counter narrative essay

Counternarratives: The Power of Narrative

Having written recently about the “danger of narrative”—how stories can distract us from thinking critically to make harmfully distorted representations seem natural and true—I thought it insufficient, if not irresponsible, not to make room for that other equally important possibility: narrative’s positive power.

In her well-known TED Talk, “ The Danger of a Single Story ,” Chimamanda Ngozi Adichie argues for the importance of a multiplicity of stories, voices, and perspectives in order to do justice to the fullest range of experience and explode reductive stereotypes of people and places. “Stories matter,” she says. “Many stories matter. Stories have been used to dispossess and malign. But stories can also be used to empower and to humanize. Stories can break the dignity of a people, but stories can also repair that broken dignity.”

As individual writers contributing our own stories to this multiplicity we might ask ourselves which stories, of the ones we can tell, need to be told. But no matter which stories we end up telling, we must attend to the ways craft itself can create opportunities for constructive and responsible representation. Many misrepresentations, for example, speak to lazy characterization. Characters, after all, are people as far as we’re concerned, and so we must work to ensure our characters, our people, have the richness and complexity readers require in order to care about, inhabit, and empathize with them. I’ve always found inspiration in the way Tobias Wolff puts it in his Paris Review interview :

And the most radical political writing of all is that which makes you aware of the reality of another human being. Self-absorbed as we are, self-imprisoned even, we don’t feel that often enough. Most of the spiritualities we’ve evolved are designed to deliver us from that lockup, and art is another way out. Good stories slip past our defenses—we all want to know what happens next—and then slow time down, and compel our interest and belief in other lives than our own, so that we feel ourselves in another presence. It’s a kind of awakening, a deliverance, it cracks our shell and opens us up to the truth and singularity of others—to their very being. Writers who can make others, even our enemies, real to us have achieved a profound political end, whether or not they would call it that.

Note how Wolff suggests that what can make narrative dangerous—its ability to “slip past our defenses”—is the very same thing that can make it positively powerful. Instead of blunting our critical faculties, stories can disarm us of our misconceptions, biases, and fears.

What about writers and stories who keep us both thinking critically and, at the same time or by turns, drawn in empathetically? Consider John Keene’s recent and deeply rewarding collection out from New Directions, Counternarratives .

In “An Outtake from the Ideological Origins of the American Revolution,” for example, we follow the sinuous trajectory of the life of Zion, a chronically escaping slave in Boston at the dawn of the American Revolution. To call Zion’s story “An Outtake” is to draw attention to the “counter” stance of this narrative against the received narrative of our history (the title also references a Pulitzer prize-winning history book)—it’s the aspect of the story edited out, suppressed, silenced. But returning agency to Zion by telling his story isn’t quite enough for Keene; the story he tells also serves to disrupt the comforting and simplifying assumptions we might be tempted to make about a character like this. To represent any character, even one who has been historically mis- or underrepresented, as perfect or infallible is to deny that character full complex humanity. So in “An Outtake,” Keene allows Zion’s relationship to our sympathies to be just as slippery as his relationship to his owners—just as they literally cannot hold him in place, we cannot force him to be simply either good or bad. In one paragraph we admire his cunning and determination:

… Zion charmed a Dutch whore strolling by to untie his bindings, whereupon he set off to find the first loosely hitched horse. As he ran he proclaimed himself free. Under duress one’s actions assume a dream-like clarity. An unattended nag stood outside a tavern, and off Zion strode.

And in the next we recoil at his depravity:

After a spree which stretched from the city of Boston west to the edges of Middlesex County, the slave played his worst hand when he committed lascivious acts just across the county line on the person of a sleeping widow, Mary Shaftesbone, near Shrewsbury. Having broken into her home and reportedly taken violent liberties with her, unaccountably Zion did not flee the town, but entered a nearby tavern and began a round of popular songs, to the delight of the crowd and the horror of the violated woman.

For each different counternarrative, Keene pushes himself to find a form appropriate to his subject. While these formal experiments are part of the joy of the book—“What can he do next?”—they also help highlight the themes basic both to this specific project and, at the end of the day, to all fiction and storytelling.

In “On Brazil, or Dénouement: The Londônias-Figueiras,” we start with the image of a recent newspaper staff report on a corpse found in a São Paulo favela. From here Keene travels back to the early fifteenth-century to bring us slowly back to the found corpse, demonstrating how an awareness of the past can deepen our understanding of the present and suggesting the shortcomings of the officially sanctioned narrative (the newspaper text). In “A Letter on the Trials of the Counterreformation in New Lisbon,” the story of a priest sent to reform the wayward House of the Second Order of the Discalced Brothers of the Holy Ghost takes on increasingly charged meaning as we realize who, unexpectedly, is telling the story (that is, writing the letter).

Perhaps my favorite of Keene’s counternarratives is “Gloss on a History of Roman Catholics in the Early American Republic, 1790-1825; or the Strange History of Our Lady of the Sorrows.” Like “On Brazil” or “A Letter,” this novella draws our attention to the fact of its written-ness in a way that prompts us to think about who gets to tell what story, who is granted voice.

Formally, “Gloss” is an eighty-page footnote. An “outtake” of sorts, just as we’re acclimating to the dry, dense terrain of the title’s first “History,” in a subversive inversion the footnote interrupts and takes over to tell the story of Carmel, “the lone child among the handful of bondspeople” remaining on a Haitian coffee plantation in 1803. Carmel’s story carries her from Haiti to a convent in Kentucky, where she serves a demanding white teenage girl. At first Carmel is mute—a silenced voice, perhaps, someone marginalized to the point of near invisibility or at least inhumanity: “Up until this point [her owner] had not really noted her presence, considering her no more extensively than one might remember an extra utensil in a large hand-me-down table service.” Instead of communicating verbally, Carmel draws; her drawings, as well as her silence, are subject to unfair projection and interpretation by other people, though she herself, like many writers, doesn’t fully understand what she creates.

As “Gloss” goes on to cover a series of strange and harrowing events at the Kentucky convent, Carmel gradually gains agency; as she gains agency, her voice takes over the narration, first as a series of diary entries in a kind of pidgin shorthand, then as a more straightforward first-person narrative in Standard English. Towards the end of the novella, she even takes on supernatural powers of the kind projected onto her earlier mysterious silence. Like a writer manipulating his characters, Carmel brings what I think we could justify calling her Künstlerroman to a climax by employing her newly developed ability to physically move people through space, compelling them to do what she wants with her mind—all from a place, again authorial, of literal self-willed invisibility. At the end of “Gloss” we see Carmel retelling her story to a group of fellow escaped servants.

In this way Keene’s Counternarratives both demonstrate and enact the power of narrative. They not only use important stories to assert the dignity of misrepresented characters and invite our empathy, but they also ask us to think critically about how stories wield their power.

A Man and an Epigram Walk Into a Bar: A Review of Thomas Farber’s “The End of My Wits”

However obliquely: georges perec’s “la disparition”.

“The Collective,” Divided: A Review

Counter-Narratives in Literature & Theory

Etymology of Counter-Narratives

Table of Contents

The term “counter-narratives” emerged in academic and social discourse in the late 20th century, particularly within the fields of postcolonial studies, critical theory, and cultural studies. Its etymology lies in its role as a response to dominant narratives and power structures.

