how to write an essay on setting

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Guide on How to Write an Essay on Setting

The setting is the most important point to consider when creating a good story. The setting of a story helps readers connect better with the story’s characters; it helps readers visualize the story.  This article provides helpful insight on how to write the setting of a story that’ll effectively capture your audience’s attention.

What is a Setting Analysis Essay?

A setting analysis essay is a type of writing that focuses on the location of a story with reference to time and place. A setting analysis essay is focused on exploring the role played by location in a story. An effective way to write a setting essay is using clear textual examples to illustrate specific ways the location influences the story.

How Do You Write an Essay on Setting?

To write an essay on setting, there are certain important details to consider. That includes the mood of the story, characters in the story, and the setting of the story. Below is a guide on how to write an essay on setting:

• The Mood and Symbolism

This is where you determine the role setting plays in the story, which is to create the atmosphere most of the time. It can also be a symbol of a certain idea within a story.

• Setting and Character

Asides from the mood, you can write about how settings affect a character in the story. The setting of a story can also double as the story’s antagonist.

This is where you state clearly the role setting plays in your story and how that was determined. Your thesis should be formulated using three important details: the character, symbolism, and mood.

This refers to the essay’s body paragraphs, including topic sentences and then an explanation with textual evidence.

The conclusion of a literary setting essay includes reviews of the elements of setting and how they relate to the thesis. It shouldn’t just be a summary of the essay but should tie the whole essay together and provide some new objects of consideration for readers.

What Is the Importance of Setting in Literature?

Setting in literature has a huge effect on the plot, characters, and story perception. For instance, think about your favorite movie or novel, the plot and characters, and the emotions that followed. Now, imagine that happening somewhere else, say on the moon. Would it still make sense to you? We would be safe to assume that it wouldn’t. That’s how important setting is in literature; it allows readers to relate with characters within a story.

A Guide on How to Write a Setting

Below is a guide on how to effectively write a setting:

• Read the story with reference to the setting, starting with the place, time of action, and recurrent details and objects.
• Think about the story, what it is about and what the point is.
• See if the setting you’ve jotted down follows a pattern, interesting shifts, or contrasts.
• Establish how the setting relates to the main point or some parts of the story.
• Create an outline showing the aspects of the setting you want to elaborate on and what you aim to say concerning them.

5 Examples of a Setting

Some common setting examples include:

• Shakespeare’s story of “Romeo and Juliet” set in Italy.
• The novel “To Kill a Mockingbird,” set in a small Alabama county.
• The novel “Lord of the Flies,” set in an uninhabited Island.
• A civil war story in the early 1800s set in a rural area of the south.
• A story of a young girl who was bullied at school set in Atlanta.

Each setting example listed allowed the readers to connect with and understand the writer deeper.

In conclusion, the role of setting in a story cannot be overemphasized. Without a vivid literary analysis setting, the story won’t make sense to the audience.

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How to Ground Your Reader with Story Setting

Gina Edwards

New writers often miss the opportunity to improve their writing by fully developing their story’s setting. While setting serves as a backdrop in all stories, it is far more than when and where .

What Does Setting Do?

No setting isn't always a problem, setting as character, setting as symbol, setting as atmosphere, the basics of writing setting, key elements of setting.

Setting provides the space and place for the story to unfold, but it also imbues atmosphere and mood, tension and conflict. It can stand as a symbol for a situation, for a person, or for a concept. Setting also can operate as a character and can add depth and richness to your plot and theme.

Can a story take place in Anytown, Anytime? Can the scenes play out before a mere curtain the same way a play is acted out in front of a stage set?

Let's look at an example. The stage adaptation of Henry James’s story The Turn of the Screw had minimal stage setting, no props, and no costume changes. How did they make this work? The director, cast, and crew went to great lengths in other areas to aid the audience in using their imagination to fill in the “blanks.” The actors used different physical and vocal nuances for each character, and lighting was used to set the tone of each scene. The lack of a stage set was a deliberate choice supported by other well-calculated methods for establishing location and mood.

With the right approach, it’s certainly possible for a story to occur in an indeterminate place and/or time. But that lack of setting would need to be a calculated decision by the author and would have to benefit the story without confusing readers. Moreover, the other elements of story development would have to be expertly executed to make up for the lack of setting.

Having no setting at all is a tricky balancing act. Instead, I like to think of setting as a tool used to support the other areas of my writing. Here are some ways you can think about setting:

Setting can operate in either the main plotline or a subplot as an obstacle or challenge for the main character to face.

Person versus Nature stories are the clearest examples of setting as an antagonist force . Cormac McCarthy’s The Road and Orhan Pamuk’s Snow contain landscapes and environmental conditions that the characters must endure or overcome. The settings in these novels hinder the main characters in their individual quests in the same way that a human character can.

How main characters interact with and respond to the setting, proactively and reactively, can reveal the depth and complexity of the characters to the reader, which should support the story’s plotline and theme.

A scene set in a traffic jam could symbolize the main character’s “stuckness” in his or her life. A significant object within a setting, such as a mountainside or a cliff, could also stand as a symbol related to the story’s theme.

In The Lord of the Flies , author William Golding uses setting to reflect and represent the darkest aspects of human nature.

Characters are influenced by both the natural and artificial elements of their physical surroundings. The tangible and intangible features of a setting combine to create an emotional state, a tone, or a mood for a scene or a story. Light levels, smells, temperature, colors, sounds, and other sensory details can affect your main character and influence different characters in different ways.

One character might find an early morning rain to be a refreshing and welcome event, washing away pollen and leaving behind a glistening landscape. Another might find the gray dampness of a rain shower first thing in the morning to be depressing, which might drive them to do things the other characters would never do, thus affecting the plot.

We, as humans, don’t operate in the world without constant references to place and time. Our routines are marked by calendars noted with holidays and special events. The framework of our memories includes place and time, anchored by details such as a smell in the kitchen or a color in the sunset.

Readers need markers like these as well. They expect, at a minimum, to receive some orientation about the location and the time of a story. At its most fundamental, setting informs readers about where and when the story occurs. Without these, the characters would seem to drift about aimlessly, hovering in a groundless world.

So, where and when are the two most basic factors for grounding your reader. But the potential for setting to enhance your story is far greater if other essential elements are considered too.

Three broad categories comprise setting:

• Society and culture

Within those categories are key elements for you to consider in developing your story’s setting. It isn’t necessary to include every element discussed here in your stories, but by asking yourself the right questions and interweaving the aspects that are relevant and revealing, your story’s setting—and your story, in general—will be more believable to your readers.

Decisions about location should be made early in your writing process as this aspect of setting will have more effect on your characters and plot than any other element. Your choices about location will inform other decisions you’ll need to make including, among others, your story’s social environment, the flora and fauna, character dialects and speech patterns, culture, politics, and weather.

Location as an element of your setting should be considered through both a wide-angle lens and then on a closer scale. Genre authors (like fantasy writers ) develop location on the widest scale, going deeply into world-building, sometimes creating entire universes . But that sort of expanse might not be applicable to your story. The general locale (country, state, region, or city) might be more relevant.

The geography and physical landscape you choose for your story could affect your plot and characters. Decide whether your story’s setting is urban or rural. Characters in densely populated settings will navigate their lives differently than those who inhabit vast, open expanses. A scene on a mountaintop will be quite different from one that plays out on a beach or inside a cave.

Don’t forget about human-made landscapes too, such as amusement parks or high-rise buildings. But maybe your story doesn’t happen on terra firma at all. Perhaps your characters are in space, on a ship, or in an airplane.

Examining location at the most precise level, every scene will include your characters’ immediate surroundings , the physical features and tangible objects in the spaces nearest them. And when you’re developing this intimate space, don’t forget the intangible aspects – all the possible sensory elements within that setting that could influence your characters and plot and make the setting believable.

Other aspects that must be portrayed accurately for your story’s chosen location are climate and weather . Unless you’re writing an apocalyptic tale, your characters won’t experience a blizzard in Fiji. A plot that unfolds in a harsh, frozen environment could hold direr consequences and greater challenges for your protagonist than one that happens in a calm and temperate climate.

Another aspect of location to consider is nature . This is usually more important for stories in a rural or remote setting, although elements of the natural world—rats, spiders, cats, pigeons, potted plants—can appear in stories with an urban setting.

Just as for location, time in your story should be considered from a broad scale down to the specific. Does your story take place during a significant time in history such as the Elizabethan era, the Roaring Twenties, or the Macedonian era? From this wide-angle view, the year(s) in which your story happens might influence your characters as well as the plotline.

Now consider, what is the passage of time over the duration of your story , beginning to end? Is it years? months? days? If you’re writing a short story, it might even be hours or minutes.

Will the season in which the story happens affect your characters and plot? Does your story timeline encompass holidays or other significant events , either real ones such as Christmas or Passover, or ones you’ve imagined for your story such as a character’s birthday or a funeral?

Finally, on an even closer level, the time of day or night in a particular scene could influence your characters’ behaviors and activities, and perhaps the plot too.

Society and Culture

Various aspects of society and culture contribute to a story’s setting. The values, mores, and morals of a population or region provide social context for the story, as would the political environment , if politics are relevant for the story you’re telling.

Culture contributes to creating a believable setting in the form of local or regional customs , events such as festivals or religious services, personal or community rituals , hobbies , cuisine , social and family roles , and occupations .

Writing great story setting will set you up for success!

Every aspect of the setting you design for your story will influence how readers interpret and internalize your characters, the situations they find themselves in, and the choices they make. But pages of description aren’t necessary to create an appropriate setting for your story. Well-chosen, specific, and relevant setting details can create a believable setting and a realistic experience for your readers.

Do you want to know how to build a world your readers won't forget? Download this free book now:

World-Building 101: How to Construct an Unforgettable World for your Fantasy or Sci-Fi Story!

This guide is for all the writers out there who want to construct an unforgettable world that your readers can't help but get lost in, learn how to invent species, gods, monsters and more in our immersive guide..

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Gina Edwards is a writer, retreat leader, certified creativity coach, and editor. Through retreats, group coaching, and the community Women Writing for CHANGE, she provides safe spaces for women writers—aspiring and published—to claim their voices, write their stories, and leave their legacies. Gina, her clients, and her writer-friends are on a collective mission to positively impact the world through their written words.

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Definition of Setting

Setting is a literary device that allows the writer of a narrative to establish the time, location, and environment in which it takes place. This is an important element in a story , as the setting indicates to the reader when and where the action takes place. As a result, the setting of a narrative or story helps the reader picture clear and relevant details. In addition, setting enhances the development of a story’s plot and characters by providing a distinct background.

