types of writing have differences, but they also have similarities. Just as a short story contains characters and plot, a climax and resolution of the story, a narrative essay will also have these elements. You may also choose to put dialogue into your essay, something you will also find in a short story.

• 1 Purdue Online Writing Lab: Narrative Essays
• 2 Imaginative Writing: The Elements of Craft; Janet Burroway

About the Author

Kate Beck started writing for online publications in 2005. She worked as a certified ophthalmic technician for 10 years before returning to school to earn a Masters of Fine Arts degree in writing. Beck is currently putting the finishing touches on a novel.

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What are the differences between narrative and descriptive writing?

What are the differences between narrative and descriptive writing? What should we keep in mind while writing it?

• 2 Can you clarify this question by telling us where you encountered these terms, and what the context is? This is difficult to answer otherwise. –  Goodbye Stack Exchange Commented Jun 9, 2014 at 5:45

7 Answers 7

Narrative writing tells a story or part of a story.

Descriptive writing vividly portrays a person, place, or thing in such a way that the reader can visualize the topic and enter into the writer’s experience.

See here and here .

So in narrative writing, the writer is perfectly capable of telling you the plot of the story, while in descriptive writing there does not have to be a plot, but something has to become very easy for the reader to visualize.

Let's look at the Lord of the Rings. The way J.R.R. Tolkien describes a hobbit is very descriptive, and the reason the movies were so successful was not only because the story was told correctly (the book being narrative writing also), but because the readers did not have to come up with their own imagination of a hobbit (or other figures, places, and such). They were described in detail, giving everybody a very precise framework of imagination to work from. Therefore everybody could relate to and agree upon the characters and the make-up of the artists.

• @malach how do I know, that I should stop description and go on narration? –  gaussblurinc Commented Apr 16, 2013 at 17:28
• 1 The 'here' and 'here' links a broken –  alan Commented Mar 16, 2017 at 17:35
• Descriptive Writing paints pictures with words or recreates a scene or experience for the reader.
• Narrative Writing on the other hand, relates a series of events either real or imaginary or chronologically arranged and from a particular point of view.

For short, the descriptive is to describe and the narrative is to tell information.

Narrative - is when the author is narrating a story or part of a story. Usually, it has introduction, body and its conclusion. It let readers create their own imagination. It may be exact as what the author wants to express or not.

Descriptive - describing what the author wants to impart. It expresses emotion about its certain topic. It leads the way and not letting you fall out of nowhere.

Differences Narration often employs first person point of view, using words like "I" and "me," while other modes including description do not. The biggest difference between the two is that a narrative essay includes action, but the descriptive essay does not. Narration follows a logical order, typically chronological. In contrast, description typically contains no time elements, so organize descriptive essays by some other reasonable means, such as how you physically move around in a space or with a paragraph for each of the senses you use to describe.

The core of narrative writing is strong verbs. Descriptive writing might have some verbs, usually weak ones, but the main tools are nouns and adjectives.

Narrative writing involves the writer's personal experience and he tells it in the form of story.. e.g my first day at college descriptive writing involves the characters observed by five senses and does not contain a plot

• 1 Can you add a contrast to what descriptive writing is? And maybe provide some links to support this? –  Nicole Commented May 12, 2015 at 18:42
• 2 Can you edit to expand this? We're looking for longer answers that explain why and how, not just one-liners. Thanks. –  Monica Cellio Commented Jan 13, 2016 at 23:39

Narrative is the experience of the narrator in his own words whereas descriptive story is analysis of any topic desired..

• 3 "descriptive story is analysis of any topic desired" By that logic, an academic essay or a political polemic would be descriptive writing. –  Goodbye Stack Exchange Commented Oct 27, 2014 at 2:49
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Difference Between a Short Story And A Narrative Essay

• Views 19783
• Author Sandra W.

Is A Narrative Essay Different From A Short Story?

The term "narrative” can refer to a type of essay, short story, or novel. However, each type of narrative has different elements. When writing a narrative essay, you will focus on telling a true story, usually something that happened in your past. When you write a short story, you create fictional characters and a plot. The following characteristics given by iwriteessays.com distinguish a short story from a narrative essay.

Distinction: Short story vs Narrative Essay

Fact vs. Fiction

Short stories and narrative essays differ in a few ways.

• In a narrative essay, you will use facts to tell the story, typically relying on your own memory.
• With short stories, you will make up the content, creating characters and events that suit the story
• A narrative essay needs a thesis statement. This sentence belongs in the first paragraph of the essay and informs the reader of the main idea of your essay. For example, your thesis statement may say, "After I passed my driver’s test, I learned how difficult it is to be a good driver.” As you tell the story throughout your essay, you will work towards proving or showing the accuracy of your thesis statement.
• Although a short story does not have a thesis statement, many short stories do have a central theme. Perhaps the writer aims to show the impact of loss, love or other concept. She will not typically state the theme for the reader, but, instead, she will show this through the characters, plot, and other story elements.

The general structure of narrative essays and short stories will vary slightly.

• In a short story, you might place the reader in the middle of action from the first word.
• However, in a narrative essay, you will need to have an introductory paragraph, a body, and a concluding paragraph. The introduction will give the reader background to the essay, and you will state your thesis, the main idea behind the essay. In the conclusion, summarize the content of your essay and show how the essay adheres to the thesis statement.

Similarities of a narrative and a short story

These two types of writing have differences, but they also have similarities.

Just as a short story contains characters and plot, a climax and resolution of the story, a narrative essay will also have these elements. You may also choose to put dialogue into your essay, something you will also find in a short story.

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Narrative vs Persuasive Essays

Jeanie Tseng, English Specialist

Mar 7, 2018

How do you distinguish between narrative and persuasive essays? A simple search tells us that a narrative essay tells a story, while a persuasive essay makes an argument. However, E nglish specialist, Jeanie Tseng, tells us why it's not as easy as that. 

Narrative essays are not short stories and persuasive essays are not argumentative essays. Narrative essays are factual, still have a thesis and follow a conventional essay structure. Short stories are often fictional, do not need a thesis statement or have introduction, body and conclusions. Persuasive essays convince readers to act or believe in something with emotive opinions. Argumentative essays go steps further by citing scientific facts, statistics and expert quotations. In this blog post we’ll focus on the differences between narrative and persuasive essays.