Counter-narratives are stories or accounts that challenge, subvert, or deconstruct prevailing narratives, often those perpetuated by hegemonic groups, institutions, or historical accounts. These narratives aim to provide marginalized voices and perspectives, offering alternative interpretations of historical events, social dynamics, and power relations.

Counter-narratives have become a crucial tool in critical analysis, helping to shed light on hidden or suppressed histories and offering a means of empowerment and resistance for marginalized groups, while interrogating established paradigms of knowledge and representation.

Meanings of Counter-Narratives


Challenging Dominant Narratives	Counter-narratives serve as a means to challenge and question the prevailing or dominant narratives that often reflect the perspectives of those in power or the majority. They provide alternative viewpoints and interpretations.
Subverting Hegemonic Discourses	These narratives aim to subvert hegemonic discourses by offering alternative perspectives, often from marginalized or oppressed groups. They disrupt established power structures and hierarchies.
Deconstructing Historical Accounts	Counter-narratives critically examine historical accounts, bringing to light hidden or suppressed histories, and offering more accurate or nuanced depictions of events, particularly those that have been misrepresented or overlooked.
Empowering Marginalized Voices	They empower marginalized groups by providing a platform for their stories and experiences, allowing them to assert their agency and challenge the marginalization they may have faced in the dominant discourse.
Resisting Stereotyping and Stigmatization	Counter-narratives are instrumental in combating and stigmatization, as they offer alternative narratives that challenge and debunk harmful stereotypes and biases.
Critiquing Established Paradigms	These narratives play a role in critical analysis by interrogating established paradigms of knowledge and representation. They encourage a reevaluation of accepted truths and norms.
Promoting Social Change	Counter-narratives can be a catalyst for social change by shedding light on issues that need attention, prompting public discourse, and advocating for policy changes or a shift in societal attitudes.

Definition of Counter-Narratives as a Theoretical Term

Counter-narratives, as a theoretical term , refer to alternative narratives or discourses that challenge and deconstruct prevailing dominant narratives, particularly those reflecting the perspectives of those in power. These alternative narratives provide voices and perspectives often marginalized or oppressed, disrupting established power structures and hierarchies.

Counter-narratives aim to shed light on hidden or suppressed histories, debunk stereotypes, empower marginalized groups, and promote social change by encouraging critical analysis and reevaluation of accepted paradigms.

Counter-Narratives: Theorists, Works and Arguments

Michel Foucault: Foucault’s work on power and knowledge, particularly in The Archaeology of Knowledge and Discipline and Punish , laid the theoretical foundation for understanding counter-narratives as resistance to dominant power structures through alternative discourses .
Edward Said: Said’s Orientalism highlighted the construction of stereotypes and counter-narratives in the context of the East-West relationship, emphasizing how counter-narratives can challenge colonialist narratives.
Orientalism by Edward Said: This seminal work critiques the Eurocentric construction of knowledge about the Middle East and examines how counter-narratives can disrupt colonialist perspectives.
The Archaeology of Knowledge by Michel Foucault: In this book, Foucault explores how knowledge is produced and how counter-narratives can deconstruct and challenge established discourses of power.
Resistance to Hegemony : Counter-narratives are argued to be a form of resistance to hegemonic narratives, offering alternative viewpoints that challenge dominant ideologies and power structures.
Empowerment of Marginalized Groups: Counter-narratives are seen as a means of empowering marginalized or oppressed groups by providing them a platform to express their own stories and experiences, countering the marginalization they may face in mainstream narratives.
Reevaluation of Truth and Knowledge: These narratives encourage a reevaluation of accepted truths and knowledge, arguing that dominant narratives are often constructed to serve specific interests and that counter-narratives offer a more diverse and accurate understanding of complex issues.

Counter-Narratives and Literary Theories

Postcolonial Theory : Counter-narratives are particularly relevant in postcolonial literary criticism, where they challenge the colonial narratives that have shaped the portrayal of colonized peoples and cultures. Postcolonial scholars use counter-narratives to provide alternative viewpoints and disrupt the hegemonic discourse of colonialism.
Feminist Literary Criticism : In the realm of feminist literary criticism, counter-narratives are instrumental in critiquing traditional gender roles and the representation of women in literature. They offer alternative stories and perspectives that challenge the patriarchy and provide a voice for marginalized women.
Queer Theory : Counter-narratives play a significant role in queer theory, where they subvert heteronormative narratives and provide alternative understandings of sexuality and gender. Queer theorists use counter-narratives to challenge societal norms and deconstruct conventional representations of LGBTQ+ individuals.
African-American and Ethnic Studies : In the context of African-American and ethnic studies, counter-narratives are employed to challenge stereotypes and provide alternative perspectives on the experiences of marginalized racial and ethnic groups. These narratives shed light on the complexities of identity and representation.
Reader-Response Theory : Counter-narratives are also relevant in reader-response theory, as they allow readers to engage with a text in ways that challenge the author’s intended meaning. Readers can create their own counter-narratives as they interact with the text, emphasizing the subjectivity of interpretation.
Deconstruction : Counter-narratives align with deconstructionist theory, which seeks to expose the inherent contradictions and dualities in texts. Deconstructionists use counter-narratives to deconstruct dominant narratives and highlight the instability of meaning.
Marxist Literary Criticism : In Marxist literary criticism, counter-narratives may be used to challenge capitalist and class-based narratives. They offer alternative perspectives on social and economic structures and may reveal the hidden struggles of the working class.
Narratology : Counter-narratives also engage with narratological theory by subverting traditional narrative structures and expectations. They challenge the conventional ways stories are told and encourage experimentation with narrative form.

In literary studies, counter-narratives provide a valuable tool for critiquing and reimagining the ways in which stories are constructed and presented. They allow for a more inclusive and diverse literary landscape, offering alternative readings and interpretations that challenge the dominance of certain narratives.

Counter-Narratives in Literary Criticism


	Feminist and African-American Studies	Alice Walker’s provides a compelling counter-narrative that challenges prevailing narratives of racial and gender oppression. Through the character of Celie, Walker redefines the experiences of Black women in the early 20th century, shedding light on their strength, resilience, and sisterhood. This novel critiques and reframes the historical narratives of violence and subjugation against Black women and celebrates their ability to reclaim their voices and .
	Postcolonialism	Chinua Achebe’s presents a counter-narrative to colonialist representations of Africa. The novel challenges the Eurocentric view of African societies by portraying the complexities and cultural richness of the Igbo community. Achebe’s work disrupts the colonial narrative of Africa as a primitive and inferior continent, offering a perspective that reclaims and redefines the African experience.
	Postcolonialism and Caste Studies	Arundhati Roy’s novel delves into the counter-narrative of India’s caste system and colonial history. Through the lives of the twins Rahel and Estha, Roy challenges the dominant narratives of caste-based oppression and colonial legacy. She explores the intersections of social hierarchies and postcolonial realities, offering an alternative perspective on India’s complex and multifaceted .
	African-American Studies and Postcolonialism	Colson Whitehead’s reimagines the historical narrative of slavery in the United States. This counter-narrative literalizes the underground railroad, turning it into a physical network of escape for enslaved individuals. Whitehead challenges traditional historical accounts by blending realism with elements of magical realism, shedding light on the psychological and emotional experiences of those seeking freedom.

These novels show examples of the use of counter-narratives to challenge prevailing narratives and offer alternative perspectives, aligning with various literary theories and critical approaches. They invite readers to question dominant narratives and engage in critical discussions about identity, power, and resilience.