In literature, setting can be specific or general in terms of geographical location and historical time period. A specific, or integral, setting refers to an exact location and time period established by the writer. This information can be directly imparted to the reader or implied in the narrative. A backdrop setting is more general, vague, or nondescript, which makes the story more universal for readers. The setting of a literary work may also be a fictional location or world, a future time and place, or it may be unknown.

For example, the fairy tale “Cinderella” traditionally features a backdrop setting, such as long ago in a faraway kingdom. However, a modern interpretation of “Cinderella” might feature an integral setting such as New York City to enhance aspects of the story’s plot, characters, and theme .

Examples of the Importance of Setting as a Literary Device

Setting is an important literary device, as its purpose is to create a “world” in which a story takes place. Setting can also influence the plot of a story and the actions of the characters. Here are some examples of the importance of setting as a literary device:

• helps establish the mood and/or tone of a story
• provides context for other story elements such as plot, characters, and theme
• reinforces the narrative by providing structure and function in the story
• enhances individual scenes within a story’s plot

Occasionally, the “presence” of a story’s setting, in terms of a time period, geographic location, or environment, can feel to the reader like an additional character . This can make for clever use of this literary device in portraying a particular time and/or place with a personality all on its own in a story.

Common Examples of Cities Frequently Used as Setting

Certain cities are frequently used as settings in literary works. By setting a narrative or story in a well-known city, the writer can be relatively certain that the reader will have a general sense and understanding of the locale, including geographical characteristics, landmarks, culture, etc. This can alleviate some burdens for the writer in terms of description and allow for the focus to remain on the story’s plot and characters.

Here are some common examples of cities that are frequently used as settings in literature:

• New York City
• Los Angeles
• New Orleans

Common Examples of Historical Time Periods Frequently Used as Setting

Certain historical time periods are frequently used as settings in literary works as well. By setting a narrative or story in a well-known era, the writer can also be relatively certain that the reader will have a general sense and understanding of the history, events, historical figures, etc. This can additionally alleviate some burdens for the writer in terms of description and allow for the focus to remain on the story’s plot and characters.

Here are some common examples of historical time periods (not in chronological order) that are frequently used as settings in literature:

• Ancient Greece
• Industrial Revolution
• Middle Ages
• Renaissance
• Age of Exploration
• Classical Era
• Turn of the century
• Roaring ’20s
• World War I
• Westward Expansion
• World War II
• Victorian Age
• Contemporary

Common Examples of Environments Frequently Used as Setting

Certain types of environments are frequently used as settings in literary works in addition to specific geographical locations. By setting a narrative or story in a well-known environment, the writer can be relatively certain that the reader will have a general sense and understanding of that environment’s characteristics, such as terrain, climate, culture, etc. This can alleviate some burdens for the writer as well in terms of description and allow for the focus to remain on the story’s plot and characters.

Here are some common examples of environments that are frequently used as settings in literature:

• outer space
• rural/farmland
• countryside
• Southern plantation
• ship at sea

How to Understand and Describe Setting in Writing

The idea of understanding the setting depends on the storyline, characters, and events. These three are important elements that define a setting. It is because every setting has some specific qualities where certain people live and interact. Also, setting impacts them and their actions which define their lives. Some other less significant elements of setting are landscape, type of land, climate, weather, social conventions, and cultural surroundings. When writers and readers understand all these elements, it becomes easy for them to write about setting and describe it in words.

Backdrop and Integral Setting

Although the backdrop and integral setting sound the same, they are different. An integral setting is a specific place associated with some specific characters, having a specific role to play in the events of the story, a backdrop setting is general. It is could be any town given in a story without any specific quality and feature. An integral setting has all the necessary elements that define a setting, a backdrop setting has only common elements given through generic names.

Five Elements of Setting or Aspects of Setting

A setting within a piece of literature must have five elements or aspects. Although there are several other aspects that are necessary, the following five are fundamental elements of a setting. The first one is locale which means the country or the region. The second is the time which also includes the timing which means day, night , or month of the year. The third is climate, the fourth is geographical features and the fifth is population, society, and culture.

Fictional and Non-Fictional Settings

A fictional setting is a type of setting that exists only in imagination and there is no connection of this setting with reality. The non-fictional setting is a type of setting that exists in reality. For example, Eldorado does not exist nor do some cities mentioned in various novels. However, Paris and London do exist and they are real cities mentioned in several novels and short stories as the settings of the storylines. This difference, however, evaporates when some real place is mentioned in connection with fictional characters.

Setting and Exposition

As the term shows, exposition means detailed descriptions of the characters, settings, and the storyline in the beginning of the novels or short stories, setting is part of the exposition. The exposition just explains settings, giving its details. It also shows how events are going to unfold. However, the setting only shows characters having certain relationships with the land, geographical location, social fabric, and flora and fauna.

Difference between Temporal and Spatial Setting

Spatial refers to space that means the place, its geography, its location, its social fabric, its flora, and fauna, etc. Temporal, on the other hand, refers to a time that means the specific time of the year or the month, or the day when the event in question takes place. Whereas spatial setting shows the location and the place, the temporal setting shows when the events have taken place in that specific place. Both settings are used interactively and in conjunction with each other. No one can be used interchangeably or exclusively.

Examples of Setting in Literature

In literature, setting provides the reader an image and idea of time and place that frames the action of a story and can reveal aspects of its characters. By using the setting as a literary device, the writer can help the reader visualize the action of the work, which adds credibility and authenticity to the story. In addition, a setting can create and sustain the illusion of imaginary places and worlds in fiction as well as time periods in the future or prehistoric past. Without an indication of the setting, a story would lack significant context for the reader, potentially reducing their enjoyment and/or understanding of the work.

Here are some examples of setting in well-known works of literature:

Example 1:  Harrison Bergeron  by Kurt Vonnegut, Jr.

THE YEAR WAS 2081, and everybody was finally equal. They weren’t only equal before God and the law. They were equal every which way. Nobody was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger or quicker than anybody else. All this equality was due to the 211th, 212th, and 213th Amendments to the Constitution, and to the unceasing vigilance of agents of the United States Handicapper General.

In Vonnegut’s short story , the narrator reveals the setting at the outset. This establishes a significant amount of information for the reader before the action of the story even begins. The narrator stipulates the year, which indicates to the reader that the time period of the story is in the future but not terribly distant. In addition, the story is clearly set in the United States as indicated by the mention of the constitutional amendments.

As well as directly establishing the time and location of the story, Vonnegut also utilizes setting as a literary device to impart to the reader a sense of the story’s environment. In this case, there is a strong refrain of mandated equality in terms of the physical and intellectual characteristics of this future population that is further enforced by a national agency. As a result, the reader is able to instantly picture the background in which the events of the story and the movement of the characters will take place.

Example 2:  As I Lay Dying by William Faulkner

That’s the one trouble with this country: everything, weather, all, hangs on too long. Like our rivers, our land: opaque, slow, violent; shaping and creating the life of man in its implacable and brooding image.

Faulkner created his own fictional county in Mississippi, Yoknapatawpha County, in which to set nearly all of his novels and numerous short stories. Yoknapatawpha was inspired by and based on Lafayette County in Oxford, Mississippi, with which Faulkner was familiar. Faulkner himself considered Yoknapatawpha County as apocryphal in the sense that many of his readers believe it to be a real place. In fact, his novel   Absalom, Absalom! includes a map of the fictional country that was drawn by Faulkner.

By creating this realistic yet fictional Mississippi county, Faulkner was able to incorporate several aspects of this setting across many of his works. In this passage from his novel As I Lay Dying , for example, the atmosphere of Yoknapatawpha is as much a presence as the characters, and Faulkner underscores the reciprocal influence and shaping of the novel’s setting and characters. In addition, by using Yoknapatawpha to set so many of his literary works, Faulkner’s readers find familiarity with and understanding of the physical location and environment in which the narrative takes place. This allows readers to focus on the action and characters of the story.

Example 3:  The Rime of the Ancient Mariner by Samuel Taylor Coleridge

And now there came both mist and snow , And it grew wondrous cold: And ice, mast-high, came floating by, As green as emerald. And through the drifts the snowy clifts Did send a dismal sheen: Nor shapes of men nor beasts we ken— The ice was all between. The ice was here, the ice was there, The ice was all around: It cracked and growled, and roared and howled, Like noises in a swound!

In Coleridge’s poem , he juxtaposes two very different and distinct settings. At the outset of the poem, the setting is a wedding in which the guests are joyful, merrily dancing, eating, and drinking. This celebratory environment is in stark contrast to the setting of the mariner’s story within the poem, which he relays to a wedding guest outside the venue.

This passage of the poem indicates the setting of the Mariner’s tale, as the boat travels to the icy Antarctic. The oppressive presence and noise of the ice create a barren environment that is cold to the existence of living things. This emphasis on the environmental setting in Coleridge’s poem not only draws the reader away from the warmth and life-affirming nature of the wedding, but it also reflects for the reader the danger and isolation faced by sailors at sea. In fact, the reader becomes part of the setting described by the mariner just as the wedding guest becomes part of the mariner’s story through the poet’s description of the setting and events. This allows for a stronger connection between the poem and the reader.

Synonyms of Setting

The distant synonyms for setting are as follows: position, situation, background, backdrop, milieu, environs, habitat, place, location, spot, locale, context, frame, area, neighborhood, locus, district, and region.

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Last updated on May 31, 2022

What Is the Setting of a Story? How to Write 3 Types of Settings

“When you leave a beautiful place, you carry it with you wherever you go,” lifestyle author Alexandra Stoddard once wrote. She was referring to real-life places, but the same is true of fictional ones — the setting of a story can be just as affecting and memorable as a place you’ve actually visited.

But how do authors choose the right settings for their stories, and what tactics do they use to bring them to life? Find out in this comprehensive guide to story setting, complete with definition, examples, and tips for writing a setting that readers will remember forever!

What is the setting of a story?

The setting of a story refers to the time, place, and environment in which narrative events unfold. Authors use setting to immerse readers in a specific time period, geographical location, or even a vividly imagined world. For example, The Martian by Andy Weir is set in space. 

Setting serves as the backdrop to everything that happens in a story, and often contributes significantly to its atmosphere. This is why romance novels are typically set in small, cozy towns and horror stories in isolated, unnerving places (a Transylvanian castle, a cabin in the woods). Indeed, setting can be so powerful, it may even feel like a character itself!

What are the 3 types of setting?

You might think of setting in terms of 3 “types”: temporal, environmental, and individual. To demonstrate these concretely, let’s look at the various settings of The Great Gatsby (insert concrete jungle joke here 🏙️).

• Temporal setting: the American 1920s, right in the heart of the Jazz Age.
• Environmental setting: southeastern New York — New York City and Long Island.
• Individual settings: Gatsby’s mansion, Tom and Daisy’s mansion, Myrtle’s apartment, the Plaza Hotel, and more.