What makes them so different?

Narrative essays are written from a set point of view with sensory information, using intense adjectives and exact verbs. These essays can be anecdotal, experiential and personal. The writer is encouraged to be creative and thought-provoking. Experiential and personal writings are based on or involve what has happened to the writer as an individual. Note that anecdotal accounts are not necessarily reliable.

Persuasive essays use logic and reason to show that one idea is better than another by trying to convince readers to think certain ways or to do something. The writer takes up a specific position on the issue to advocate for that side. It is important for the writer to understand their audience and carry out thorough research on the subject. Clear and precise evidence is presented, including consideration for the opposing view.

The writing process

The writing process for narrative and persuasive essays are different. Narrative essays are initiated by selecting an incident that occurred in real life. A thesis statement is drafted with the time, location and significance of event for the introduction. The body paragraphs are written in chronological order. A new paragraph starts whenever the story alters direction, the scene varies and there is dialogue between characters. Then the essay is filled with vivid details of the five senses and verbs. There is usually less focus on feelings and thoughts. Transitional expressions to link events are added to help with a logical flow. Finally, a resonating conclusion is reached.

The persuasive essay starts with an attention grabber and thesis statement in the introduction. The position taken is always for or against an issue, so it can be debated. The thesis statement informs the reader about the topic, its limits and how the essay is organised. The body provides evidence such as facts, statistics, quotes and examples to support opinion. This section anticipates opposition viewpoints with concessions and provide rebuttals. Transitional expressions are also used to cue the reader for the next logical point. The conclusion summarises significant details and repeats what the reader is to believe or do in a call to action.

Narrative essays are vastly different to persuasive essays. The narrative essay’s purpose is to tell a story, the persuasive essay aims to convince readers about an argument. The way to write both types of essays differ to a large extent in terms of structure and content. No wonder narrative and persuasive essays are different!

If you need support with your writing, or would like your writing reviewed by one of our English specialists, find out if you have access to our service here .

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Here is perhaps a surprising fact: cinema was not invented to tell stories. That it came to do so on its way to become the 20th century’s dominant entertainment form is not so much a historical accident as a consequence of its development into an industrialized art. But storytelling is not “natural” to the medium, so in order that the moving image could be pressed into service for story, its practitioners had to develop conventions that would allow any spectator to follow its narrative action. This chapter outlines terminology related to film narrative.

DEFINING NARRATIVE

What is a narrative ? A simple answer would be that a narrative is a series of events that happen, but this is insufficient. The events that make up a narrative have to be related to each other by more than just chronology. When describing their writing process, South Park (Comedy Central, US, 1997- ) creators Trey Parker and Matt Stone succinctly capture the difference between a chronological series of events and a narrative. They explain that between each beat (a basic unit of narrative action) of a story, a writer must avoid thinking “and then.” Instead, a writer should either place “therefore” or “but” between each beat. So, it’s not “this happens, and then that happens,” but “this happens, therefore that happens” or “this happens, but that happens.” What this basic writing hack intuitively grasps is that narrative is a series of events linked to each other through causality . Causality specifies a relation of cause and effect. One narrative beat causes another, which is its effect and which in turn acts as a cause for the next narrative beat.

The most common type of causality in film narrative relates to character – chiefly, either the protagonist (the fiction’s main character who moves the narrative action forward) or the antagonist (the fiction’s principal character whose aims oppose the aims of the protagonist). Narrative films establish and develop the psychological interiority of characters to motivate narrative events. The desires, wants, or goals of a character are what establish the causal links between events, especially as they enter into conflict with the desires, wants, or goals of another character or with a set of material circumstances that delay or prevent their realization. Establishing the psychological interiority of a character in a film is not as straightforward as doing the same for a character in a novel. Novelistic description can easily access a character’s internal thoughts, but because a film records the external actions or behaviors of a character, it requires additional formal strategies to suggest what a character is thinking or feeling. Dialogue is the most obvious strategy. Sometimes film characters just say what they want. Often however, viewers must infer a character’s motivations from the set of visual cues provided by the film. That viewers can disagree about these motivations is one cause of differing interpretations of the same film.

THE THREE-ACT STRUCTURE

The standard format for organizing a film narrative is the three-act structure , though film scholars consider much of contemporary mainstream filmmaking to now follow a four-act structure. [1] The first act comprises the film’s exposition . Exposition establishes the diegesis (the world in which the story takes place), introduces characters and their relationships to each other, and reveals the primary aims or goals that will drive the story. The second act introduces the central conflict of the story (whatever stands in the way of the protagonists achieving their aims) and presents complicating action (for example, unintended consequences, betrayals of trust, the revelation of new information, etc.) that delays the realization of the characters’ goals. The second act culminates in a narrative climax , indicating the height of narrative action where “height” does not mean “a lot of stuff happens” but where the intensity of the conflict is at its maximum and the resolution of aims appears furthest from its possible realization. Following the climax, the third act carries out the resolution of the conflict, which entails either the successful achievement of the characters’ goals or the dramatic failure to achieve them. Classically, the resolution of a narrative will usher in a new state of affairs (for example, the marriage of a couple, the solving of a murder, the defeat of a villain, etc.) in the diegesis.

The four-act structure of much contemporary film only entails a modification to the second act of the standard three-act structure. In a three-act structure, this second act of complicating action is typically twice as long as the acts that bookend it. A four-act structure introduces an additional and distinctive turning point within this second act, resulting in four acts of roughly equal length.

Segmenting a Film : Spider-Man: Homecoming

Discussions of three-act structures versus four-act structures are the stuff of screenwriting manuals, but learning how to segment a film narrative can be useful for film analysis, since being able to identify narrative conflict and a film’s turning points clarifies what is meaningful about a particular story. Let’s look at a recent mainstream film as an example: Spider-Man: Homecoming (Jon Watts, US, 2017). As the second film in this iteration of the franchise, Homecoming follows the origin story of Peter Parker’s transformation into a superhero after being bitten by a radioactive spider. As the film centers on a teenage superhero, its central conflict concerns the hero’s attempt to balance his private life as Peter (facing the social pressures of high school) and his public life as Spider-Man (wanting to be a full-fledged member of the Avengers).