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Master and counter narratives: Same facts – different stories

The research of Professor Michael Bamberg of Clark University is dedicated to understanding narratives and the dynamics of narratives. His studies outline how dominant narratives emerge and how counter narratives get created and believed. Through the analysis of narrative practices , Professor Bamberg proposes that we can intentionally begin to present stories that enable social change, by looking beyond the story, to uncover and challenge the assumptions behind dominant narratives.

Storytelling is everywhere! We tell stories daily, from the simplest of stories about ordinary happenings to unexpected and unusual tales, and even up to dramatic events that may have life-changing consequences. In the process of telling, we craft the story by constructing characters, describing their actions, and putting the actions into sequences. When we listen to stories, we observe, try to make sense, and react with an evaluative position. We assume, surmise, speculate and place value vis-à-vis storytellers’ intent, and what we believe to be true.

Patriots or insurrectionists? On 6th of January 2021, millions of people watched a dramatic and unprecedented series of actions unfold on news screens, as Congress sat in session in the Capitol of Washington D.C. to certify the election of Joe Biden. A little further away, a large group of people gathered to hear the outgoing President. He told them how the election had been “stolen” and therefore, their voices had been silenced. He spoke about “reclaiming America’s greatness” and that “you have to show strength and you have to be strong.” Together, he said, they would march “over to the Capitol building to peacefully and patriotically” make their voices heard. He thanked them for their “extraordinary love” of the country.

On 6th of January, an insurrection took place when a mob of Trump supporters gathered outside the Capitol building. These thugs who were outright rioters, “white nationalists” and “supremacists” motivated by hatred and violence, and incited by the outgoing President, broke into the building and threatened Congress.

Lenses of truth Patriots or Insurrectionists? How is it that the same facts and series of events can have such different truths? Professor Michael Bamberg has devoted his research to examine how different versions of the same facts can have such different meanings and end up being told as countering, i.e., in stark contrast to each other.

Our stories are told using words and language habits that often imbue bias about people’s intent or specific actions.

Prof Bamberg explains that typically there is a dominant story (master narrative) that gets told against a background of assumptions which people believe to be true and which they use to make sense of events and of each other. Woven into these assumptions, are normative life experiences and shared meanings. These more dominant narratives with their background assumptions are used to infer the intent behind people’s action, and often are set within cultural, social, and political systems of power (hegemonic norms). From this perspective, the dominant background assumptions made when people tell and listen to stories, can in themselves be quite silencing of other stories that might be told against a different set of background assumptions. These alternate assumptions – when told as counter-narratives – enable a different “truth” to be told and heard, allowing alternate lenses of understanding of the same facts of an event.

Versions of the truth On the 8th of March 2021, millions of people tuned in to listen to an extraordinary story told to Oprah Winfrey, by Meghan Markle and Prince Harry, the Duchess and Duke of Sussex. They shared intimate stories about racism, emotional abandonment and loss of personal freedom, which the Duchess had endured after marrying into the British Royal Family. Meghan said: “Life is about storytelling. For us to be able to have storytelling through a truthful lens that is hopefully uplifting is going to be great knowing how many people that can land with and be able to give a voice to a lot of people that are underrepresented and aren’t really heard.”

Describing the press coverage to which she was subjected as a member of the Royal Family, the Duchess explained to Oprah, there was a “racist” element to the press coverage. The next day, on one side of the North Atlantic, an explosive debate about this interview erupted on live television between two presenters on Good Morning Britain. Emotions were high and one of the presenters walked off the show in outrage. He later described the Duchess as valuing her own “version of the truth above the actual truth”. A little later, on the other side of the Atlantic, the Los Angeles Times ran a story about the two presenters, saying that “the two differed in their interpretations of the Duchess of Sussex’s” revelations.

What is a version of truth and which version should we believe? How do we approach the analysis of different stories so that we can make sense of them?

Prof Bamberg says that stories are always linked to “the particular space and time” in which they are told. One way of approaching a story, is therefore to apply a “narrative practice approach” as a way to unpick or analyse a story. In this approach, the focus moves from trying to infer the storytellers’ subjective perspective, to analysing the “ethnographic interactive context” in which the story is told.

Recognising that there is a context in which a story is communicated and that the story itself serves a “social, relational, and situated” purpose for storytellers and their audience, allows a deeper understanding for how to interpret the story. This requires recognising that stories are fluid and dynamic and can be re-scripted and told differently, using the same overarching storyline or sets of facts.

What is plausible? And what is true? How does an alternate storyline – or anything that counters dominant (and hegemonic) versions – get believed and potentially can replace dominant versions? Professor Bamberg says that presenting a plausible alternative story that challenges dominant and hegemonic assumptions, enables the space for a new understanding of events to emerge. Thus, contributing to better understand how master, counter and hegemonic narratives get constructed, and the contexts in which they are employed, opens up the possibility to create space within which social change can be accomplished through the crafting of counter narrative.

When a story is intentionally crafted and positioned to plausibly challenge the dominant assumptions of power relations and identities, social change can begin to happen.

A good example of crafting a counter narrative is evident in court proceedings when both prosecuting and defence attorneys, present to the judge. As an example, Bamberg presents a detailed analysis of a case of an elderly man who has killed his wife and is on trial for murder. In this, the same way as when Derek Chauvin was on trial, the facts are not disputed: the death of a person has been consequential to the act of the accused. What is on trial, however, is the web of circumstances: the intentions and motives, what happened previous to the killing of George Floyd – up to the ‘fact’ that, in unprecedented ways, other police officers, including the Minneapolis police chief, testified against and denounced another officer’s actions. And if it hadn’t been for the 9 minutes and 29 seconds video by 17-year-old Darnella Frazier that successfully countered the original narrative of the police report, Derek Chauvin might very well still be part of the Minneapolis police force.

Purpose of the story – why this story here-and-now? The original police statement from May 25, 2020:

Man Dies After Medical Incident During Police Interaction… He was ordered to step from his car. After he got out, he physically resisted officers. Officers were able to get the suspect into handcuffs and noted he appeared to be suffering medical distress. Officers called for an ambulance. He was transported to Hennepin County Medical Center by ambulance where he died a short time later.

What Bamberg’s examples show is that the framing of a sequence of events is equally, and often probably more, important with regard to make sense of what actually happened. The words and language habits used to frame a sequence of events express assumptions about people’s intent and their motives, imbued with bias and stereotypes that easily sway the audience’s emotions and responses. To be able to account for how this happens, Prof Bamberg suggests that an analytic framework is required that goes beyond what’s been said – a framework that probes more deeply into how it’s been said as well as the wider contextual aspects within which particular narrative framings are situated.

We tell stories to share identities and create relationships with others who share our understandings. We tell stories to position ourselves and influence how people view us. We tell stories to maintain the dominant assumptions within our social groups and to direct outcomes. Our stories are dynamic and fluid, interactive and contextual, told and heard, through different identities and deliberate positionings and negotiations regarding the ‘truth’. Recognising the power of stories in this way, opens up a pathway towards social change. When a story is intentionally crafted and positioned to plausibly challenge the dominant and potentially hegemonic assumptions of power relations and identities, social change can begin to happen.

Personal Response

Fake news and fake stories often make the headlines. How can people counter these narratives?