Note that just as characters can be entire products of an author’s imagination, so often are these individual settings! (The Manhattan Plaza Hotel obviously exists in real life, but the characters’ residences in The Great Gatsby do not.) Authors frequently combine real time, real place, and invented — or at least embellished — individual settings, to ground the story in authenticity while maintaining flexibility on the details.

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Story setting examples

You can probably think of a dozen more setting examples. But just to solidify the notion, here are three particularly strong ones, along with passages to show how each author paints the setting of their story.

Maycomb, Alabama in To Kill a Mockingbird

Harper Lee’s unparalleled classic about American race relations in the 1930s takes place in the small town of Maycomb, Alabama. Notice how the narrator, Scout, describes Maycomb as stiflingly humid and old-fashioned, establishing the era's status quo of oppression and suffering:

Narnia in The Lion, The Witch and the Wardrobe

Meanwhile in The Lion, The Witch and the Wardrobe , C.S. Lewis introduces Narnia as a winter wonderland full of possibilities — though it’s somewhat deceiving in that the White Witch has cursed the land to eternal cold. But it’s crucial to the narrative that Narnia appears as a still, snowy place that lulls Edmund into a false sense of security just before he meets the Witch:

North West London in NW

For a more contemporary example, let’s look at a description of North West London in Zadie Smith’s novel NW . As part of the novel’s vision of London as a polyphonic city “containing multitudes,” Smith describes the area in terms of both former inhabitants and present-day scenery. To arrive at the complex present, she must first acknowledge the past:

Of course, each of these passages provides only a glimpse of the rest of the book. As an author, don’t just drop a paragraph of scenery description at the beginning and never mention setting again!

For setting to be effective, it needs to filter through the entire story — fortunately, this next section on how to write setting will show you how to do just that.

How to write setting in a story

1. Choose your setting wisely

Let’s talk about setting suitability: as the examples above clearly demonstrate, every great story hinges on setting. The Great Gatsby would not work if it were set during the Great Depression, and it’s almost impossible to imagine most of Zadie Smith’s books taking place anywhere other than London.

So before you start writing your story, make sure the setting fits like a glove. For some authors, this will be easy! But for others — especially those who are doing a bit of worldbuilding for a sci-fi or fantasy novel — choosing your setting may be a bit trickier.

To set you (no pun intended) on the right path, here are a few important questions to consider:

• Exactly where and when will your story take place? Take this time to nail down the details. If it’s “contemporary,” does that mean present day or ten years ago? If it’s in a certain country, what city or town? And if you have multiple settings, how long will the characters spend in each one?
• Is this setting a real place, and if so, how much research will it require to convey in good faith? If it’s merely based on a real place, how much overlap will there be?
• How will the setting of the story factor into the characters’ lives? Will it help them or prevent them from achieving their goals? If neither, why choose this setting at all?

Once you’ve answered these to your satisfaction, you can settle on your setting (as it were) and begin constructing it in more detail.

2. Focus on what’s unique

Not every element of your setting will be worth noting, so focus on what’s unique. Every city has buildings and sidewalks, but how are they different from every other city’s? If someone leans their head out the window, what do they hear besides traffic or birds? Does the town square smell like bread from the local bakery, or like pollution from a nearby factory?

Get the details straight

Again, think of your story setting almost as another character. Just as you might fill out a character profile to flesh out their quirks, you can profile your setting too! Here are some “setting profile” questions to get you started:

📜  What’s the history of this area?

🌦  What is the weather like each season?

🌇  What are the biggest landmarks of this setting?

🏡  In what sorts of residences do most people live?

🚙  How do people tend to get around (walking, driving, etc.)?

👍  Why do people like (or dislike) living (or visiting) here?

For a more exhaustive list of setting-related questions, you can check out our free worldbuilding guide — the perfect tool for creating fictional settings.

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The Ultimate Worldbuilding Template

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The natural addition to each of these questions is: and how does this affect my characters? This is where you’ll tap into the most interesting features of your setting — by considering how your characters will perceive and react to what’s around them. To quote Carmen Maria Machado: “Setting is not inert. It is activated by point of view .”

Now, with a clear sense of what you want to highlight in your environmental setting, you can move on to incorporating these features into your story.

Pro tip: When writing about places you’ve never been or have only seen as a tourist, over-emphasizing famous landmarks like Big Ben, the Eiffel Tower, and the Empire State Building will make your work read like that of an amateur. To avoid this, play around on Google Street View and discover some more quotidian hangouts for your characters!

3. Use all five senses in descriptions

As you describe each setting of your story, make sure you don’t just talk about how it looks. Instead, use all five senses: sight, sound, smell, touch, and even taste. This is especially important when writing a first person account, but also applies to other POV's — and you can check out our free course below to learn more.

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You shouldn’t use all of these in every description, nor should you continuously rehash settings you’ve already described. But as a rule of thumb, each time your characters visit a new location — or experience that location in a new context (e.g. at night rather than in the daytime) — you should devote a paragraph to setting the scene. 

Here’s a great example of concise and multi-sensory setting description from Leigh Bardugo’s Ninth House :

Inside, the music thumped and wailed, the heat of bodies washing over them in a gust of perfume and moist air. The big square room was dimly lit, packed with people circling skull-shaped vats of punch, the back garden strewn with strings of twinkling lights beyond. Darlington was already starting to sweat.

In just three sentences, we get four out of five senses:

• Sight (“dimly lit, packed with people”);
• Sound (“the music thumped and wailed”);
• Smell (“a gust of perfume and moist air”);
• Touch/physical sensation (“already starting to sweat”).

The rest of this party scene consists of mostly dialogue and action, but Bardugo is careful to describe each new room the characters enter, so the reader always has a clear picture of what’s happening. Indeed, the more you show rather than tell with sense-based setting descriptions, the more you’ll immerse readers in your story. Just don’t go overboard with pages and pages of detail — zero in on what’s most interesting and unique.

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4. Develop your characters’ relationships to the setting

Once you’ve established the characters in your story, you can dig into their relationships with the setting.

These relationships can take many forms. Say your main character has lived in the same town their entire life; they might have a longtime fondness for it, or they could resent and feel trapped by the setting. These kind of characterstics or desires can be established using a character development exercise, like the profile template you'll find below, which prompts you to dig deep into your character's background. Whatever you decide, make sure this nuance comes through in your narration!

Reedsy’s Character Profile Template

A story is only as strong as its characters. Fill this out to develop yours.

What you don’t want is a character so detached from their surroundings that their story could take place anywhere. At bare minimum, you need them to interact with the setting in specific, realistic ways. For greater impact, use setting to challenge them, assist them, or both.

💪  Setting as a challenge vs. setting as an asset

Susan Choi does an amazing job of positioning setting as a challenge in Trust Exercise , which begins with two young characters trying to walk to each other in a vast, highway-dense city:

But setting doesn’t need to oppose your characters in order to feel relevant and meaningful. Here’s an example of setting as an asset, from Madeline Miller’s Circe , describing Circe exploring her new island:

And remember, you’re not limited to one or the other! Over the course of a story, a setting may play varying roles in a character’s life, both positive and negative. Just make sure it doesn’t sit there as an idle backdrop.

5. Keep your readers oriented

The final cardinal rule of story setting is: keep your readers oriented. You don’t want people to get distracted from your plot because they’re too busy trying to untangle where the action is happening!

Ironically, one of the quickest ways to confuse readers is to give them too much setting detail. So when introducing a setting, keep the description concise, as in the Ninth House example — a few evocative sentences will do. If you have more to say about the setting, you can incorporate it later.

In terms of specific directions, again, less is more. “He walked out of his apartment building, turned left onto the road, then right onto the sidewalk, then another left onto another sidewalk” hardly makes for riveting storytelling. If you must use directions, at least ensure they’re consistent! Don’t say the police station is on the east side of town, only to describe the sun setting (a famously western phenomenon) behind it in the next scene.

These are the kinds of issues that can really throw readers off, even subconsciously — so make sure you get them straight. If you’re particularly worried about setting inconsistencies, you can always hire a copy editor to comb through your work.

An editor will ensure your setting is spotless ✨

The best copy editors are here on Reedsy. Sign up to meet them today.

Learn how Reedsy can help you craft a beautiful book.

🗺️  Consider drawing a map

Whether you’re building an elaborate world from scratch or simply want to be as accurate as possible when representing a real place, a map of your setting could help (you might even commission an illustrator to draw one for you). This will give you a more concrete sense of your setting while you’re writing, as well as streamline the reader’s experience down the line.

Here are some of our favorite fictional maps, for reference:

And there you have it — everything you need to know about writing the setting of a story! With a solid sense of time and place and compelling, character-based descriptions, you’ll be well on your way to conjuring a setting, like Narnia or Jazz-Age NYC, that readers won’t forget. It's an essential step to becoming a better writer .

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How To Write An Essay On Settings

• Views 14514
• Author Sandra W.

How Do I Write A Setting Analysis Essay?

A novel or a play setting of a novel or play is key in the overall telling of the story. A particular setting can exemplify parts of the characters or cause the turmoil the characters must overcome in order to reach a successful conclusion. Essays on setting are usually five paragraphs; explore how the setting of the varying number of pieces plays this intricate role in the overall theme of the work. The following is a guideline prepared by iwriteessays.com on how to write a setting analysis essay.

State your overall theme .

• With comparison essays, it mainly deals with how things could be different for a person given a different set of circumstances or setting.
• The objective of the essay needs to be clear in your mind before you begin writing the essay. It can take different angles such ashow the setting added romance to the situation or in a comparison essay, how the setting drove the character mad, how one setting had one effect and a second had another.

Write your introduction.

• In setting essays, this often offers a bit of a initial take on the surroundings of the characters, one the reader might not have his own thoughts.
• The approach should grab the reader's attention by stating the theme and giving a brief glimpse of the theory to come in the subsequent paragraphs.
• End the introductory paragraph with a ‘hook’, a statement that entices readers to keep reading. In most cases, it leaves the reader with a ‘how is the author going to get there’ kind of feeling.

Write the body of the essay one paragraph at a time .

• All the three body pieces should contain a specific statement regarding your overall theme and then a few sentences proving that statement.

Conclude the essay to tie together all of your points and reiterate your theme

• The conclusion summarizes the whole setting so deeply affects the story and leaves the reader convinced your theme is accurate.

The story setting is not just the physical location but also everything about it (time of day, season, outside (forest or beach) or inside (and what type of building if inside)) can greatly affect the success of a story. The exploration of this literary tool can be a great start to your literary analysis.

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Set the Stage: How to Write a Setting

You have an incredible story in your head, filled with a cast of unique, memorable characters. Heck, you’ve even built up some cool history, maybe even your own language. Now, as you prepare  to bring this great book to life and write your first scene, you find that you’re puppeting these awesome characters against a blank background. Or maybe a boring background… but is there a difference?