The first act of the film (the exposition or set-up) introduces the causal lines of action that the narrative will have to resolve by its conclusion. There are three main causal lines in Homecoming : Peter’s (Tom Holland) crush on Liz (the romance plot), Spider-Man’s desire to take on more responsibility as an Avenger (the hero plot), and the confrontation with Adrian Toomes (Michael Keaton), an arms dealer trafficking in weapons made from alien technology (the villain plot). The latter plotline is introduced in a prologue that efficiently establishes the villain’s origin story: facing the shuttering of his salvage business, Toomes turns to illegal arms trafficking to continue to provide for his family. Once established, this plotline takes a secondary position to the other two, which are the focus of this first act. The romance plot encompasses Peter’s life as a high school student. He is a member of the Academic Decathlon team, his friend Ned (Jacob Batalon) discovers his secret identity, and he tries to exploit “knowing Spider-Man” through a Stark Industries internship as a means to impress Liz (Laura Harrier) and his classmates. In the hero plot, Spider-Man feels like he has no purpose. Having just assisted on an Avengers mission, he finds the local problems in his Queens neighborhood too minor for his abilities, but Stark, as surrogate father figure, is distant and non-responsive.

The second act (the complicating action) begins when the three plot lines no longer run parallel to each other but come into direct conflict. Spider-Man discovers a promising lead to the source of the illegal weapons, and tracking down that source will provide the Avengers-level mission he desires, allowing him to prove himself to be ready to be considered more than just a teenaged kid, undervalued by Stark. This convergence of the hero plot and the villain plot, moreover, complicates the romance plot. Peter had planned to appear as Spider-Man at a high school party (to spend time with Liz, to prove something to Flash) but a distant explosion calls him away. This dynamic will be familiar to viewers of any Spider-Man films, since his responsibilities as the superhero comes at the expense of his wants in his private life.

The second act comprises a long series of narrative events that show Peter/Spider-Man’s efforts to resolve the three plotlines (get the girl, defeat the villain, be an Avenger), but he finds himself foiled each time as progress in one often impedes one of the others. Rather than recounting the entire second act, which encompasses around 90 minutes of screen time, let’s take one example. Peter rejoins the Academic Decathlon team after quitting his extracurriculars in order to be Spider-Man more often. The team travels to Washington D.C. for a competition, allowing Peter to spend more time with Liz and run a side mission tracking the illegal weapons. The night of the mission, he is invited by Liz to go swimming, but he has to turn her down (impeding the romance plot) to stop a heist (advancing the converged hero/villain plot). Though he prevents the theft, Spider-Man gets trapped in a containment facility, causing him to miss the competition. Moreover, he has entrusted Ned with a stone of extraterrestrial origin, which becomes explosive when irradiated. The stone detonates in a Washington Monument elevator, forcing Peter to save his friends. He acts heroically, but it was his own irresponsibility that endangered them.

If we wanted to segment Homecoming into four acts rather than three by splitting the second act into two, what event in the plot would constitute the dividing line? It would be the action sequence on the Staten Island Ferry (Figure 1), when Spider-Man attempts to stop an arms deal but loses control of the situation, causing a weapon to sever the ferry in half, threatening the lives of all its passengers and requiring Stark/Iron Man to intervene in the rescue. Why is this event a turning point? How does it function as a further complication in the relation between the film’s three major plot lines?

The first half of the second act is structured by the repeated interference of his role as Spider-Man with his goals as Peter. This event, though, is a dramatic failure for Spider-Man (the villains escape, innocent lives are endangered), as he takes on more responsibility than he is equipped to handle. The second half of the second act, therefore, has Peter become only Peter again. Stark confiscates his suit, ending the “Stark internship,” and Peter can pursue high school things without the interference of his superhero persona. Not for long, however. Having suspended the hero plot line, the romance plot and the villain plot now dramatically converge. Peter asks Liz to prom, but discovers that the villain he has been pursuing is her father! Her father likewise figures out almost immediately after that that Peter is Spider-Man. Their secret identities are both revealed, throwing the romance plot and the villain plot into opposition. Indeed, Peter is offered a choice: forget what he knows and just be a regular high school student again, or pursue the villain at the likely cost of his romance with Liz.

Homecoming’s final third act (or fourth, depending on the segmentation) begins, perhaps unexpectedly, not when he makes this choice (to pursue the villain). We see him do so, telling Liz that he has to abandon her at the prom for a reason he cannot disclose. But this action only pertains to the romance plot. Peter will sacrifice what he desires in his private life for his greater responsibilities as Spider-Man. The conflict between the hero plot and the villain plot, however, remains unresolved. Peter cannot just decide to be Spider-Man again. The hero plot was based on Peter’s desire to be recognized as an Avengers-level superhero, and the complicating action that resulted from this frustrated desire is that Peter sought this aim prematurely, before he was ready for what that responsibility entailed. Peter thinks his identity as Spider-Man is what makes him worth something (“I’m nothing without this suit”), but Stark reprimands him that he has to prove himself capable of wielding the suit’s power (“If you’re nothing without this suit, then you shouldn’t have it”). Therefore, the climax arrives only when the intensity of this conflict reaches its high point. The villain brings down an entire warehouse on Spider-Man’s head, burying him in rubble. Pulling himself from the debris, Peter encounters his own reflection, half Peter and half Spider-Man (Figure 2). Is he worthy of wearing the suit? Does he believe himself to be? Peter’s internalized conviction that he is finally ready to be a superhero, with all that entails, sets off the film into its final act, when we discover how all of these plot lines will conclude. The terms are now clear and the stakes are now set. All that remains is to see how it ends.

So how does it? Spider-Man pursues the villain in an extended action sequence. He offers the villain a parallel choice to the one he had to make: renounce the weapons trafficking and return to being just a father to Liz. But the father chooses his villainous alter ego, his ambition winning out over his fidelity to his family. The villain is then defeated. The other plot lines fall into place. Having proved himself capable, Stark returns Spider-Man’s suit to Peter and arranges to announce him as an Avenger. However, Peter has learned what the villain did not. Though he previously wanted more than his simple high school life, in a rush to take on the adult responsibilities of a superhero, now he can see the value of what he had too easily dismissed. He will make the opposite choice to the villain, humbly sacrificing his previous ambition.