To discern intentionally fabricated narratives (e.g., ‘COVID is a hoax’ or ‘Mexicans are rapists’) from counter narratives that intentionally challenge hegemonic narratives (such as ‘gay-love-is-unnatural’ or ‘non-aryans-are subhumans’) is a matter of analytic rigour. Fact checking, i.e., scrutinising the events that are referred to, will ultimately remain insufficient. What needs to be taken into account is who tells which sequence of events to whom, at which time, and in which context, and for what purpose. I agree that this sounds more complex to a seemingly simple question; but that’s what the narrative practice approach has in store.

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1st Edition

Routledge Handbook of Counter-Narratives

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Description

Routledge Handbook of Counter-Narratives is a landmark volume providing students, university lecturers, and practitioners with a comprehensive and structured guide to the major topics and trends of research on counter-narratives. The concept of counter-narratives covers resistance and opposition as told and framed by individuals and social groups. Counter-narratives are stories impacting on social settings that stand opposed to (perceived) dominant and powerful master-narratives. In sum, the contributions in this handbook survey how counter-narratives unfold power to shape and change various fields. Fields investigated in this handbook are organizations and professional settings, issues of education, struggles and concepts of identity and belonging, the political field, as well as literature and ideology. The handbook is framed by a comprehensive introduction as well as a summarizing chapter providing an outlook on future research avenues. Its direct and clear appeal will support university learning and prompt both students and researchers to further investigate the arena of narrative research.　

Klarissa Lueg , Dr.phil.habil, Associate Professor, is the Head of the Center of Narratological Studies (CNS) at the University of Southern Denmark. She researches themes within narrative inquiry, organization studies, and cultural sociology. She has published in Studies in Higher Education , Innovation , The European Journal of Social Science Research , Academy of Management , Learning and Education , and the Asian Journal of Social Sciences . Marianne Wolff Lundholt , PhD, is the Head of the Department of Design and Communication at the University of Southern Denmark. She is the co-author of Leadership Communication in Theory and Practice (2019) and Counter-Narratives and Organization (2017).

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Toward a Theory of Counter-Narrative: Narrative Contestation, Cultural Canonicity, and Tellability

2020, The Routledge Handbook of Counter-Narratives

Does anyone intentionally tell something that we could call a master narrative? How much resistance or diversion do counter narratives embody? Can we always divide competing narratives into two groups: master and counter narratives? In answering such questions, this article explores the conceptual ambiguities attached to the terms of counter and master narrative, and sets out to investigate their different ontological statuses as well as potential uses in narrative research. The distinctive point of departure in this article is Jerome Bruner's narrative theory. Building on it, I take distance from the metonymic heritage of the Lyotardian " Grand narratives " , which, to closer analysis, seldom pass as proper narratives. Nevertheless, the role of master narratives is studied here as a form of narrative conventionality and power. After outlining my Brunerian theory of master and counter narratives, I test its uses by reading a doctor's story column " Vaikea tapaus " [Difficult case], published in a Finnish weekly journal for medical professions. In particular since the publication of Considering Counter-Narratives (Michael Bamberg and Molly Andrews, eds. 2004) discussion on counter and master narratives has been lively from psychology to politics and organizational studies. Patricia Ewick and Susan S. Silbey (1995) had earlier suggested the contest between " hegemonic tales " and " subversive stories. " Donileen Loseke (2008), in turn, writes about " formula stories " that strongly resemble the " master narratives " Bamberg and Andrews discussed. Recent studies have provided many proposals about master narratives but not much by way of shared, solid theoretical grounding. This chapter maps some of the different proposals and their mutual connection and before all, connection to the narrative theory and positioning. The perspective of master and counter narratives is relevant at least for three reasons. Firstly, it is one of the most promising ideas of introducing the notions of societal power, resistance and conventionality into narrative studies. Secondly, while the methodological work on small stories (Georgakopoulou 2015) and narrative positioning (Deppermann 2015) is vibrant, new analytic perspectives are needed in the study of larger narratives. As Lundholt et al. (2017, 421) notice, " counternarratives play a role in storytellers positioning themselves against, or critiquing, the themes and ideologies of master narratives. " Thirdly, the theorization of larger narratives has often been founded on the analysis of individual, isolated materials, whereas the counter narrative approach immediately positions the stories within a larger narrative contest.

Related Papers

Matti Hyvärinen

The Routledge Handbook of Counter-Narratives

Hanna Meretoja

This chapter proposes a new way of theorizing counter-narratives on the basis of a dialogical conception of narrative, identity, and subjectivity. Narratives take shape in a dialogical relation to culturally mediated narrative models of sense-making, which are inextricably entangled in relations of power. While culturally dominant narrative models can be construed as master narratives, counter-narratives challenge such dominant models. Acknowledging the dialogical interplay between narrative models and individuals allows us to avoid reification of narratives, to theoretically explain their relationality and intrinsic contestability, and to account for both agency and its socially conditioned nature. This chapter provides a theoretical-analytic framework that addresses the existential-ethical significance of counter-narratives and situates them in relation to narrative agency – as actions of interpretative agents negotiating their sense of self vis-à-vis culturally mediated narrative models. The chapter clarifies the ontology of master and counter-narratives through the distinction between implicit and explicit narratives and through the notion of narrative assumption. While implicit narratives function as models of sense-making that guide our actions and expectations, explicit narratives have a concrete, textual, material form. Both master and counter-narratives exert their power only when they are interpreted in concrete situations, and this interpretative process is a fundamentally dialogical activity.

Narrative Inquiry

Molly Andrews

kenneth gergen

We focus on four major tensions pervading much narrative inquiry to date, tensions that threaten to divide the field into alienated enclaves. Of specific concern are psychological vs. social explanations of narrative, structural vs. process orientations to research, approaches that celebrate experience vs. those that textually deconstruct experience, and accounts that center on singularity of self-narratives vs. incoherent multiplicity. Finally, we open discussion on a relational constructionist account of narrative, with an eye toward reconciling these disparate orientations. Inquiry into narrative has swept across the humanities and social sciences, adding rich dimension to an enormous range of topics. Although the vastness and variation in narrative studies militate against a systematic summary, one does begin to sense that narrative work has reached maturity. There is presently an enormous wealth of conceptually, experientially, empirically, and pragmatically illuminating research. More importantly, we begin to find critical deliberation on the nature and significance of narrative in human affairs. In effective, narrative study is becoming reflective about its own undertakings. It is in this context that we wish to focus on several significant tensions emerging in narrative study to date, tensions with far reaching implications both for narrative studies and for related professional practices. In particular, we will focus on four interrelated tensions that currently invite intellectual polarization and the balkanization of what has largely Requests for further information should be directed to: Kenneth J. Gergen,

Studies in Narrative

Mari Hatavara

sylke rene meyer

This essay explores the relationship between story structure and systems of power. I will demonstrate that every story written so far serves to either defend or overthrow property relations and the discourse of family. In the course of the Neolithic revolution, the cultural process that developed in patriarchal society spawned narrative structures, most notably tragedy, to channel trauma caused by systemic aggression and subjection. Yet pre-patriarchal narratives, as found in cave paintings and in residues of contemporaneous myth, suggest a different form potential and attest to the existence of another power structure effecting both gender and property. After briefly addressing the history of narratives and analyzing current contradictions between social relations and formal problems in storytelling, I will argue that serial storytelling and games could merge to become a new form of audio-visual narrative by combining empathy-driven dramatic storytelling and interactivity.