My friend, you need to write a setting worthy of your story.

Writing a setting isn’t as easy as it sounds, though, and great settings are criminally underrated. But that’s why we’re here, right? To write better settings for our characters .

In this article, you’re going to learn all about writing great settings, including:

• What the heck a setting is
• Why settings are important
• How to describe a setting for your readers
• How to create a fictional setting
• How to research real-world settings

Ready. Setting. Go.

Goodness, that was bad.

What is a Setting?

Before we can go any further, let’s establish the basics. What is a setting?

Most people think a setting is simply where a part of your story takes place. This is only partially correct, but it gives us a good start. More accurately, setting is where the action in your story takes place.

But the where is a lot more complex than you might think. It isn’t just the geography of the scene.

The setting of a scene includes:

• Landscape/location
• Climate and weather
• Politics and religion
• Time of day
• Time in history or the future
• Societal norms, rules, and laws
• Speech, languages , and communication styles
• Flora and fauna
• Magic and technology

Honestly, the list could go on. What I want to impress upon you is how much goes into a setting.

Think of it this way: your current scene’s setting is just a piece of your overall worldbuilding. And the world you’ve built—whether you are writing about gnomes in an epic fantasy or a love-scorned CEO in a real-world city—is much more than just geography.

Why is Setting Important?

If you’re already feeling excited about writing better settings, I don’t blame you. But maybe you’re wondering why settings are important in the first place.

Settings aren’t just important for fantasy and sci-fi stories. It doesn’t matter if your scene is taking place in the Shire or Manhattan; setting is important for all stories. Don’t worry, I’ll let you in on the secrets.

Setting helps bring your story to life - As authors, we rely a lot on our reader’s imagination to make our text real. So do them a favor by creating detailed settings that make your story that much better.

Setting puts the scene in context - Someone reciting religious scripture will be viewed differently in a church than outside a tyrannical queen’s palace. Likewise, someone wielding a weapon will be treated differently on a battlefield than in a mall. An effective setting helps put the actions of your characters into context.

Immersed readers are emotional readers - The more you plunge your readers into the depths of your story, the more of a reaction you will elicit. A good setting adds depth to your writing and immerses your reader… so you can mess with them even more.

Setting can provide opportunities for character development - Throughout your book, there will be plenty of things that push your characters forward, forcing them to adapt and change. This includes other characters, conflicts, and—you guessed it—the setting. As you’ll find out in the next section, a good setting is a powerful tool for your plot and characters.

What Makes a Good Setting?

I’m going to get a little abstract with this question (don’t worry, tips for writing a setting are coming right up), because “what makes a good setting?” isn’t as clear as you might think.

If you were to instead ask “what makes an okay setting?” then I would tell you that it’s whatever background you make that adds some depth.

But we don’t want an “okay” setting. Heck, we don’t even want a good setting. No, we want an amazing setting. And for that, you only need two things:

1. An amazing setting serves the plot. Why is your scene set where it is? How does it affect the action occuring there? What impact does it have on things that happen once this scene is finished? What does it show the readers about your world and your story?

2. An amazing setting influences your character. This influence can be positive or negative. How are your characters affected by the setting? Does it fill them with confidence or dread? What does it remind them of? How can they use it to get what they want–or how can it be used against them?

See? Abstract. But you need to keep these things in mind when crafting your setting. Unless you’re okay with boring. But, since you’re here, I assume that’s not the case.

Now, let’s get into those tips I promised you.

8 Tips to Describe Your Setting

Let’s get down to business. Time for some real, actionable tips to use in your writing.

1. Show, don’t tell. This is advice for your writing in general but is extra important for writing a setting. Use active writing . Add some dynamism into your prose. Rather than “She saw a waterfall,” use “Untold gallons of water plummeted from forty feet above her, slamming into the rocks below.” Instead of “He could smell the sea from here,” try “The waves crashed against the docks, filling the air with a fresh, salty mist.”

2. Don’t be so literal. Be creative in how you share the setting with your reader. They aren’t stalagmites, they’re the stony fangs looming above. It’s not just tense in the city, but a blanket of animosity smothers the few residents out on the streets. Just don’t go overboard. There’s nothing worse than a book so dense with description that you have to wade through it.

3. Convey a mood. Remember, your setting does more than just provide a backdrop to your stage. Use the setting to establish a mood for both your reader and your characters in the scene.

4. Share the basics. While setting is more than just location and geography, it’s still location and geography. Don’t get so caught up in the theatrics that you forget to let your reader know where they are.

5. Then share the rest. But once that location or geography is shared, start giving them more details. Build the scene bit by bit until it’s unforgettable.

6. Don’t info dump. Again, a good rule of thumb for all writing but a biggie here. Since I’ve told you of all these great things you should include in your setting, it’s tempting to write three pages describing what the place looks like, the geopolitical climate, the storm encroaching from the south, and every other detail you can think of. Drip feed this information throughout the scene instead–especially everything considered “the rest” in the previous tip.

7. Use more than just sight. Maybe I’m biased from binging See on Apple TV+, but many writers are too reliant on sight for their descriptions. Sure, sight is the dominant way in which most of us take in the world, but you have the ability to use all five senses. So choose a couple and use those to set the scene.

8. Don’t forget about your characters. Remember, the setting isn’t just a setting. It has purpose. Keep this in mind when you’re creating the setting for each scene.

How to Create a Fictional Setting

Now that you have all those pointers, how do you go about creating a fictional setting?

Like I said before, each setting your characters find themselves in is just a sliver of the bigger world you’ve built. So step one of creating a fictional setting is to create your fictional world. 

You can spend hours, days, even months creating a fictional world to pull your settings from, depending on how complex you want that world to be.

When it comes to picking apart that world and making your setting, refer to the tips we just covered. Add details that need to be added as you go from a macro view of your world to the micro view of your scene.

And as you’re planning that scene, try and limit yourself a little. You dumped all the creativity you have into worldbuilding, but not every detail needs to be included in a setting. Remember that the setting serves the plot and characters. So don’t spend too much time creating details in your setting that are irrelevant to either of those.

For the visually inclined, go ahead and draw a map or sketch of your setting. It can really help get the mood and finer points right. As you’re drawing, think about how senses other than sight can be used.

And if you’re a pantser, at least take a moment to consider the setting you’re going to write. Yes, you can do all the exploratory writing you want, but remember what we covered before: amazing settings are written with purpose.

So figure out the purpose of your setting before that first word.

How to Research a Real World Setting

If writing in the real world is more your style, then research will be your best friend. If your setting is a place that other human beings can visit or live in, your readers will shred you if you mess things up.

Luckily, there are a few ways to help you research real world settings.

Visit the location if possible - This is obviously easier if the prospective setting is only an hour or two away via a car or public transit, but visiting the location is the best way to take in the details. Remember all your senses, how it makes you feel, what questions the location makes you ask, how the people act. Take photos. Record videos. Use a voice note app and rant about everything .

Visit the location virtually - There is no shortage of information available for basically any place visited by human beings. Wikipedia, Google Maps, travel blogs, YouTube channels, tourism websites, and so much more. Remember to look for details beyond sight. This is less reliable than physically visiting the location but far from impossible. 

Take notes - At the risk of sounding like a broken record, note down everything about the scene. This could include:

• What do you see? Hear? Smell? Taste? Feel?
• What are the vibes of the setting?
• How would the setting change if it was night instead of day?
• What can this setting contribute to my plot?
• How can this setting affect my characters?
• What are the people like?
• What history went into creating this place?
• What future developments are going to change it?

Write a Great Setting in Dabble

I bet you didn’t think writing a strong setting took so much work, did you? You don’t have to follow all the steps and tips in this blog if you just want an okay setting, and there’s nothing wrong with some settings being just that.

But awesome settings require work. Luckily, Dabble is here to make that work–and your writing–easier.

In Dabble, you have a whole folder dedicated to your worldbuilding notes that is always just a click away from your manuscript. You can even link within your notes by typing @ and choosing the setting outline you want to link to, so you can reference all the work you’ve put into crafting your setting without opening new documents, searching through your computer, or wasting paper to print it.

The best part? You can get started with Dabble right away with a free 14-day subscription. We don’t even ask for your credit card. Click here to try Dabble and create some memorable settings.

Happy writing!

Doug Landsborough can’t get enough of writing. Whether freelancing as an editor, blog writer, or ghostwriter, Doug is a big fan of the power of words. In his spare time, he writes about monsters, angels, and demons under the name D. William Landsborough. When not obsessing about sympathetic villains and wondrous magic, Doug enjoys board games, horror movies, and spending time with his wife, Sarah.

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Essay and dissertation writing skills

Planning your essay

Writing your introduction

Structuring your essay

• Writing essays in science subjects
• Brief video guides to support essay planning and writing
• Writing extended essays and dissertations
• Planning your dissertation writing time

Structuring your dissertation

• Top tips for writing longer pieces of work

Advice on planning and writing essays and dissertations

University essays differ from school essays in that they are less concerned with what you know and more concerned with how you construct an argument to answer the question. This means that the starting point for writing a strong essay is to first unpick the question and to then use this to plan your essay before you start putting pen to paper (or finger to keyboard).

A really good starting point for you are these short, downloadable Tips for Successful Essay Writing and Answering the Question resources. Both resources will help you to plan your essay, as well as giving you guidance on how to distinguish between different sorts of essay questions. 

You may find it helpful to watch this seven-minute video on six tips for essay writing which outlines how to interpret essay questions, as well as giving advice on planning and structuring your writing:

Different disciplines will have different expectations for essay structure and you should always refer to your Faculty or Department student handbook or course Canvas site for more specific guidance.

However, broadly speaking, all essays share the following features:

Essays need an introduction to establish and focus the parameters of the discussion that will follow. You may find it helpful to divide the introduction into areas to demonstrate your breadth and engagement with the essay question. You might define specific terms in the introduction to show your engagement with the essay question; for example, ‘This is a large topic which has been variously discussed by many scientists and commentators. The principal tension is between the views of X and Y who define the main issues as…’ Breadth might be demonstrated by showing the range of viewpoints from which the essay question could be considered; for example, ‘A variety of factors including economic, social and political, influence A and B. This essay will focus on the social and economic aspects, with particular emphasis on…..’

Watch this two-minute video to learn more about how to plan and structure an introduction:

The main body of the essay should elaborate on the issues raised in the introduction and develop an argument(s) that answers the question. It should consist of a number of self-contained paragraphs each of which makes a specific point and provides some form of evidence to support the argument being made. Remember that a clear argument requires that each paragraph explicitly relates back to the essay question or the developing argument.