This example demonstrates that segmenting a film into a three- or four-act structure clarifies its thematic stakes. Identifying a film’s causal chains and their respective turning points reveals what is significant about its narrative conflict. It allows the viewer to explain in some detail the set of changes (both internal and external) that narrative resolution brings into effect.

STRUCTURING NARRATIVE

Studies of film narrative observe a fundamental distinction between story and plot . Story comprises the entire set of narrative events in their chronological order. No event is omitted and there are no deviations to the order in which those events take place. A plot entails the temporal manipulation of story for dramatic purposes. Viewers of a film are presented with a plot from which they have to reconstruct the story. This is because a plot may exclude certain events, skip over others, and otherwise change the order in which they occur.

A YouTube video essay from the channel Nerdwriter1, on the science fiction film Passengers (Morten Tyldum, US, 2016), demonstrates what is to be gained from plot’s manipulation of story. The video essay speculates what difference it would make to this outer space thriller if the screenwriter and director had switched its second act with its first. In the film, Jim Preston (Chris Pratt) wakes up from his hypersleep chamber after a technical malfunction, decades before he and the rest of the ship’s passengers are scheduled to. The entire first act shows Jim attempting to adjust to life in isolation. Feeling desperate after a year alone, he wakes Aurora Lane (Jennifer Lawrence) from her chamber. He allows her to think her revival was also the result of a malfunction, rather than his own doing. A romance develops between them, but it is threatened when Aurora finally discovers that he is responsible for her being awake. The video essay asserts that this is not the most effective plot order for these story events. If the film instead began where its second act currently does, with Aurora being awakened, it would entirely alter the spectator’s impression of Jim’s character and grant more mystery to their situation. Rather than being encouraged to sympathize with Jim’s desperation over the course of the first act, the spectator (like Aurora) would be uncertain whether to trust him (Figure 3). In its current form, we know Jim is a good guy who perhaps made a bad choice in a moment of weakness. With a different plot structure, Jim’s motivations and his potential villainy are left open for Aurora (and the spectator) to determine (Figure 4). As this video essay demonstrates, the same story told with a different plotting can have radically different effects.

A story is a linear accounting of events, but a plot is often nonlinear in form, altering the order in which events are presented to viewer. One of the most commonly used devices for nonlinear plotting is the flashback , in which a temporally anterior event in the story appears as temporally successive event in the plot. More simply, in a flashback, the viewer knows that, though this particular scene follows this other one, we understand it to take place earlier in the story’s timeline. Flashbacks are sometimes explicitly marked for the viewer – for example, through dialogue (“I remember when…”), onscreen text (“Two years earlier”), or by a visual blur around the image, as seen in classical Hollywood cinema. Other times, though, the viewer must infer from the contextual cues provided by the plot how to locate an event within the story’s linear timeline. A related device to the flashback is the flashforward , in which a temporally successive event in the story appears as temporally anterior event in the plot. Or again more simply, in a flashforward, the viewer understands that we are jumping to a future event before returning to the present. The alien invasion film Arrival (Denis Villeneuve, US, 2016) exploits the ambiguity in nonlinear plotting by presenting flashforwards as flashbacks. Throughout the film, Villeneuve intersperses scenes that the viewer assumes to be flashbacks to the past of Dr. Louise Banks (Amy Adams) before the arrival of the aliens, but which are later revealed to be flashforwards to her future. The film purposefully withholds contextual information from the viewer that would have allowed spectators to correctly locate these events on a first viewing.

In addition to altering the order of story events, a plot may skip over events in a narrative ellipsis. In a famous instance of this, director Robert Bresson accounted for two years in story time in 23 seconds of plot time. Michel (Martin LaSalle), the small-time thief at the center of Bresson’s Pickpocket (France, 1959), is continually surveilled by the police for his pickpocketing so he leaves Paris for two years to allow interest in him to die down. Bresson skips over these two years entirely, only noting that they took place via a brief shot of Michel writing in his diary. Narrative ellipsis can be used to excise narratively insignificant events from the plot – it is not important what Michel did for those two years in London, only that he feels it is safe to return to Paris – but it can also be used strategically to control what the spectator knows.

This is the case with the use of ellipsis in Steven Soderbergh’s Ocean’s 11 films. Soderbergh wants to hide from his spectator narratively significant events that would otherwise fall within the chronology of his heist plot, so he skips over them and then reveals them later in flashbacks. For example, in Ocean’s 12 (US, 2004), the viewer is lead to believe that the Ocean thieves have lost their contest to the Night Fox, who successfully stole the Imperial Coronation Fabergé egg before they could. This is not the case, however. As is revealed, all of the failed attempts by the Ocean crew to steal the egg were a ruse to con the Night Fox. In actuality, they stole the egg before any of these events took place, during its transit to the museum. Soderbergh simply elides this heist, allowing the spectator to think the protagonists have failed.

A specific variation of narrative ellipsis is when the plot begins in media res either at the start of the film or at the start of a scene. In media res designates “in the middle of things,” and this narrative device involves an elision of some story events by the plot such that we are presented with a narrative situation that is already underway. For example, Alfred Hitchcock’s Vertigo (US, 1958) begins this way. The film’s first scene joins an ongoing chase involving a police officer and a detective in pursuit of a suspect. Who this suspect is and what he did is never revealed, but what happens during this chase sets up the narrative conflict to come.

Finally, plot can manipulate a story’s timeline through the narrative repetition of events. In a story, an event occurs once, but a plot might return more than once to the same event, often for the purposes of revealing additional narrative information. For example, in Oppenheimer (US, 2023), director Christopher Nolan uses narrative repetition to establish why Senator Lewis Strauss (Robert Downey Jr.) sought to destroy the reputation of physicist J. Robert Oppenheimer (Cillian Murphy), after he lead the American efforts to develop a nuclear bomb. Several times the film returns to Oppenheimer’s mocking testimony regarding Strauss’s concerns over the export of isotopes. This public humiliation motivates Strauss’s retaliatory campaign against Oppenheimer. Similarly, the film repeats an encounter between Oppenheimer and Albert Einstein (Tom Conti). Strauss believes that Oppenheimer denounced him to Einstein during this conversation. The viewer is unable to confirm this, since each repetition of this event is depicted from Strauss’s perspective, until the final scene of the film, where it is again repeated but what they say is now revealed. The plot repetition of these story events underlines how Strauss is representative of Cold War paranoia, obsessing over but fundamentally misunderstanding what is taking place.