Yiannis GABRIEL

This chapter argues that narratives and counter-narratives depend on each other, need each other and co-create each other. By examining two particular types, nostalgic stories and conspiracy theories, the author proposes that narratives and counter-narratives are elements of narrative ecologies and proposes a number of distinct narrative ecologies fostering different configurations of narrative patterns.  * * * In spite of wide-ranging disagreements about the scale, nature and character of narratives, scholars are in general agreement that counter-narratives emerge in opposition to other narratives, sometimes referred to as master narratives. Thus, the literature on counter-narratives has started to identify different ways in which they can subvert, qualify or confront master narratives. Master narratives, for their part, seek to neutralize, discredit or silence counter-narratives, representing as they do the interests of those in power. By contrast, counter-narratives are generally seen as attempts of the powerless, marginalized or disempowered to make their voices heard, to place their stories on record and to challenge the uncontested hegemony of master narratives. The dynamic of narrative and counter-narrative has become a common and compelling trope. It can be observed in many spheres of social activity, including politics, religion, business and art. It can also be observed in academic discourses where new theories are cast as counter-narratives challenging the hegemony or mainstream theories and concepts. In this chapter, I want to question and qualify this trope. I will argue that master narratives do not exist as narratives until and unless they encounter counter-claims and counter-narratives in one form or another. Like Hegel's master-slave dialectic, without a counter-narrative a narrative can hardly be 1 I am grateful to Stephanie Schreven whose sharp insights and observations provided a constant stimulus for the arguments presented here.

HAU: Journal of Ethnographic Theory

Shaun Gallagher

Structures supported by narratives can play a dominating role in bureaucratic systems, democratic processes, and in an extensive range of social, legal, and political practices. Narratives, in supporting the formation of institutions, traditions, practices, etc. can be rigid protectors of the status quo, promoters of corporate and nationalist interests, and hinder innovative thinking. For this reason some critical theorists are suspicious of narrative. I argue they shouldn't be.

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Maura Striano

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100+ Narrative Essay Topics for your Next Assignment

Writing a narrative essay should be fun and easy in theory. Just tell your readers a story, often about yourself. Who knows you better than you? You should ace this!

Unfortunately, narrative writing can be very difficult for some. When a teacher leaves the topic choice wide open, it’s tough to even know what to write about. What anecdote from your life is worth sharing? What story is compelling enough to fill an entire essay?

The first step in writing a narrative essay is coming up with a list of potential topics to write about. From there, you should focus on the ideas you believe you can spend an entire essay and tell a compelling story on.

Narrative writing will show up for the rest of your life. You’ll need to tell life stories in college essays, in grad school applications, in wedding speeches, and more. So learning how to write a narrative essay is a skill that will stick with you forever.

But where do you begin?

You can always check out essay examples to get you started, but this will only get you so far.

At the end of the day, you still need to come up with a story of your own. This is often the toughest part.

To help you get things kicked off, we’ve put together this list of more than a hundred topic ideas that could easily be turned into narrative essays. Take a look and see what stands out to you!

Choosing a Topic

Narrative essays fall into several categories. Your first task is to narrow down your choices by choosing which category you want to explore.

Each of these categories offers a stepping off point from which you can share a personal experience. If you have no idea where to begin, reflecting on these main categories is a great place to start. You can pick and choose what you feel comfortable sharing with your readers. This list is not exclusive—there are other areas of your life you can explore. These are just some of the biggies.

As you explore categories, think about which one would be the best fit for your assignment. Which category do you have the strongest ideas for? Which types of stories do you tell the best?

These categories include:

Childhood Tales

Educational background, travel and adventure, friends and relationships, experiences and defining moments, my favorite things, ethics and values.

Once you’ve selected a category, it’s time to see which topic piques your interest and might intrigue your audience as well. These topics are all a natural fit for a story arc , which is a central part of a narrative essay.

Writing about your childhood can be a great choice for a narrative essay. We are growing and learning during this delicate and often awkward time. Sharing these moments can be funny, endearing, and emotional. Most people can relate to childhood events because we have all survived it somehow!

A childhood experience that defined who I am today
A childhood experience that made me grow up quickly
My best/worst childhood memory
My favorite childhood things (games, activities, stories, fairy tales, TV shows, etc.)
What I remember most about my childhood
How I used to celebrate holidays/birthdays
My best/worst holiday/birthday memory
What I used to believe was true
The oldest memory I have
The most valuable possession from my childhood
What I would tell my younger self
What my friends were like when I was younger

Your educational experience offers a wealth of ideas for an essay . How you’ve learned and have been inspired can help others be inspired too. Although we were all educated in one way or another, your educational experience is uniquely your own to share.

First day of school/junior high/high school/college
First/most memorable school event
My favorite/worst school years
My favorite/worst teachers
My favorite/worst school subjects
What recess was like for me
My experiences in the school cafeteria
How I succeeded/failed in certain classes
Life as a student (elementary, junior high, high school, college)
The best/worst assignment I ever completed for a class
Why I chose my college
First novel I read for school
First speech I had to give

People love to read about adventures. Sharing your travel stories transports your reader to a different place. And we get to see it through your eyes and unique perspective. Writing about travel experiences can allow your passion for diving into the world shine through.

My first time traveling alone
My first time traveling out of the country
The place I travel where I feel most at home
My favorite/worst travel experience
The time I spent living in a hostel/RV
The time I spent backpacking around a country
Traveling with friends/family/significant other
Best/worst family vacation
Most memorable travel experience ever
Places I want to visit
Why I travel
Why I cruise/climb mountains/camp/fly/drive
Trying to speak another language
How I prefer to travel
How I pack to travel

The good, the bad, and the ugly. We all have family stories that range from jubilantly happy and hilarious to sad and more serious. Writing about family can show your reader about who you are and where you come from.

Family traditions that you enjoy/dislike
What your parents/siblings are like
What your family members (mom, dad, grandparents, siblings, etc.) have taught you
What being the oldest/youngest/middle/only child was like
Family members who made the most impact on your life
Most memorable day with a family member
How a pet changed my family’s life/my life

Friends, enemies, and loved ones come in and out of our lives for a reason. And they provide great material for writing. If relationships exist to teach you something, what have you learned? Writing about those you’ve connected with demonstrates how others have influenced your life.

My most important relationship
How I work on my relationships
What I value in my relationships
My first love/relationship/breakup
Losing/Gaining a close friend
How my friendships have changed/evolved
The person I’m afraid of losing the most
How technology has affected my relationships
The worst argument I’ve had with someone
What happened when I was rejected

It was the best of times, it was the worst of times... sharing your best times and sharing your worst times can make great stories. These highs and lows can be emotional, funny, and thought-provoking.

The event that most defines who I am today
The best/worst day of my life
The most embarrassing/frightening moment of my life
A moment that taught me something
A moment where I succeeded/failed
A time when I was hurt (physically or emotionally)
A time when I gave up hope
An experience when I had to overcome challenges (fear, intimidation, rejection, etc.)
My greatest accomplishment
The time I learned to accept/love/be okay with myself
The most difficult time in my life
The toughest thing I’ve ever done
My first time surviving something alone

Explaining to others what you love and why can really paint a picture of who you are and what you value. It’s important to note that simply sharing a favorite isn’t a very deep topic. However, you can take this topic deeper by expressing how this favorite has impressed you, inspired you, and affected your life.