• Conclusion: An essay should end with a conclusion that reiterates the argument in light of the evidence you have provided; you shouldn’t use the conclusion to introduce new information.
• References: You need to include references to the materials you’ve used to write your essay. These might be in the form of footnotes, in-text citations, or a bibliography at the end. Different systems exist for citing references and different disciplines will use various approaches to citation. Ask your tutor which method(s) you should be using for your essay and also consult your Department or Faculty webpages for specific guidance in your discipline. 

Essay writing in science subjects

If you are writing an essay for a science subject you may need to consider additional areas, such as how to present data or diagrams. This five-minute video gives you some advice on how to approach your reading list, planning which information to include in your answer and how to write for your scientific audience – the video is available here:

A PDF providing further guidance on writing science essays for tutorials is available to download.

Short videos to support your essay writing skills

There are many other resources at Oxford that can help support your essay writing skills and if you are short on time, the Oxford Study Skills Centre has produced a number of short (2-minute) videos covering different aspects of essay writing, including:

• Approaching different types of essay questions  
• Structuring your essay  
• Writing an introduction  
• Making use of evidence in your essay writing  
• Writing your conclusion

Extended essays and dissertations

Longer pieces of writing like extended essays and dissertations may seem like quite a challenge from your regular essay writing. The important point is to start with a plan and to focus on what the question is asking. A PDF providing further guidance on planning Humanities and Social Science dissertations is available to download.

Planning your time effectively

Try not to leave the writing until close to your deadline, instead start as soon as you have some ideas to put down onto paper. Your early drafts may never end up in the final work, but the work of committing your ideas to paper helps to formulate not only your ideas, but the method of structuring your writing to read well and conclude firmly.

Although many students and tutors will say that the introduction is often written last, it is a good idea to begin to think about what will go into it early on. For example, the first draft of your introduction should set out your argument, the information you have, and your methods, and it should give a structure to the chapters and sections you will write. Your introduction will probably change as time goes on but it will stand as a guide to your entire extended essay or dissertation and it will help you to keep focused.

The structure of  extended essays or dissertations will vary depending on the question and discipline, but may include some or all of the following:

• The background information to - and context for - your research. This often takes the form of a literature review.
• Explanation of the focus of your work.
• Explanation of the value of this work to scholarship on the topic.
• List of the aims and objectives of the work and also the issues which will not be covered because they are outside its scope.

The main body of your extended essay or dissertation will probably include your methodology, the results of research, and your argument(s) based on your findings.

The conclusion is to summarise the value your research has added to the topic, and any further lines of research you would undertake given more time or resources. 

Tips on writing longer pieces of work

Approaching each chapter of a dissertation as a shorter essay can make the task of writing a dissertation seem less overwhelming. Each chapter will have an introduction, a main body where the argument is developed and substantiated with evidence, and a conclusion to tie things together. Unlike in a regular essay, chapter conclusions may also introduce the chapter that will follow, indicating how the chapters are connected to one another and how the argument will develop through your dissertation.

For further guidance, watch this two-minute video on writing longer pieces of work . 

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A clear, arguable thesis will tell your readers where you are going to end up, but it can also help you figure out how to get them there. Put your thesis at the top of a blank page and then make a list of the points you will need to make to argue that thesis effectively.

For example, consider this example from the thesis handout : While Sandel argues persuasively that our instinct to “remake”(54) ourselves into something ever more perfect is a problem, his belief that we can always draw a line between what is medically necessary and what makes us simply “better than well”(51) is less convincing.

To argue this thesis, the author needs to do the following:

• Show what is persuasive about Sandel’s claims about the problems with striving for perfection.
• Show what is not convincing about Sandel’s claim that we can clearly distinguish between medically necessary enhancements and other enhancements.

Once you have broken down your thesis into main claims, you can then think about what sub-claims you will need to make in order to support each of those main claims. That step might look like this:

• Evidence that Sandel provides to support this claim
• Discussion of why this evidence is convincing even in light of potential counterarguments
• Discussion of cases when medically necessary enhancement and non-medical enhancement cannot be easily distinguished
• Analysis of what those cases mean for Sandel’s argument
• Consideration of counterarguments (what Sandel might say in response to this section of your argument)

Each argument you will make in an essay will be different, but this strategy will often be a useful first step in figuring out the path of your argument.  

Strategy #2: Use subheadings, even if you remove them later  

Scientific papers generally include standard subheadings to delineate different sections of the paper, including “introduction,” “methods,” and “discussion.” Even when you are not required to use subheadings, it can be helpful to put them into an early draft to help you see what you’ve written and to begin to think about how your ideas fit together. You can do this by typing subheadings above the sections of your draft.

If you’re having trouble figuring out how your ideas fit together, try beginning with informal subheadings like these:

• Introduction  
• Explain the author’s main point  
• Show why this main point doesn’t hold up when we consider this other example  
• Explain the implications of what I’ve shown for our understanding of the author  
• Show how that changes our understanding of the topic

For longer papers, you may decide to include subheadings to guide your reader through your argument. In those cases, you would need to revise your informal subheadings to be more useful for your readers. For example, if you have initially written in something like “explain the author’s main point,” your final subheading might be something like “Sandel’s main argument” or “Sandel’s opposition to genetic enhancement.” In other cases, once you have the key pieces of your argument in place, you will be able to remove the subheadings.  

Strategy #3: Create a reverse outline from your draft  

While you may have learned to outline a paper before writing a draft, this step is often difficult because our ideas develop as we write. In some cases, it can be more helpful to write a draft in which you get all of your ideas out and then do a “reverse outline” of what you’ve already written. This doesn’t have to be formal; you can just make a list of the point in each paragraph of your draft and then ask these questions:

• Are those points in an order that makes sense to you?  
• Are there gaps in your argument?  
• Do the topic sentences of the paragraphs clearly state these main points?  
• Do you have more than one paragraph that focuses on the same point? If so, do you need both paragraphs?  
• Do you have some paragraphs that include too many points? If so, would it make more sense to split them up?  
• Do you make points near the end of the draft that would be more effective earlier in your paper?  
• Are there points missing from this draft?  
• picture_as_pdf Tips for Organizing Your Essay

How To Write A Powerful Essay On Achieving Goals (+ Example)

Writing an essay on achieving your goals can be a great opportunity to share your accomplishments.

Goal setting is a useful strategy to get the most out of life and set yourself up for success. However, there are many things to remember regarding proper goal setting and achievement. When writing a blm argumentative essay , it’s important to provide context on the history of the Black Lives Matter movement and the issues it seeks to address. This can help the reader understand the significance of the essay’s thesis and arguments. Let’s get to grips with the process of goal setting and come up with a powerful essay on achieving goals.

Structuring Your Essay on Achieving Goals:

How to write an introduction.

Any academic essay must have a strong beginning. It will establish your point of view and inform the reader of what to expect. An introduction should:

• Attract the reader’s attention with a ‘hook’. You can achieve this by quoting a shocking statistic, quote, fact, or controversial statement.
• Give some background or historical information about the topic. For instance, psychological theories and models on effective goal setting and achievement.
• Present your thesis (main point of your essay) e.g., “Rewarding achievement is the most effective means by which employers can increase workplace productivity”.

How to Write The Main Body of Your Essay

There should be a minimum of three paragraphs in your essay. Each one is a ‘mini-essay with an introduction, body, and conclusion. Each should include:

• Topic sentence: inform the reader about the subject of the paragraph, e.g., “how to measure goal attainment”, or “effective workplace goal setting”.
• Evidence sentences: inform the reader about the evidence you’ve uncovered, e.g., a business model and study on effective workplace goal setting.
• Analysis sentences : inform the reader of your thoughts on the evidence and its significance. For example, “Model A clearly shows how employers are to set realistic goals with employees and this model has proven to be successful in study x”.
• Concluding sentence: summarize what you’ve learned about the topic and how it relates to the essay question. For instance, “Setting realistic goals for employees is straightforward and likely to increase successful goal achievement in the workplace”.

How to Write a Conclusion

• To signal the essay is ending, use a suitable word or phrase , such as ‘In summary’ or ‘With all of this in mind’.
• Reread your introduction to remind yourself of your thesis. After that, either paraphrase or respond to the thesis.
• Summarize the key points stated in each of the assignment’s paragraphs. So, if you wrote three key body paragraphs, the conclusion should include three main themes.
• Give your readers a concluding line on the main issue and possibly attempt to urge them to further ponder the topic in its wider context.

Example Of An Essay About Achieving Your Goals

So, let’s put all this information together and check an example essay on achieving goals: Effective Methods to Increase the Likelihood of Goal Achievement Achieving goals can be extremely rewarding and result in a more satisfying and successful life. Many people set goals yet cannot achieve them. However, there are ways to avoid or reduce the likelihood of missing the mark. By ensuring that goals are SMART (Specific, Measurable, Achievable, Relevant, and Time-bound), using visualization techniques, and rewarding goal attainment, the chances of success increase. First, ensure your goals are SMART. This means that goals should be specific and measurable in terms of outcomes, e.g., test scores . Goals should be achievable and realistic to the person’s capabilities and resources available. Also, a goal should apply to the person’s work, education, hobbies, or interests and include a deadline. If there is no specificity of outcome, there’s no real way to see how someone has improved—or how they might be falling short. And if goals are not SMART, they are more difficult to achieve. Second, by imagining and visualizing the feelings and outcomes of achievement of the goal , the likelihood of high achievement increases. The imagination can be a powerful tool. Imagining the feelings of accomplishment helps to increase self-efficacy and motivation. A Canadian study found that imagery skills moderate the effect of mental practice on self-efficacy. The effects of visualization techniques are valuable in goal achievement. Third, once the goal has been accomplished, a reward is required. Getting a reward for hard work will increasingly motivate an individual to set and achieve the next goal. The offer of a reward gives employees and students an extra boost of motivation. Rewards help the cycle of goal setting and goal achieving to continue. In summary, by ensuring the goals set are SMART, visualizing and rewarding success, goal achievement becomes more likely. Achieving goals is a cyclic process that’s possible to master if the right method is in place.

The Basics of Setting and Achieving Goals

Getting things done is often more difficult than you may think. You may have a strong desire to see positive changes, including better grades, weight loss, or passing an educational course. But success requires more than just motivation. The right goal-achievement skill set can help you see the exact steps you need to perform to take your life to the next level. Of course, it all starts with setting a goal and there’s a useful (SMART) acronym to remember:

Goals should be specific and free of generalizations, or they are unlikely to get done. Instead of stating that your goal is to improve your English skills, make it more specific by stating that your goal is to learn and use one new word every weekday to boost your English vocabulary.

A goal should be measurable because you need to keep your finger on the pulse and know where you’re at. For instance, a test or assessment score can provide evidence that you have reached your goal.

A goal needs to be possible to achieved. If it’s beyond your capabilities or requires resources you cannot access, then you will set yourself up for failure.

Goals must have some relevance. It is pointless to set a goal if it’s not relevant to your life, work, education, interests, hobbies, etc.