In a subtle use of narrative repetition, Greta Gerwig’s Little Women (US, 2019), unlike the previous film adaptations of the novel, uses nonlinear plotting to draw contrasts between the March sisters as girls and as young women. Gerwig repeats one story event as a clever way to dramatize the question of which man Jo March (Saoirse Ronan) will end up with romantically. The event is a simple one: Jo ascending the front steps of her boarding house following her move to New York City. The first time Gerwig depicts this action (Figure 5), it is interrupted by offscreen dialogue from her first love interest Laurie (Timothee Chalamet), waking Jo from her sleep in an earlier timeline. The event is cut off just as the door to the boarding house is being opened. When Gerwig repeats this event later in the film (Figure 6), this time she allows it to play out in its entirety, with no interruption. The person opening the door at her arrival is Friedrich Bhaer (Louis Garrel), the man she ultimately marries. Through this formal repetition, Gerwig captures the idea Jo’s infatuation with Laurie would be only a detour before she found her true love in the unlikely candidate of Bhaer.

This previous section outlined plot’s temporal manipulations of story. Plot and story do not often coincide, because when we want to tell stories, we construct plots according to what we consider the most dramatically effective organization of events. So we alter the order of these events in the telling, or we skip over or repeat events as needed. As this section will examine, we also decide from whose perspective a story will be told. Constructing a plot entails choosing a narrator, or a narrating agency, which is sometimes aligned with a character in the fiction and sometimes not. Depending on whose perspective we select, the plot will be different and therefore so may be our understanding of the significance of the story. After all, it matters, for example, whether a story is narrated from the perspective of the victim or the perpetrator, of the hero or the villain, or of the protagonist or a marginal character.

If narrative is what happens , then narration is what happens from whose perspective . More formally defined, narration involves a plot’s ongoing regulation of story information. Narration determines what we know and when we know it. It specifies our “position” within the story. As just mentioned, this position might align with a specific character – if so, this character also functions as a narrator – but it is more useful to think of the film itself as a narrating agent, which might sometimes correspond to the perspective of a character and other times not. In the study of literature, we are familiar with the difference between first-person narration and third-person narration. We cannot, however, simply transplant those categories into the study of film, since film can only roughly approximate the function that pronouns (“he/she/they” vs. “I”) serve in language. Instead, scholars of film narrative frame narration in terms of two categories: omniscience and subjectivity.

Degree of omniscience

One measure of narration is the degree of omniscience it grants to its narrating agency. The more omniscient the narration, the more unrestricted is its position within the story. Degree of omniscience specifies what limitations are placed, if any, on what the camera (and therefore the spectator) “knows” one moment to the next. A convenient way to evaluate a film’s degree of omniscience is to ask whether the camera knows more than a character within the fiction. For example, a highly omniscient narration will not restrict its perspective to only one character. The camera can freely move its position between characters as needed, or it can show something unknown to any character.

This is characteristic of disaster cinema, for instance, since a film in that genre will typically give advance notice to the spectator of an oncoming devastating event, unbeknownst to the characters. In 2012 (Roland Emmerich, US, 2009), neutrino radiation from the sun destabilizes Earth’s crust, causing large-scale earthquakes. Emmerich’s omniscient narration reveals to the spectator that an earthquake is about to hit before the characters realize it. In one of these occurrences, while two main characters shop in a grocery store, the director cuts to the parking lot outside as a crack opens up in the pavement (Figure 7). Similarly, inside the store, a shopping cart veers away from a customer, as the camera tracks down to reveal more cracks in the floor (Figure 8). No characters see these warning signs, and therefore this omniscient narration prompts the viewer to anticipate the earthquake before they do (Figure 9).

The same technique is used in a more classic film, Vittorio De Sica’s Bicycle Thieves (Italy, 1948). The entire film hinges on a stolen bicycle. An impoverished father Antonio Ricci (Lamberto Maggiorani) gets a desperately needed job hanging posters around Rome, for which he needs his bicycle. In the scene where the bike is stolen, De Sica frames Ricci from a distance, permitting the spectator to notice one of the thieves lingering near him, eyeing the bicycle (Figure 10). Ricci does not see him. The viewer therefore comes to fear the tragic event about to befall him.

Omniscient narration constitutes an overarching viewpoint that has the freedom to move to any place or time within the diegesis. In the silent film classic The Birth of a Nation (US, 1915), director D.W. Griffith tells an epic – though quite racist – family drama against the backdrop of the American Civil War. The film depicts the intertwined fates of two families – the Stonemans of the North and the Camerons of the South – and Griffith alternates between the two sides of the war, and includes historical events such as Lincoln’s assassination. This unrestricted point of view gives the film its epic scale. In an entirely different vein, Ridley Scott’s The Martian (US, 2015) – concerning an astronaut stranded alone on Mars – also typifies a standard use of omniscient narration. The film transitions between the Mars setting, the spaceship carrying the other astronauts, and NASA on Earth, providing the spectator a privileged point of view to the narrative action. For example, neither the astronauts nor the scientists at NASA know that Mark Watney (Matt Damon) has survived and is stranded, but the spectator remains aware of his dilemma. Similarly, when a lone scientist develops a risky escape plan for Watney that is adopted by the astronauts, we see them make this decision even as NASA does not know this. With nearly every scene, the spectator maintains the most informed perspective.

At the other end of the spectrum from highly omniscient narration, films can utilize restricted narration. In restricted narration, the film confines itself to the perspective of a single character, or the spectator knows less than the characters do, or important story information is hidden from the viewer. To take a well-known example, The Sixth Sense (M. Night Shyamalan, US, 1999) carefully orchestrates each scene and camera position so as to not reveal too early that its protagonist is dead, moving through the real world as a ghost without knowing it. It is expected that this restricted point of view will cause the viewer not to notice, for instance, that other characters fail to make eye contact with the protagonist (because they cannot see him). M. Night Shyamalan’s films in general rely significantly on restricted narration to produce a sense of mystery and suspense. The Village (US, 2004) creates the impression of monsters at the outskirts of a community living in a secluded forested area because the plot restricts its perspective to the young people in the village. Likewise, A Knock at the Cabin (US, 2022) involves the appearance of four strangers at the isolated cabin of a gay couple and their child. The strangers say that one of their family members must be sacrificed or the apocalypse will happen. The viewer’s position is aligned closely with this family. We have no idea whether the strangers are telling the truth or lying, and thus the film presents us with grappling with the same ethical dilemma of whether to kill one to save all.