My favorite author/poet/playwright
My favorite movie/book/song/play/character
My favorite actor/actress/director
My favorite singer/musician
My role model
What I like to do to relax
My favorite activities/games/sports
How I handle stress and tough times
Why I dance/sing/write/journal/play sports/bake

Where you stand on deep issues tells a lot about you. Taking a stance and explaining your opinion on tough topics reveals some insight into your ethical reasoning.

The most difficult decision I have made
How I treat people/strangers
A time I faced a moral/ethical dilemma
A decision I regret
A lie I have told
When I rebelled against someone in authority
My most important life rule
The principle I always live by

Situational prompts allow you to step out of your past and picture a different future. If digging into your past experiences seems scary and intimidating, then look to your future. What you imagine can be insightful about your life and where you see yourself heading.

If I had a million dollars...
If I were famous...
If I could change history...
If I had no fear...
If I could change one thing about myself...
If I had one extra hour a day...
If I could see the future...
If I could change the world...
If I could have one do-over in life...

Writing a narrative essay can seem daunting at first. Sharing a bit of yourself with the world is a scary thing sometimes. Choosing the right topic, however, can make the process much smoother and easier.

Writing a narrative essay can be intimidating, but choosing the right topic can make the process much easier for you.

Browsing through topic ideas can inspire you to pick a topic you feel you can tell a story about and that can take up a full essay. Once you have a quality story to tell, the rest of the pieces will fall into place.

How to Write Essay Titles and Headers

Don’t overlook the title and section headers when putting together your next writing assignment. Follow these pointers for keeping your writing organized and effective.

101 Standout Argumentative Essay Topic Ideas

Need a topic for your upcoming argumentative essay? We've got 100 helpful prompts to help you get kickstarted on your next writing assignment.

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Routledge Handbook of Counter-Narratives

DOI link for Routledge Handbook of Counter-Narratives

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Chapter | 14 pages, introduction, part | 68 pages, part i theoretical discussions and developments, chapter 1 | 13 pages, toward a theory of counter-narratives, chapter 2 | 13 pages, a dialogics of counter-narratives, chapter 3 | 15 pages, counter-narratives and counter-stories, chapter 4 | 12 pages, a counter-narrative to the accepted ‘kolding pyramid 9th wonder of the world’ narrative with some antenarrative process inquiries, chapter 5 | 13 pages, reconsidering counter-narratives, part | 66 pages, part iimethodological considerations, chapter 6 | 13 pages, applying foucault’s tool-box to the analysis of counter-narratives, chapter 7 | 12 pages, narrative, discourse, and sociology of knowledge, chapter 8 | 12 pages, counter-narratives as analytical strategies, chapter 9 | 10 pages, counter-narratives in accounting research, chapter 10 | 17 pages, board games as a new method for studying troubled family narratives, part iii | 73 pages, counter-narratives, organizations and professions, chapter 11 | 15 pages, the story of us, chapter 12 | 16 pages, organizational storymaking as narrative-small-story dynamics, chapter 13 | 13 pages, narratives of recruitment, chapter 14 | 14 pages, temporal aspects of counter-narratives and professional identity formation in the establishment of a new hospital department, chapter 15 | 13 pages, using counter-narrative to defend a master narrative, part iv | 58 pages, counter-narratives and education, chapter 16 | 13 pages, countering the master-narrative of “good parenting”, chapter 17 | 17 pages, countering the paradox of twice exceptional students, chapter 18 | 12 pages, the use of counter-narratives in a social work course from a critical race theory perspective, chapter 19 | 14 pages, hegemonic university tales, part v | 53 pages, counter-narratives, literature and ideology, chapter 20 | 11 pages, amidst narratives and counter-narratives, chapter 21 | 13 pages, restorying kenya, chapter 22 | 14 pages, australian speculative indigenous fiction as counter-narrative, chapter 23 | 13 pages, countering prescriptive coherence in narratives of illness, part vi | 53 pages, counter-narratives, belonging and identities, chapter 24 | 14 pages, after charlottesville, chapter 25 | 12 pages, “the big bang of chaotic masculine disruption”, chapter 26 | 12 pages, othering and belonging in education, chapter 27 | 12 pages, the functions of master and counter-narratives in biographical interviews, part vii | 75 pages, counter-narratives and the political sphere, chapter 28 | 13 pages, through the cracks in the safety net, chapter 29 | 14 pages, understanding food sovereignty, chapter 30 | 14 pages, counter-narratives of eu integration, chapter 31 | 12 pages, between convention and resistance, chapter | 20 pages, concluding remarks.

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> Journals
> Language in Society
> Volume 36 Issue 2
> Considering counter-narratives: Narrating, resisting,...

Article contents

Considering counter-narratives: narrating, resisting, making sense.

Published online by Cambridge University Press: 19 March 2007

Michael Bamberg and Molly Andrews (eds.), Considering counter-narratives: Narrating, resisting, making sense . Amsterdam: John Benjamins, 2004. Pp. x, 381. HB $126.00.

Growing out of two special issues of the journal Narrative Inquiry , this volume assembles six chapters that “contemplate the meaning of counter-narratives and their relationship to master or dominant narratives” (p. x). The book also contains six clusters of commentaries written in response to each of the focal chapters, along with rejoinders by the six “primary” authors. As the editors point out in their introduction to the book, the format of dialogue and contestation is meant to synergize with the main subject of the volume, since the concept “counter-narrative” is itself “a positional category, in tension with another category” (x). By and large, the organization of the volume is effective and makes for stimulating reading; occasionally, however, commentators treat the chapter to which they are ostensibly responding less as an opportunity for dialogue than as a platform for showcasing their own explanatory frameworks or descriptive nomenclatures (see, e.g., the commentary by Jaan Valsiner, 245–76). More generally, the range of issues explored by the 29 different contributors to the volume – the range of contexts in which the authors and commentators show narrative and narrative analysis to be pertinent concerns – suggests the extent to which the “narrative turn” has taken hold in fields such as social psychology, gender studies, sociolinguistics, public health, and the other domains of research represented in the book. But by the same token, the volume raises the question of whether the contributors share a sense of what narrative is and how it functions – that is, whether they are in fact investigating a common object (or set of common objects: narrative, master narrative, counter-narrative), or rather operating with more or less distinct conceptions of stories and methodologies for studying them.

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Volume 36, Issue 2
David Herman (a1)
DOI: https://doi.org/10.1017/S0047404507270137

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Countering the Narrative

figure pushing dial from negative to positive

What’s your story?

As a middle school English teacher, sometimes I wished I could have simply asked my students that question. I know well how the narratives we tell ourselves about ourselves shape what we believe we can and cannot do.

Instead, it’s been my job as a teacher to pick up on the little clues they have dropped day in and day out. As the best storytellers do, they have shown me their stories, giving glimpses of their backgrounds and beliefs. And those beliefs—their narratives—have a profound influence on whether or not they think they can succeed, whether or not they perceive education as a springboard or cinder block. The better I understand the narratives at work in their lives, the better position I’m in to help students—especially disengaged students—develop counternarratives to stories that may be holding them back.