You must set a completion date for your goal. If you do not set a deadline, you may lack the motivation to reach it. Once you have your SMART goal, record it clearly on paper or a mobile device and then visualize the outcome of achieving that goal. Imagine how happy you will feel when you achieve it. This vivid mental imagery will provide you with the extra motivation to go for it. Finally, when you reach your goal, it’s time to celebrate! Reward yourself with a trip, an item you desire, relaxation time with friends, or whatever else that will make you feel happy.

Ready to write an essay about achieving goals?

Hopefully, the information in the article has given you the basics to help you write a powerful essay on achieving goals. I also hope that this article has helped you think about how you can work toward achieving your own goals. There are many great books about the science of goal achievement. I especially recommend ones written by Brian Tracy , as they have helped me a great deal in my pursuit of happiness . You can also create an engaging presentation about achieving goals and objectives using this  goal presentation template . Next up, you may want to explore an ultimate guide to writing expository essays .

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Hey there, welcome to my blog! I'm a full-time entrepreneur building two companies, a digital marketer, and a content creator with 10+ years of experience. I started RafalReyzer.com to provide you with great tools and strategies you can use to become a proficient digital marketer and achieve freedom through online creativity. My site is a one-stop shop for digital marketers, and content enthusiasts who want to be independent, earn more money, and create beautiful things. Explore my journey here , and don't miss out on my AI Marketing Mastery online course.

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How to Write an Essay Introduction (with Examples)   

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

Table of Contents

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

• Argumentative Essay Introduction Example: 
• Expository Essay Introduction Example 

Literary Analysis Essay Introduction Example

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Examples of essay introduction 

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

Argumentative Essay Introduction Example:  

Topic: Should the voting age be lowered to 16? 

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

Expository Essay Introduction Example  

Topic: The benefits of regular exercise 

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

Text: “To Kill a Mockingbird” by Harper Lee 

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

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

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

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

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

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

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

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

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

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

References  

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

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The Donald Trump I Saw on The Apprentice

For 20 years, i couldn’t say what i watched the former president do on the set of the show that changed everything. now i can..

On Jan. 8, 2004, just more than 20 years ago, the first episode of The Apprentice aired. It was called “Meet the Billionaire,” and 18 million people watched. The episodes that followed climbed to roughly 20 million each week. A staggering 28 million viewers tuned in to watch the first season finale. The series won an Emmy nomination for Outstanding Reality-Competition Program, and the Television Critics Association called it one of the best TV shows of the year, alongside The Sopranos and Arrested Development . The series—alongside its bawdy sibling, The Celebrity Apprentice —appeared on NBC in coveted prime-time slots for more than a decade.

The Apprentice was an instant success in another way too. It elevated Donald J. Trump from sleazy New York tabloid hustler to respectable household name. In the show, he appeared to demonstrate impeccable business instincts and unparalleled wealth, even though his businesses had barely survived multiple bankruptcies and faced yet another when he was cast. By carefully misleading viewers about Trump—his wealth, his stature, his character, and his intent—the competition reality show set about an American fraud that would balloon beyond its creators’ wildest imaginations.

I should know. I was one of four producers involved in the first two seasons. During that time, I signed an expansive nondisclosure agreement that promised a fine of $5 million and even jail time if I were to ever divulge what actually happened. It expired this year.

No one involved in The Apprentice —from the production company or the network, to the cast and crew—was involved in a con with malicious intent. It was a TV show , and it was made for entertainment . I still believe that. But we played fast and loose with the facts, particularly regarding Trump, and if you were one of the 28 million who tuned in, chances are you were conned.

As Trump answers for another of his alleged deception schemes in New York and gears up to try to persuade Americans to elect him again, in part thanks to the myth we created, I can finally tell you what making Trump into what he is today looked like from my side. Most days were revealing. Some still haunt me, two decades later.

Nearly everything I ever learned about deception I learned from my friend Apollo Robbins. He’s been called a professional pickpocket, but he’s actually a “perceptions expert.” Apollo has spent his life studying the psychology of how we distort other people’s perceptions of reality and has done so by picking pockets onstage for the entertainment of others. He is a master of deception, a skill that made him, back in the day, the so-called best-kept secret in Las Vegas. After “fanning” his marks with casual, unobtrusive touch designed to make them feel safe or at ease, Apollo determines where the items reside—the wallet inside a breast pocket, the Rolex fastened to a wrist—and he removes these items without detection. He’ll even tell you what he intends to steal before he does it. He does this not to hurt people or bewilder them with a puzzle but to challenge their maps of reality. The results are marvelous. A lot of magic is designed to appeal to people visually, but what he’s trying to affect is your mind, your moods, your perceptions.

As a producer working in unscripted, or “reality,” television, I have the same goal. Like Apollo, I want to entertain, make people joyful, maybe even challenge their ways of thinking. But because I often lack the cinematic power of a movie, with its visual pyrotechnics or rehearsed dialogue, I rely on shaping the perceptions of viewers, manipulating their maps of reality toward something I want them to think or feel.

The presumption is that reality TV is scripted. What actually happens is the illusion of reality by staging situations against an authentic backdrop. The more authentic it is to, say, have a 40-foot wave bearing down on a crab boat in the Bering Sea for Deadliest Catch , the more we can trick you into thinking a malevolent Russian trawler is out there messing with the crabber’s bait. There is a trick to it, and when it works, you feel as if you’re watching a scripted show. Although very few programs are out-and-out fake, there is deception at play in every single reality program. The producers and editors are ostensibly con artists, distracting you with grand notions while we steal from you your precious time.

But the real con that drove The Apprentice is far older than television. The “pig in the poke” comes from an idiom dating to 1555: “I’ll never buy a pig in a poke / There’s many a foul pig in a fair cloak.” It refers to the time-honored scam of selling a suckling pig at market but handing over a bag (the poke) to the purchaser, who never looks inside it. Eventually, he discovers he’s purchased something quite different.

Our show became a 21 st -century version. It’s a long con played out over a decade of watching Trump dominate prime time by shouting orders, appearing to lead, and confidently firing some of the most capable people on television, all before awarding one eligible person a job. Audiences responded to Trump’s arrogance, his perceived abilities and prescience, but mostly his confidence . The centerpiece to any confidence game is precisely that— confidence .

As I walk into my interview for The Apprentice , I inadvertently learn how important it is for every one of us involved to demonstrate confidence above all else.

I sit down with Jay Bienstock, the showrunner, who has one last producer position to fill and needs somebody capable and hardworking. His office is sparse, and the desk is strategically placed directly across from the couch, with a noticeable angle downward from his desk to whomever is seated across from him. (I’m recalling all of the quoted conversations here to the best of my ability; they are not verbatim.)

He is smiling and even laughing throughout the interview, but from the steep angle at which he gazes down on me, there is no mistaking who is in charge. He seems to like what he hears and offers to follow up with my agent. “But I have to check your references before I can hire you,” he says. “You’d be crazy not to,” I reply. He laughs, claps his hands together, and grins. “ THAT’S what I’m talking about,” he says. “That’s the confidence this show needs!”

I sit there, several inches below eyeline, and ponder what just happened. What, I wonder, is so “confident” about suggesting he’d be crazy to not check my references? Then it dawns on me. He thinks I meant “You’d be crazy not to hire me.” The signal to noise begins.

Listen to Bill Pruitt discuss this story on What Next , Slate’s daily news podcast:

Before I leave, I have to ask: Why Trump? Bienstock discovers that we both lived in New York for a time. Knowing what we know about Trump, selling the idea that intelligent people would compete to land a job working for him will be a challenge.

“The idea is to have a new and different billionaire every season—just like there’s a new and different island on Survivor . We reached out to Spielberg, Katzenberg, Geffen, among others,” he says. “Trump is the only one who agreed to sign on.” (Bienstock didn’t respond to a request for comment.)

“We’ll make it work,” Bienstock says confidently. I rise, shake his hand, and leave, and head over to Dutton’s bookstore to pick up a used copy of Trump’s The Art of the Deal . It is filled with takeaways about branding and strategizing but conveniently omits Trump bluffing his way through meetings with contractors, stiffing them when it is convenient to do so, and betraying his most trusted colleagues to get what he wants. (The book’s ghostwriter, Tony Schwartz, has since tried to get the bestseller recategorized in the Library of Congress as a work of fiction.)

Another show of confidence is the budget the series commands. It’s not as expensive as a scripted series, but for a reality show, the price is high. Never have I worked on a series with this level of funding, but the cost is justified. This needs to feel real.

New York City is the perfect—though expensive—backdrop. Trump’s actual offices are, however, less than telegenic. They are cramped, and a lot of the wood furniture is chipped or peeling. None of it is suitable to appear on camera. We need what grifters call the Big Store: a fake but authentic-looking establishment in which the con goes down. Trump Tower, at the time, is mostly condos and some offices situated in the high-rise. The mezzanine comprises vacant and overpriced retail space, all of it unfinished. Trump offers the space to the production—at a premium, naturally—and it is inside this location that we create our own “reception area” with doors leading to a fake, dimly lit, and appropriately ominous-feeling “boardroom.”

Next door, there’s the “suite” where the contestants will live, which is made to look like a trendy loft-style apartment they all share. The lodgings are made up of partitions surrounding tiny, hard bunks upon which the candidates sleep; the illusion comes from elegantly appointed common areas, where most of the interplay will go down.

During a tour of the set, I have my first encounter with Trump. I leave the suite and enter the gear room, the only vacant retail space that will remain unfinished. It is filled with equipment and crew members milling about. In walks a trio of men. In the middle is Trump, in a navy blue suit and scarlet tie. He’s surprisingly tall, and not just because of the hair. He is flanked by two even taller men. Bienstock makes introductions, and I watch as Trump shakes hands with everyone. I’d been told he would never do this, something about fearing unwanted germs. When it is my turn, I decide on the convivial two-hander and place my right hand into his and my left onto his wrist as we shake. His eye contact is limited but thorough. He is sizing me up. He looks like a wolf about to rip my throat out before turning away, offering me my first glimpse at the superstructure—his hairstyle—buttressed atop his head with what must be gallons of Aqua Net.

I watch as Trump saunters around the room, snatches up a fistful of M&Ms from the craft service table set aside for the crew, and shoves them into his mouth. Then he is gone, ushered away toward some important meeting he must attend, as if to say, to one and all present, This is unimportant .

Eventually, it’s time to roll cameras. When Trump is called to perform, we are filming the first scene of the first episode on the floor of the New York Stock Exchange, and he is about to deliver the first task. Filming inside this beacon of capitalism and wealth gives the series the legitimacy it needs. A con artist would call staging the scam inside a legitimate institution “playing a man against the wall.”