Genres that rely on suspense – mystery, thriller, and horror – will tend to rely on restricted narration in order to withhold information from the viewer – say, the identity of a murderer. Like Shyamalan, the films of David Fincher often appeal to this type of narration. In Gone Girl (US, 2014), the first act of the film is told from the perspective of Nick Dunne (Ben Affleck), who believes that his wife Amy (Rosamund Pike) has been kidnapped from their home or murdered. The film confines itself to Nick’s cooperation with the police investigation until it becomes clear that detectives suspect him of the crime. In a narrational twist, the film assumes Amy’s perspective. Not only is she not dead but also she is purposefully framing her husband for her own disappearance. The remainder of the film utilizes more omniscient narration as it alternates between the perspectives of Nick and Amy. In his earlier film, The Game (US, 1997), Nick Van Orton (Michael Douglas) is gifted an interactive game by his brother, but when the game involves the trashing of Van Orton’s home, sabotage at his job, and potential threats on his life, he suspects that something more nefarious is taking place. Any stranger he meets might be a part of the game just as any vehicle he enters or object he picks up might be as well. The viewer, like Van Orton, is not given enough information to determine what is real and what is only gameplay. Fincher has said that he had to studiously avoid close-ups because otherwise the spectator would assume they were being clued in to something significant. As a director, he had to be careful not to “tip his hand” to viewers in order to keep them closely tied to Van Orton’s paranoia. Finally, Fight Club (US, 1999) pulls a similar trick to The Sixth Sense . By restricting the narrational point of view of the film to its unnamed protagonist, the director is able to conceal the fact that another character – Tyler Durden (Brad Pitt) – is not real, only the imagined alter ego of the protagonist. For much of the film, the protagonist only learns, as we do, of the things Tyler has done after the fact, not realizing that he in fact is Tyler.

It is essential to remember that a film not simply omniscient or restricted in its narration. A film can adjust the degree of omniscience throughout, depending on the dramatic needs of the story. An example of this was given above, where in Gone Girl , the relatively restricted narration of the first act becomes more omniscient once it is revealed that Amy is still alive. We can also point to another earlier example from Spider-Man: Homecoming , which utilizes relatively omniscient narration throughout. However, when it suits the storytelling interests of the film, it momentarily shifts to a more restricted viewpoint. For instance, although the film freely features scenes with arms dealer Adrian Toomes, even when Spider-Man is not present, the film hides from the viewer his connection to Liz (he is her father). This piece of information is only learned when Peter learns it, when picking up Liz for the prom. The film could have structured this revelation differently. If it had been disclosed to the viewer that Toomes is Liz’s father before Peter knows it, then we would feel anticipation of an upcoming conflict that Peter is not aware of yet. Instead, the film wanted this information to be a surprise.

To summarize, the degree of omniscience in narration specifies where the viewer is positioned within the story and determines how much information we have relative to the characters and when we learn it. In a highly omniscient narrative, the narrational point of view “stands above” the story, able to survey and supervise what it wants. In a highly restricted narrative, this point of view “stands within” the story, able to only capture a partial view of events and aware that there is information that remains undisclosed.

Degree of subjectivity

This measure of narration considers the degree to which a film provides access to the internal mental states or perceptual point of view of its characters. At which points, if any, are we “inside the head” of a character? Subjective narration is somewhat tricky in film, since the default position of a camera is to objectively record the action, leaving the viewer to infer the psychological interiority of characters through dialogue and acting. We are generally “outside” the character. More objective narration relies on external cues to communicate narrative information. It specifies a more “indifferent” narrational perspective that does not emphasize what a character may feel or think about a situation, only how they behave.

Film makes use of specific formal devices to produce moments of subjective narration. They include the following:

Internal voiceover . In this device, a character narrates on the soundtrack their internal thoughts and feelings. The spectator hears the character’s reactions to a situation. For example, this device is used extensively in The Haunting (Robert Wise, US, 1963). The film foregrounds the psychological reactions of its protagonist to the strange supernatural phenomena she experiences in the haunted Hill House. It is also used in Psycho (Alfred Hitchcock, US, 1960), first when Marion Crane (Janet Leigh) flees with the stolen money (we hear her working out when her employers will discover the theft) and at the conclusion when the internal monologue of Norman Bates (Anthony Perkins) is heard in the voice of his mother.

Subjective flashback. In this variation of the flashback, what the spectator sees represents the memory or imagination of an earlier event rather than an objective depiction of it. The flashback is explicitly or implicitly marked as the character remembering something, allowing the spectator the assumption that what is seen may not be accurate representation of what happened. A notable example of a subjective flashback can be found in Ratatouille (Brad Bird, US, 2007). When stuffy food critic Anton Ego (Peter O’Toole) tastes the title dish of the film, he is visually transported back to his childhood, to when his mother had prepared the same meal (Figures 11-13).

Dream sequences or other depictions of altered states of mind. A film may want to simulate for the spectator the experience of a character undergoing an altered state of consciousness. This might include dreaming, drunkenness or being stoned, delirium or confusion, drowsiness or losing consciousness, hallucinating, shellshock or being dazed, or other similar subjective states. The director might make use of a subjective camera , where the camera seems to be tied to the movements of a character. Let’s identify a few examples. In the silent film Shoes (US, 1916), director Lois Weber visualizes the anxiety of a young woman who cares for her family on a meager wage by depicting an imaginary “hand of poverty” suspended over her bed (Figure 14). In another silent film, The Fall of the House of Usher (France, 1928), director Jean Epstein uses superimposed images of Madeline to express the feeling of having her life force robbed by her husband’s magical portrait of her (Figure 15). Finally, in Spellbound (Alfred Hitchcock, US, 1945), the director recruited surrealist artist Salvador Dali to design sets for a dream sequence (Figure 16).