We teachers have our narratives, too, whether or not we think of them as such. We carry personal myths about where we came from and how we got here. We may share internalized tales of feeling misunderstood and disenfranchised. We may perceive our school communities as allies or obstacles. There are realities, sure, but stories also have power to create reality.

I know I have my story, and it definitely has colored how I have approached teaching. Here are the bare bones. My family was working class. I was a high school dropout. I earned a GED and went to college. I became a teacher. For me, my personal narrative of self-doubt and struggle has synthesized with a counternarrative of overcoming obstacles, of opposition that led to transformation.

What follows are examples of three narratives that commonly unfold in classrooms. They are followed by possible counternarratives, shifts in perception that we can teach and, more importantly, model for our students. Counternarratives offer opportunities for us—students and teachers alike—to not just accept the stories the world tells us, but to practice becoming the authors of what comes next.

Narrative #1: “I’m Not Good at This”

I proctor multiple assessments each year, and the ramping up of high-stakes testing has put fear of failure front-and-center in many students’ minds—and teachers and administrators, too. In some classrooms, student scores are even posted on the wall to foster competition. These assessments are all well and good for kids who excel at test-taking, but can be torture chambers for those who don’t. Competition may be celebrated in our culture, but in schools it creates a dynamic where identifying clear winners and losers can bend and break young spirits.

Even if the results are not so publicly displayed, kids quickly figure out where they sit in the pecking order. I clearly remember my own experience as a third-grader. I was pulled out of class for reading remediation. Though no adult ever told me, I recognized that I was receiving extra instruction compared to the rest of my classmates. No special category or document was needed. In my mind—my own narrative—I was not just failing; I was a failure.

An emphasis on competitiveness has kids pigeonholing their academic abilities before they reach adolescence. The labels land and stick—smart, average, special needs—and the labels evolve into narratives about their identity. I have had students introduce themselves with confessions of failure even before giving their name: “Hi, I’m not good at reading. My name is Mary.”

The Counternarrative: “I’m Not Good at This ... Yet ”

The work of educational researchers Peter Johnston and Carol Dweck added a hopeful word to this narrative: YET . We can tack this on to any skill we’re struggling with: “I’m not as good at book reports as I’d like to be ... yet .” It is the essence of the growth mindset.

We need to understand and communicate that assessments are not absolute. Whatever the reliability and validity measures, standardized tests will always produce a scatter plot showing some students above, many in the middle and some below average—because that’s what average means and what standardized tests do. Too often we even forget that they are assessments —ways to assess where we’re at and how to adjust to get to where we want to go.

I have done my best to reassure students that giftedness and skill exist beyond the scope of any test score. I have had students assume that, because I teach English, I might not like or respect them if they do not care for books. They have actually found it reassuring when I tell them MY narrative: That there was a time when I had my own struggles with English. It took some time and effort for me to improve and reach a point where I actually enjoyed reading. When I was their age, I wasn’t good at reading ... YET .

Beyond that, though, I let them know that my care for them goes beyond their academic performance.

Narrative #2: “I’m Just Here So I Can Get a Job”

“I’m just going to do work and get a job,” more than one student has told me. It is a refrain, especially among students without much enthusiasm for formal learning. For many, maybe most students, going to school is primarily about one day making a living. They don’t make the connection between studying literature, contemplation, writing, critical thinking and what they’ll be when they grow up. And honestly, we haven’t always made a good case for the relevance of much of our coursework.

“If I’m going to be a cosmetologist, why do I need to learn this?” one student asked me my first year as a teacher. This is a fair question that deserves exploration, especially where education is viewed in terms of job training.

The Counternarrative: “I’m Here to Learn How to Learn”

Learning at its best is about exploration and critical reflection. Unfortunately, this tenet of education is more available to privileged students who are likely to have been exposed to more of life’s options. Their schools have more resources for bringing in guest authors, Skyping with scientists in Antarctica or taking field trips to the state capital to do a Q&A with a state representative.

In contrast, working-class kids and students in under-resourced communities may not get such experiences. They may be stuck with decades-old documentaries in the library and limited internet access. Classrooms may be full to bursting and personal relationships with teachers lacking. Instead of entering into project-based learning, they may be assigned worksheets and simple tasks. Their imaginations may have little exposure to a wider world of possibilities. Worse yet, they may be led to believe they don’t deserve to dream any bigger than what they see around them.

We all have our narratives, our stories about who we are and how the world works. Some of the narratives hold us back. Others remind us we are stronger than we may think.

As a high school junior, I did not know where I fit in the world, or what I wanted to pursue as a career. I really did not connect with any particular group of classmates. But there was one area that tickled my curiosity—the arts. What started as a budding interest in reading expanded into a love of learning that has now put me on a track to my Ph.D. I was the child of a laborer, and if teachers had not encouraged my interests and abilities, I do not know what path I would have followed.

So, what do I say to kids who may only see work/money through the keyhole view available to them? I share my story. I give them permission to dream. I tell them it’s cool to be a cosmetologist or any other work they find satisfying. I also tell them that the latest labor research suggests today’s young people will have 12 to 15 jobs in their lifetime. Training for a specific vocation may get you that entry-level job. Pursuing an education that trains you how to think is the Swiss army knife of life. It will allow you to adapt to a world that changes, then changes again.

If they leave school having learned how to learn, they will have more control over their lives. That’s what I tell them.

Narrative #3: “I Don’t Know the Code”

When we walk into an unfamiliar social or cultural situation, our radar goes on high alert. Our minds must not just gather knowledge, but figure out “the code”—the relationships and communication norms of the people around us. This can be especially overwhelming for kids or youth coming from the nondominant culture and/or language. In addition, in school, there is the student-authority dynamic which is rife with pitfalls if the people involved don’t know the different codes at work. A joke that seems harmless to the teacher, for example, can be a slap in the face to a kid who feels singled out by it.

In many school settings, we expect students to know how or learn to “code switch,” adjusting rhetoric and behavior to the norms around them. However, they may come from a home situation or a home culture and language that does not easily integrate into our school norms. Code-switching is easier for some than for others, as well. For most of us, when we’re unfamiliar with the code in a situation, our first impulse may be to fall quiet and observe, or lose interest and check out. If we feel frightened or oppressed by the code, we may lash out.

In truth, most young people have an amazing capacity to code-switch. To me, it is the equivalent of being multilingual and worthy of respect.

The Counternarrative: “We Can Crack the Code ... Together”

Good relationships are the sine qua non of good teaching, more important than any other factor, in my opinion. If the two-way communication is effective, the chances of success of teaching and learning are on solid ground.

Many of us teach in diverse classrooms, and that likely means there are a whole bunch of codes being broadcast. It behooves us to assess what they are and game plan for how to create a common code—of conduct and communication—that we will share as a classroom.

Developing a shared classroom code can be taught collaboratively and explicitly. With student input, we can brainstorm and codify agreed-upon class norms: for example, how students signal when they want to ask a question (“Please raise your hand”); how to acknowledge they may be confused (“If you’re still unclear on the instructions, please meet me at my desk”); and how to focus class attention (“Everyone raise their hand until everyone is quiet”). Once we have agreed-upon codes of conduct, we start to transform into a team working together toward a common goal of learning. Mastering such a code also gives students a sense of control of their experience, and that contributes to greater confidence and self-control.