From the balcony overlooking the famed trading room floor, Trump will set up the entire premise of the show on camera and engage in a little banter with the other participants. This includes introducing his advisers, George Ross, an older, grouchy attorney devoted to Trump’s legal affairs, and Carolyn Kepcher, a perpetual skeptic who runs his hospitality units and one of his golf clubs. (They might be called “the shills,” others in on the con who will act as Trump’s eyes and ears.)

The contestants are there, lined up and zeroed in on by camera operators getting reaction shots to whatever it is Trump says. Although they mostly just stand and wait, they patiently go along with the proceedings. They are not in on the con. They act as “the little blind mice,” who, in fraudster terms, convey a sense of authenticity by reacting to the goings-on, like lab rats caught in a maze.

Nothing is scripted—except for what Trump needs to say. Cue cards are present, but mostly it is Bienstock running up, coaching Trump, tossing out suggestions from the script he has written for the man. The feeling is that while doing a fair job of repeating the necessary words verbatim, Trump also appears to be inadvertently shouting at the contestants. His hands shuttle back and forth as if holding an invisible accordion, a gesture now famous in memes .

Each episode is filmed over three days. For the first episode, the two teams of contestants, divided by gender, take to the streets to carry out the initial task of trying to sell lemonade for the most money. The women pulverize the men.

Having won, the women are invited upstairs for a direct look at Trump’s very own apartment in Trump Tower, a reward designed specifically to introduce viewers to the gaudy but elevated world of Donald Trump at home. The men, who lost, go back to the loft to await their fate at the hands of Trump. He will be sending one of them home.

Inside the now-empty boardroom set, a meeting with the producers is called for the first briefing of Trump before the anticipated firing. With Trump are his cronies, Ross and Kepcher. Trump is “too busy,” so they have each observed both teams in the field and make an assessment of who prevailed and who fell behind.

Now, this is important. The Apprentice is a game show regulated by the Federal Communications Commission. In the 1950s, scandals arose when producers of quiz shows fed answers to likable, ratings-generating contestants while withholding those answers from unlikable but truly knowledgeable players. Any of us involved in The Apprentice swinging the outcome of prize money by telling Trump whom to fire is forbidden.

Considering this, Bienstock wisely chooses to record these off-camera briefings in case the FCC ever rolls up on us. Rather than blurt out who they think should get canned, the two producers of that week’s episode—each following one team—are coached to equitably share with Trump the virtues and deficiencies of each member of the losing team. This renders a balanced depiction of how and why they lost. There are obvious choices of whom to fire, but we want it to be something of a horse race, to sustain the drama and keep people watching.

Satisfied he has what he needs, Trump dismisses the prefiring discussion with the wave of a hand, claiming he has places to be, let’s get on with it, etc. We proceed to set up for what will be our first boardroom.

The producers retreat to the adjacent control room to watch the event unfold. Per the show’s format, the losing team is summoned in anticipation of one of its members being sent home. Leaving their luggage in the reception area, the men walk into the boardroom, where Trump is flanked by Ross and Kepcher, waiting for them solemnly. Trump just frowns from a gigantic red leather chair, his eyeline noticeably well above those sitting across from him.

The men proceed to verbally go after one another like gladiators jousting before the emperor. Trump takes the conversation into potentially dangerous terrain, asking one contestant, who is Jewish, whether he believes in “the genetic pool.” The contestant’s retort is swift and resolute: He tells Trump that he does, in fact, have the genes, “just like you got from your father, Fred Trump, and your mother, Mary Trump.” It pours out of him. It is dramatic. It is good reality TV.

The project manager must then choose two of the men to come back to the boardroom with him while everyone else is dismissed. An off-camera prefiring consultation with Trump takes place (and is recorded), right before the three men are brought back for the eventual firing. We film Trump, Ross, and Kepcher deliberating and giving the pluses and minuses of each, remarking on how risky it was for one of the contestants to stand up for himself the way that he did. Trump turns back and forth to each, listening. His cronies stick to their stories and give added deferential treatment toward Trump, with Ross strategically reminding him, “You’ve been taking risks your entire life.”

Trump summons the three men back into the boardroom for final judging. Trump grills one and says, “I will let you stay.” ( Wow! we think. A benevolent leader. ) When he turns his attention to the other man—the one he asked about genetics—it looks clear. He is doomed. So much so that the man stands when Trump tells him, “It seems unanimous.” Trump then offhandedly tells him to sit down, calling him “a wild card,” echoing Ross’ earlier observation of the boss, Trump.

After this comes an unwieldy moment when, at the behest of Bienstock, Trump fumbles through a given line. “We have an elevator,” he says to the remaining contestant, named David, “that goes up to the suite and an elevator that goes down”—he pauses to recall the exact wording—“to the street. And, David, I’m going to ask you to take the down elevator.”

The men react and awkwardly rise. It is an unsatisfactory conclusion, given all the preceding drama.

From the control room, we all watch as the three men depart the boardroom. A quick huddle takes place between the producers and the executive from NBC. We bolt from the control room out into the boardroom and confer with Trump, telling him we will need him to say something more direct to conclude the moment when David is let go.

“Well, I’d probably just fire him,” Trump says. “Why not just say that?” Bienstock asks. “Fine,” Trump says.

We return to the control room. The three men from the losing team are brought back into the boardroom, and Trump repeats his line about the elevator, then turns to David, who already knows his fate, and adds, “David, you’re fired.”

The line insertion happened in a perilously scripted way, but it is deemed satisfactory. “You’re fired” becomes the expression we will stick with. It works. Trump comes off as decisive and to the point.

Later, Trump will try to trademark “You’re fired.” He is not successful.

Trump’s appearances make up so little of our shooting schedule that whenever he shows up to film, it isn’t just the wild-card on-camera moments we both hope for and are terrified of that put everyone on edge. It is the way he, the star (and half owner) of the show, targets people on the crew with the gaze of a hungry lion.

While leering at a female camera assistant or assessing the physical attributes of a female contestant for whoever is listening, he orders a female camera operator off an elevator on which she is about to film him. “She’s too heavy,” I hear him say.

Another female camera operator, who happens to have blond hair and blue eyes, draws from Trump comparisons to his own Ivanka Trump. “There’s a beautiful woman behind that camera,” he says toward a line of 10 different operators set up in the foyer of Trump Tower one day. “That’s all I want to look at.”

Trump corners a female producer and asks her whom he should fire. She demurs, saying something about how one of the contestants blamed another for their team losing. Trump then raises his hands, cupping them to his chest: “You mean the one with the …?” He doesn’t know the contestant’s name. Trump eventually fires her.

(In response to detailed questions about this and other incidents reported in this article, Steven Cheung, a spokesman for the Trump 2024 campaign, wrote, “This is a completely fabricated and bullshit story that was already peddled in 2016.” He said that it is surfacing now because Democrats are “desperate.”)

Trump goes about knocking off every one of the contestants in the boardroom until only two remain. The finalists are Kwame Jackson, a Black broker from Goldman Sachs, and Bill Rancic, a white entrepreneur from Chicago who runs his own cigar business. Trump assigns them each a task devoted to one of his crown-jewel properties. Jackson will oversee a Jessica Simpson benefit concert at Trump Taj Mahal Casino in Atlantic City, while Rancic will oversee a celebrity golf tournament at Trump National Golf Club in Briarcliff Manor, New York.

Viewers need to believe that whatever Trump touches turns to gold. These properties that bear his name are supposed to glitter and gleam. All thanks to him.

Reality is another matter altogether. The lights in the casino’s sign are out. Hong Kong investors actually own the place—Trump merely lends his name. The carpet stinks, and the surroundings for Simpson’s concert are ramshackle at best. We shoot around all that.

Both Rancic and Jackson do a round-robin recruitment of former contestants, and Jackson makes the fateful decision to team up with the notorious Omarosa, among others, to help him carry out his final challenge.

With her tenure on the series nearly over, Omarosa launches several simultaneous attacks on her fellow teammates in support of her “brother” Kwame. For the fame-seeking beauty queen, it is a do-or-die play for some much-coveted screen time. As on previous tasks, Ross and Kepcher will observe both events.

Over at Trump National Golf Club, where I am stationed, it is sunny and bright, set against luscious fall colors. I am driven up to the golf club from Manhattan to scout. With me are the other producers, all of whom are men. We meet Trump at one of the homes he keeps for himself on the grounds of the club.

“Melania doesn’t even know about this place,” he says out loud to us, snickering, implying that the home’s function is as his personal lair for his sexual exploits, all of which are unknown to his then-fiancée Melania Knauss.

We are taken around the rest of the club’s property and told what to feature on camera and what to stay away from. The clubhouse is a particularly necessary inclusion, and it is inside these luxurious confines where I have the privilege of meeting the architect. Finding myself alone with him, I make a point of commending him for what I feel is a remarkable building. The place is genuinely spectacular. He thanks me.

“It’s bittersweet,” he tells me. “I’m very proud of this place, but …” He hesitates. “I wasn’t paid what was promised,” he says. I just listen. “Trump pays half upfront,” he says, “but he’ll stiff you for the rest once the project is completed.”

“He stiffed you?”

“If I tried to sue, the legal bills would be more than what I was owed. He knew that. He basically said Take what I’m offering ,” and I see how heavy this is for the man, all these years later. “So, we sent the invoice. He didn’t even pay that,” he says. None of this will be in the show. Not Trump’s suggested infidelities, nor his aversion toward paying those who work for him.

When the tasks are over, we are back in the boardroom, having our conference with Trump about how the two finalists compare—a conversation that I know to be recorded. We huddle around him and set up the last moments of the candidates, Jackson and Rancic.

Trump will make his decision live on camera months later, so what we are about to film is the setup to that reveal. The race between Jackson and Rancic should seem close, and that’s how we’ll edit the footage. Since we don’t know who’ll be chosen, it must appear close, even if it’s not.

We lay out the virtues and deficiencies of each finalist to Trump in a fair and balanced way, but sensing the moment at hand, Kepcher sort of comes out of herself. She expresses how she observed Jackson at the casino overcoming more obstacles than Rancic, particularly with the way he managed the troublesome Omarosa. Jackson, Kepcher maintains, handled the calamity with grace.

“I think Kwame would be a great addition to the organization,” Kepcher says to Trump, who winces while his head bobs around in reaction to what he is hearing and clearly resisting.

“Why didn’t he just fire her?” Trump asks, referring to Omarosa. It’s a reasonable question. Given that this the first time we’ve ever been in this situation, none of this is something we expected.

“That’s not his job,” Bienstock says to Trump. “That’s yours.” Trump’s head continues to bob.

“I don’t think he knew he had the ability to do that,” Kepcher says. Trump winces again.

“Yeah,” he says to no one in particular, “but, I mean, would America buy a n— winning?”