Point of view shot. While the previous devices emphasized a character’s mental states, this commonly used device involves a perceptual alignment of what the camera sees with what a character sees. A point of view shot is one where the camera shows the visual perspective of a character, as if the film were looking out of the character’s eyes. The camera assumes the physical position of the character within the space and appears to display what they see (Figures 17-18). This can sometimes be used to indicate a discrepancy between their subjective perception and an objective view of the event through a form of visual distortion. For example, a point of view shot can be blurry, indicating that the character is unable to discern what is in front of them. On rare occasions, filmmakers have experimented with constructing an entire film around a single character’s point of view. The film noir Lady in the Lake (Robert Montgomery, US, 1947) aligned its spectator with the visual point of view of the film’s detective protagonist. The gimmick was that viewers would experience what the detective does and would try to discern clues for solving the murder case along with this character.

As with omniscience, the degree of subjectivity in a film’s narration is not a binary choice between subjective and objective. A film’s narration can be positioned close to a character’s perspective without necessarily assuming the mental or perceptual point of view of that character. In other words, we don’t have to be only inside a character’s head in order to point to instances of subjective narration. Consider the scene from Little Women (Gerwig, 2019) where Laurie helps Jo to escort her injured sister back to the March household following a ball. It is his first time in the home, and even though the camera does not adopt his visual point of view, the scene nonetheless emphasizes his reactions to this female-dominated space. The March sisters huddle around their injured sister in front of the fire, as their mother welcomes Laurie. The film repeatedly cuts to reaction shots of Laurie as he watches the sisters interact, and it is clear that, in contrast to the cold atmosphere of his own home, he is drawn to this warm and inviting space (Figures 19-21). Film analysis requires that one be attentive to whether a film, through its framing and editing choices, tends to favor, privilege, or single out one character’s position over the others. The less a film seems to center a particular character, the more objective is its narration. This would be the case had this scene from Little Women played out without these reaction shots. Instead, even though we must still infer what Laurie is feeling at this moment, the film is nonetheless signaling it is his personal reactions that matter here.

NARRATIVE, TECHNOLOGY, AND INDUSTRY

To this point, we have considered the intrinsic features of film narrative, examining how plot is organized in response to the internal features of story. However, film and television are industrialized art forms, and therefore we must also consider the extrinsic determinations of narrative. What this will show is that the particular form a plot takes is not solely affected by the nature of the character or story, but also by the conventions and standardized practices of the medium as a whole. We will look at three of these extrinsic influences on narrative: genre, television distribution, and franchise filmmaking.

A genre is a way of classifying films into recognizable categories based on shared characteristics, such as character types, visual iconography, and narrative conventions. Some film genres include horror, musical, action-adventure, romantic comedy, and crime film. These broader categories can be further divided into subgenres , such as found-footage horror films, the heist movie as a type of crime film, or the distinction between a psychological thriller and an erotic thriller. Filmgoers are accustomed to thinking of cinema in terms of genre. They use it as a guide for deciding what films might interest them, just as film distributors use it to market their films to audiences, as seen for instance, on a Netflix home page. This is what film scholar Rick Altman refers to as the pragmatic approach to film genre, because it recognizes that genres function in a market to align the interests of institutions and audiences, by matching the characteristics of a cultural product (i.e. a film) to the expectations of its intended consumers (i.e. the audience). [2] Anyone who has ever complained that a movie trailer misrepresented the film it advertised knows when the pragmatic function of genre has failed.

Altman has further defined film genre according to a semantic and syntactic approach. The semantic aspects of a genre film refer to its iconographic elements, meaning the visual components that make it recognizable as a member of a specific genre category. For instance, when watching a western, one expects the film to include cowboys, Native Americans, a frontier setting, a saloon, a bordello, guns, horses, and so on. This iconography is clearly distinguishable from a science fiction film, which may involve outer space, aliens, spaceships, forms of advanced technology, and so on. No one film will include all of the iconographic elements associated with its genre, and these elements can be shared across genres. Moreover, a genre hybrid may combine elements from different genre categories. Jordan Peele’s Nope (US, 2022) is both a western and a science fiction film, as is Star Wars (George Lucas, US, 1977).

The syntactic aspects of a genre refer to how these iconographic elements are arranged into a meaningful structure, just like the syntax of a sentence organizes separate words into a meaningful whole. Therefore, a western does not just feature cowboys on the frontier. It organizes those elements into a narrative framework that signifies the confrontation between civilization and wilderness. A horror film or a science fiction film does not just feature a ghost/monster or an alien creature. They organize those elements into a framework involving the encounter of the human with the non-human other.

Insofar as a film is a member of a particular genre, then, its narrative components will be influenced by the semantic and syntactic conventions of that genre. Genre films are pleasurable because they offer familiar templates with minimally sufficient differences to distinguish any one film from the others. A romantic comedy, for example, has its familiar beats: the meet-cute, the opposites-attract or enemies-to-lovers central couple, the quirky best friend, and the last-minute grand romantic gesture. A pair of Nora Ephron films from the 1990s, Sleepless in Seattle (US, 1993) and You’ve Got Mail (US, 1998), both starring Meg Ryan and Tom Hanks, follow these beats closely, though in the first film, geographical distance is the primary obstacle to romantic union while in the later film, they are business competitors, her small bookstore being threatened by his large bookstore chain. Other romantic comedies purposefully break from these conventions, though not so much as to fall outside of the genre. In ( 500) Days of Summer (Marc Webb, US, 2009), for example, the film begins with the couple’s break-up. The spectator knows it ends badly, and this informs our understanding of the film as its plot jumps around to different moments in their relationship, allowing us to see why it failed.

Television Narrative

The narrative form of television is highly determined by the technological parameters of its delivery to the consumer and by its industrial structure. What are the basic elements of television narrative? Scholar Michael Z. Newman identifies three levels around which TV narratives are structured: beats, episodes, and arcs. [3] An episode is a discrete narrative segment in a television series, traditionally airing either daily or weekly. Episodes are comprised of beats , a minimal unit of narrative action, where typically the main plot line of a half-hour episode will have 4-5 beats. Finally, arcs designate narrative segments that extend across episodes, often lasting for the duration of a television season.