Kepcher’s pale skin goes bright red. I turn my gaze toward Trump. He continues to wince. He is serious, and he is adamant about not hiring Jackson.

Bienstock does a half cough, half laugh, and swiftly changes the topic or throws to Ross for his assessment. What happens next I don’t entirely recall. I am still processing what I have just heard. We all are. Only Bienstock knows well enough to keep the train moving. None of us thinks to walk out the door and never return. I still wish I had. (Bienstock and Kepcher didn’t respond to requests for comment.)

Afterward, we film the final meeting in the boardroom, where Jackson and Rancic are scrutinized by Trump, who, we already know, favors Rancic. Then we wrap production, pack up, and head home. There is no discussion about what Trump said in the boardroom, about how the damning evidence was caught on tape. Nothing happens.

We go home and face the next phase of our assignment, the editing. In stitching the footage together, the swindle we are now involved in ascends to new levels.

Editing in a reality TV show is what script writing is to a narrative series. A lot of effort goes into the storytelling because, basically, in every single unscripted series—whether it’s a daytime talk show, an adventure documentary, or a shiny floor dance-off—there are three versions: There’s what happens, there’s what gets filmed, and there’s what gets cut down into 43 minutes squeezed between commercial breaks. Especially for a competition series, it’s important that the third version represent the first as much as possible. A defeated contestant could show up in the press and cry foul if they’re misrepresented. Best to let people fail of their own accord. That said, we look after our prized possessions in how we edit the series, and some people fare better than others.

We attend to our thesis that only the best and brightest deserve a job working for Donald Trump. Luckily, the winner, Bill Rancic, and his rival, Kwame Jackson, come off as capable and confident throughout the season. If for some reason they had not, we would have conveniently left their shortcomings on the cutting room floor. In actuality, both men did deserve to win.

Without a doubt, the hardest decisions we faced in postproduction were how to edit together sequences involving Trump. We needed him to sound sharp, dignified, and clear on what he was looking for and not as if he was yelling at people. You see him today: When he reads from a teleprompter, he comes off as loud and stoic. Go to one of his rallies and he’s the off-the-cuff rambler rousing his followers into a frenzy. While filming, he struggled to convey even the most basic items. But as he became more comfortable with filming, Trump made raucous comments he found funny or amusing—some of them misogynistic as well as racist. We cut those comments. Go to one of his rallies today and you can hear many of them.

If you listen carefully, especially to that first episode, you will notice clearly altered dialogue from Trump in both the task delivery and the boardroom. Trump was overwhelmed with remembering the contestants’ names, the way they would ride the elevator back upstairs or down to the street, the mechanics of what he needed to convey. Bienstock instigated additional dialogue recording that came late in the edit phase. We set Trump up in the soundproof boardroom set and fed him lines he would read into a microphone with Bienstock on the phone, directing from L.A. And suddenly Trump knows the names of every one of the contestants and says them while the camera cuts to each of their faces. Wow , you think, how does he remember everyone’s name? While on location, he could barely put a sentence together regarding how a task would work. Listen now, and he speaks directly to what needs to happen while the camera conveniently cuts away to the contestants, who are listening and nodding. He sounds articulate and concise through some editing sleight of hand.

Then comes the note from NBC about the fact that after Trump delivers the task assignment to the contestants, he disappears from the episode after the first act and doesn’t show up again until the next-to-last. That’s too long for the (high-priced) star of the show to be absent.

There is a convenient solution. At the top of the second act, right after the task has been assigned but right before the teams embark on their assignment, we insert a sequence with Trump, seated inside his gilded apartment, dispensing a carefully crafted bit of wisdom. He speaks to whatever the theme of each episode is—why someone gets fired or what would lead to a win. The net effect is not only that Trump appears once more in each episode but that he also now seems prophetic in how he just knows the way things will go right or wrong with each individual task. He comes off as all-seeing and all-knowing. We are led to believe that Donald Trump is a natural-born leader.

Through the editorial nudge we provide him, Trump prevails. So much so that NBC asks for more time in the boardroom to appear at the end of all the remaining episodes. (NBC declined to comment for this article.)

When it comes to the long con, the cherry on top is the prologue to the premiere. It’s a five-minute-long soliloquy delivered by Trump at the beginning of the first episode, the one titled “Meet the Billionaire.” Over a rousing score, it features Trump pulling out all the stops, calling New York “ my city” and confessing to crawling out from under “billions of dollars in debt.” There’s Trump in the back of limousines. Trump arriving before throngs of cheering crowds outside Trump Tower. Trump in his very own helicopter as it banks over midtown—the same helicopter with the Trump logo that, just like the airplane, is actually for sale to the highest bidder. The truth is, almost nothing was how we made it seem.

So, we scammed. We swindled. Nobody heard the racist and misogynistic comments or saw the alleged cheating, the bluffing, or his hair taking off in the wind. Those tapes, I’ve come to believe, will never be found.

No one lost their retirement fund or fell on hard times from watching The Apprentice . But Trump rose in stature to the point where he could finally eye a run for the White House, something he had intended to do all the way back in 1998. Along the way, he could now feed his appetite for defrauding the public with various shady practices.

In 2005 thousands of students enrolled in what was called Trump University, hoping to gain insight from the Donald and his “handpicked” professors. Each paid as much as $35,000 to listen to some huckster trade on Trump’s name. In a sworn affidavit, salesman Ronald Schnackenberg testified that Trump University was “fraudulent.” The scam swiftly went from online videoconferencing courses to live events held by high-pressure sales professionals whose only job was to persuade attendees to sign up for the course. The sales were for the course “tuition” and had nothing whatsoever to do with real estate investments. A class action suit was filed against Trump.

That same year, Trump was caught bragging to Access Hollywood co-host Billy Bush that he likes to grab married women “by the pussy,” adding, “When you’re a star, they let you do it.” He later tried to recruit porn actor Stormy Daniels for The Apprentice despite her profession and, according to Daniels, had sex with her right after his last son was born. (His alleged attempt to pay off Daniels is, of course, the subject of his recent trial.)

In October 2016—a month before the election—the Access Hollywood tapes were released and written off as “locker room banter.” Trump paid Daniels to keep silent about their alleged affair. He paid $25 million to settle the Trump University lawsuit and make it go away.

He went on to become the first elected president to possess neither public service nor military experience. And although he lost the popular vote, Trump beat out Hillary Clinton in the Electoral College, winning in the Rust Belt by just 80,000 votes.

Trump has been called the “reality TV president,” and not just because of The Apprentice . The Situation Room, where top advisers gathered, became a place for photo-ops, a bigger, better boardroom. Trump swaggered and cajoled, just as he had on the show. Whom would he listen to? Whom would he fire? Stay tuned. Trump even has his own spinoff, called the House of Representatives, where women hurl racist taunts and body-shame one another with impunity. The State of the Union is basically a cage fight. The demands of public office now include blowhard buffoonery.

I reached out to Apollo, the Vegas perceptions expert, to discuss all of this. He reminded me how if a person wants to manipulate the signal, they simply turn up the noise. “In a world that is so uncertain,” he said, “a confidence man comes along and fills in the blanks. The more confident they are, the more we’re inclined to go along with what they suggest.”

A reality TV show gave rise to an avaricious hustler, and a deal was made: Subvert the facts, look past the deficiencies, deceive where necessary, and prevail in the name of television ratings and good, clean fun.

Trump is making another run at the White House and is leading in certain polls. People I know enthusiastically support him and expect he’ll return to office. It’s not just hats, sneakers, a fragrance, or Bibles. Donald Trump is selling his vision of the world, and people are buying it.

Knowing all they know, how could these people still think he’s capable of being president of the United States?

Perhaps they watched our show and were conned by the pig in the poke.

Getting Write Down to It: Passion and Purpose in Writing

A personal perspective: writing as an art form..

Posted June 2, 2024 | Reviewed by Lybi Ma

• What Is a Career
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• The act of writing is an art form that involves willingness to be part of a larger conversation.
• The mandate to publish or perish in academia bears down on faculty, but there are things that can help.
• There are benefits to considering the process of writing and how it is life-affirming and life-building.

If we think about writing as having the privilege of entering a conversation and pushing it in the direction we think it needs to go, then writing—yes, even academic writing—becomes creative. It becomes our own art form, if you will. It gives meaning to our lives and is one of the ways that we contribute to the world.

Once we recognize that our writing is an art form, we need new ways to judge ourselves and our productivity . Should a painter’s worthiness as an artist be determined by how many pieces they landed in a juried show in the last year? When we think of an artist’s career , we see the arc of their art over time. Similarly, as academics, we write over the arc of our careers. It’s the way that we—as people involved in the front lines of knowledge production, construction, and consumption—make art.

Publishing monographs and articles in top-tier journals is a fine goal—in fact, even necessary sometimes to get or keep a job. But publishing isn’t the only reason for writing any more than juried exhibitions and winning awards are the sole reasons an artist goes to paint. The painter finds at least as much, if not much more, nourishment and fulfillment in the process of making art as in the external recognition, however validating and joyful those accolades. Indeed, dreaming of accolades is rarely why an artist sits down to paint. The painter makes art to thrive, to share the meaning they find in the world with others. So, too, if a writer recognizes their work as their art, they sit down to do it to share their gifts with other people and society in general. And the process of writing itself becomes a way to thrive, to contribute to the world.

To take our writing seriously, we must think about it as a core part of our life’s work. We often write for our peers, sometimes for our students, and sometimes for audiences outside of academia. Once we have confidence in our writing, that paves the way for more outward-facing scholarship, bolstering the possibility of becoming a public scholar.

Once we take seriously our art form—or craft, if the word sounds more apt or comfortable—we must make time for it. When we finish a research project, we must realize that good writing takes care, thought, and loving attention to words, phrasing, and paragraph construction. Knowing that it takes time, and is worth the time, can boost our confidence. Good writing brings our ideas, and our findings, to life.

With all of the competing demands that students, colleagues, and our increasingly bureaucratic administrations in higher education impose on us, writing can be something we can claim as our own. While our course material is housed in learning management systems with accompanying questions of control over our intellectual property, and committee work is in service to the institution, the writing we do is ours. And the time we claim for it—for cultivating and honing it—is time we’ve declared, if only to ourselves, as precious and sacred, reserved to nurture ourselves and our ability to contribute to those around us. There’s something very liberating about that.

In sum, while many faculty members see the “publish or perish” message as exemplifying the competitive pressure of an academic career, making the time to enjoy the process of writing is an antidote to some of what has become the drudgery of university life. It reminds us what turns us on in our fields of study and motivates our inquiry in the first place.

A version of this post also appeared in Inside Higher Ed with Barbara Risman.

Deborah J. Cohan, Ph.D., is a professor of sociology at the University of South Carolina-Beaufort where she teaches and writes about the intersections of the self and society.

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