Scholars of television distinguish between two forms of narrative organization: episodic and serialized . In episodic television, the episode is a self-contained narrative unit, meaning that narrative problems are introduced and resolved within the span of a single episode (or sometimes two). Traditional sitcoms tend to be highly episodic. For example, The Simpsons (FOX, US, 1989- ) is organized in this way, in that not only does it resolve plot lines each episode but also it tends to reset to initial conditions (Lisa and Bart have been in the same grades at school for more than two decades). Other television formats such as game shows or talk shows are likewise episodic in form. In serialized television, episodes tend to be linked by narrative arcs that extend across several episodes, a season, or the entire series run. This is now a common practice, even in sitcoms, but it came to prominence in quality television programming of the 1990s with shows such as The X-Files (FOX, US, 1993-2002) and Buffy the Vampire Slayer (WB/UPN, US, 1997-2003). Buffy , for instance, introduced the concept of the “big bad,” where each season was defined by a single villainous character. The X-Files , meanwhile, organized single episodes around specific supernatural or extraterrestrial mysteries while sustaining a broader conspiracy involving the government cover-up of aliens across the entirety of the series.

What are the industrial or technological conditions that affect episodic and serialized television? In other words, how do the ways that television is distributed to audiences help to shape its narrative structures? This is especially apparent if we contrast early television (the broadcast era) to contemporary television (the streaming era). Let’s look at changes in two aspects of the medium: commercials and syndication. In the broadcast era, when television was distributed over the public airwaves across only three channels, it operated under a multiple-sponsor model. This meant that audiences would receive free programming (after the cost of a television set) and the television networks would generate revenue by selling advertising time. Commercials interrupted television shows at regular intervals. When scripting for television therefore, writers had to accommodate these planned interruptions, and they did so by distributing narrative beats around these commercial breaks (for example, placing a cliffhanger before a break). Moreover, because all television time was advertising time, the length of single episodes was precisely regulated. A half-hour sitcom comprised 22 minutes of programming, for instance, setting firm constraints on how long TV writers had to work with. By contrast, the streaming era, where television is distributed over the Internet, has eliminated these restrictions. Excepting recent developments, streaming services deliver content to subscribers commercial-free. Subscriptions and data mining replace advertising revenue. This means that writers do not have to organize their stories around regular commercial breaks, altering the rhythms of television narrative. Since streaming services are not reliant on commercials, they can also offer television showrunners freedom to deviate from standard episode lengths. Viewers of recent television will likely have noticed that episode runtimes often vary across a season.

The other aspect we can consider is syndication. Syndication refers to the off-network rebroadcasting of television episodes, or in other words, reruns. For decades, this is how television producers recouped the cost of production. The original broadcast of a television program was typically deficit-financed, but once a show exceeded 100 episodes, it was eligible for reruns on a cable channel, for instance. The licensing fees for these reruns are how a show turns a profit. What does this have to do with the structure of television narrative? When syndication was the primary funding model for television in the broadcast era, television narratives tended to be more episodic. The simple reason for this was that it was not guaranteed that a viewer would see the episodes of a show in syndication in their original order. Since episodic television involves self-contained episodes, nothing would be lost in viewing them out of order.

This has changed in the streaming era. For its original programming, there are no reruns on Netflix or Hulu. The show is available in its entirety on the platform indefinitely. Shows for streaming services are not deficit-financed, dependent on subsequent syndication, but are instead funded upfront. The consequence of this industrial and technological shift in the distribution of television is that shows can be more serialized in their narrative structures than before. Some scholars have described this as the era of “complex TV,” since viewers’ ability to watch and re-watch a program at will allows for more complicated plotting and intricate story structures. [4] There is no shortage of examples, from the epic world-building of Games of Thrones (HBO, US, 2011-2019), to the slow burn of Breaking Bad (AMC, US, 2008-2013) or Mad Men (AMC, US, 2007-2015), to the narrative experimentation of Maniac (Netflix, US, 2018).

Franchise filmmaking and transmedia storytelling

This section considers some of the ways that narratives extend beyond any one single film. As with genre films, where studios aim to give audiences familiar stories in slightly new packaging, there are incentives within the industry to exploit popular characters or story worlds across several movies until they exhaust consumer demand for them (and sometimes not even then). A common example is the sequel , where the diegetic world of one film is carried over into a second film, or the prequel , where a subsequent film fills in the backstory or unexplored dimension of a previous film. Both sequels and prequels are standard components of franchise filmmaking , which refers to a set of narratively interconnected films, typically involving the placement of the same characters in new narrative situations (for example, the Halloween films) or the gradual unfolding of a single narrative across several films (for example, the Harry Potter films). Contemporary filmmaking has also introduced the term requel , as a means of designating a film that is somewhere between a sequel and a franchise reboot, such as The Matrix Resurrections (Lana Wachowski, US, 2021) or Creed (Ryan Coogler, US, 2015). A requel returns to the story material of an earlier film or franchise, but breaks from the continuity of the original story and often introduces new characters while retaining “legacy” characters.

Contemporary moviegoers will also be familiar with the idea of “cinematic universes,” spearheaded by Marvel, in which an otherwise disconnected set of characters and plot lines are established as existing within the same diegetic world. The Marvel Cinematic Universe (MCU) is an example of what film studies calls transmedia storytelling , which involves the expansion of a narrative world across different media, including film, television, books, comics, and the like. Transmedia storytelling is not adaptation (adapting a book into a film, for instance). Rather, it entails extending the narrative world across media formats, such that each iteration adds a new dimension. For example, the Disney+ show Wandavision (US, 2021) relies on viewers’ knowledge regarding Vision’s death in the MCU films, since it addresses Wanda’s failure to accept losing him. Or, the eight-film Harry Potter film franchise has been supplemented by both the Fantastic Beasts films, which precedes the events of the films, and a stage play Harry Potter and the Cursed Child , which takes place years after the defeat of Voldemort.

[1] See, for instance, Kristin Thompson, Storytelling in the New Hollywood: Understanding Classical Narrative Technique (Harvard University Press, 1999).

[2] Rick Altman, Film/Genre (British Film Institute, 1999).

[3] Michael Z. Newman, “From Beats to Arcs: Toward of Poetics of Television Narrative,” Velvet Light Trap 58 (1): 16-28.

[4] Jason Mittell, Complex TV: The Poetics of Contemporary Television Storytelling (New York University Press, 2015).

Introduction to Film & TV Copyright © 2024 by Graig Uhlin is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

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