As teachers, we can also indicate our interest in learning and honoring our students’ codes. We do this by including a diversity of voices in the curriculum and daily discussion, and not just during Women’s History Month or on Martin Luther King Jr. Day. For example, without singling students out, we can model our genuine interest in Latin American literature and culture by including relevant texts in our curriculum and including examples of Frida Kahlo’s art alongside other artwork on classroom walls. In this way, we can show them—not just tell them—that we’re attentive to their codes and hearing their narratives.

And if there’s a disconnect? Something going on we just don’t get? We don’t need to guess or act out of the old-school playbook of classroom management. We can ask for our students’ help in cracking a code we don’t yet know.

By replacing negative narratives with constructive counternarratives, we benefit our students and ourselves. We model ways to overcome challenges, work together to do better and honor what each of us brings to our classrooms and school communities. In doing so, we gradually shift the fear of what we can’t do to confidence in what we can.

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50 Engaging Narrative Essay Topics for High Schoolers

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Narrative essays vs. analytical essays, how to pick the right narrative essay topic, elements of a strong narrative essay, engaging narrative essay topics for high schoolers, where to get your narrative essay edited for free.

Narrative essays are an extensive form of writing that gives readers the opportunity to follow along as a person goes through a journey or sets of experiences. Rather than providing analytic insight, narrative essays simply share a story and offer a first-person account. These essays may seem easy to write at first, but it takes a certain finesse to write a narrative essay that is interesting, cohesive, and well-researched. Whether you’re looking for a unique topic to write about, or just want some new inspiration, CollegeVine is here to help! These 50 narrative essay topics are engaging, unique and will have you writing in no time.

A narrative essay is a great way to express your personal experiences and opinions, but it is important to remember that this type of essay is different from an analytical paper. In a narrative essay, you do not need to provide background information or explain your thoughts and feelings; instead, you simply tell a story. It’s important to avoid too much telling in your writing; instead, use creative details and vivid imagery to make readers feel as if they are actually right there with you.

Where You Will Encounter Narrative Essays

This type of essay is typically encountered in high school, where students may be required to write personal statements to prepare for their Common App essay . Narrative essays are also commonly seen in AP Language and Composition. Therefore, it’s important you are aware of the style because you are bound to have a narrative essay assignment.

Of course, before you start writing, it is important to pick the right essay topic. There are many factors involved in the process of picking the perfect narrative essay topic for your story.

You should always choose a topic that you are passionate about, since writing on something you care about will make the process much easier. Not only will it be more interesting to create your paper around something that truly interests you, but it will also allow you to fully express yourself in your essay. You also want to be sure that the topic has enough material to work with. If your chosen topic is too short, you will not have enough content to write a complete paper. For example, if you are writing about your experience getting lost at the mall, make sure that you have enough information to work with to craft an engaging narrative.

The best topic for an engaging narrative essay is one that focuses on showing versus telling, has a clear structure, and provides a dialogue. These elements come together to form an engaging narrative essay. Regardless of what subject you pick, any topic may be turned into a fascinating, A+ worthy narrative using the tips below.

Show, Don’t Tell

To write a good narrative essay, it’s important to show, not tell. Instead of simply informing your audience, show them what you mean. For example, instead of saying “I was nervous,” you could say “My heart began to race and my stomach filled with butterflies.” Also make sure to use sensory details, such as sights, sounds and tastes, and include a personal reflection at the end of your narrative.

Begin with a Strong Opening Line

A good narrative essay will begin with an attention-grabbing opening line. But make sure to avoid common clichés, such as “It was the best of times, it was the worst of times.” Instead, come up with something original and specific to you and your situation. For example: “My pre-calc teacher was obsessed with circles. I mean, he even used circular note cards.” Or, “It all started the day my mom brought home a guinea pig.”

Follows a Three-Act Structure

A strong narrative essay follows the same three-act structure as other essays. But in order to make it interesting, you’ll need to come up with a creative way to break things down into sections. For example, using the guinea pig example from above, you could write the following:

Act 1 – Introduction: The day my mom brought home a guinea pig.
Act 2 – Conflict: The day I had to say goodbye to my beloved pet.
Act 3 – Conclusion: Looking back at how much I miss him now that he’s gone.

Conclude with Personal Reflection

To conclude your narrative essay, you’ll want to explain what this specific experience taught you or how you’ve changed. For example, upon realizing that her pre-calc teacher was obsessed with circles, the writer of the previous example begins to notice circular shapes everywhere. Another way to conclude your narrative essay is by touching on how this experience impacted you emotionally. For example, after losing his guinea pig, the writer explains how much he missed it.

Use Dialogue

Include a conversation in your essay to make it come alive. For example, instead of simply saying that you met a new friend, talk about how you introduced yourselves or what they were wearing when you met them.

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The following list of 50 narrative essay topics is divided into categories. This will make it easier to find a topic that fits your writing style.

1. What is a childhood song that still sticks with you today?

2. Your first day of Kindergarten

3. Talk about a time when you’re siblings looked up to you

4. Describe the best birthday party you’ve ever had

5. Talk about the best day you ever spent with a childhood friend

6. Explain your first childhood hobby

7. Describe your first halloween costume

8. A family vacation gone wrong

9. Your first family reunion

10. Describe a tradition that is unique to your family

11. Describe your family to a person who’s never met them before

12. What frustrates you most about your family

13. If you could only keep one memory of your family, what would it be and why?

14. Describe a time your family embarrassed you in public

15. The most beautiful place in the world

16. Your favorite season and why

17. If you were a part of nature, what element would you be? Why?

18. When you go outside, which of your senses are you most thankful to have?

19. Describe the first time you witnessed a tornado

20. Write a poem about your favorite season

21. Describe yourself as one of the four seasons

22. Describe a time in which you felt connected with nature

23. Describe the first time you played an instrument and how you felt

24. What major event would be much worse if music was removed, and why?

25. If you could only listen to one song for the rest of your life, what would it be and why?

26. What would a life without music look like?

27. If you could master one instrument, what would it be and why?

Relationships

28. What if you had never met your best friend?

29. Describe a time when you fixed a broken relationship

30. Talk about a movie that defined a relationship for you

31. Describe your first date

32. Describe the first time you made a friend

33. Describe your relationship with your parents

Self Reflection

34. Have you ever fooled someone? If so, describe what happened and how you felt about it

35. What is the worst thing you’ve done to someone else?

36. Write about the difference between how things seem and how they really are.

37. Have you ever been embarrassed in some way? If so, describe the situation and how it affected you as well as those around you

38. Have you ever witnessed something really beautiful? Describe it

39. Is your glass half empty or half full?

Overcoming Adversity

40. Have you ever been very afraid of something but tried your hardest to appear fearless? If so, describe that experience

41. When have you ever succeeded when you thought you might fail

42. What are your secret survival strategies?

43. Describe the last time you were stressed and why?

44. Describe a time when you were discriminated against

45. The most memorable class you’ve had and why

46. Your favorite study abroad memory

47. Describe your kindergarten classroom

48. Describe your first teacher

49. The first time you experienced detention

50. Your first field trip

Hopefully these topics will get you thinking about a personal experience that could make for a thoughtful and engaging narrative essay. Remember, a strong narrative essay must contain relatable details and a clear flow that keeps the reader entertained and engaged to read all the way to the end.

If you need some additional guidance on your narrative essay, use CollegeVine’s free peer review essay tool to get feedback for free!

The Ultimate Narrative Essay Guide for Beginners

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

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

Table of Contents

Everything You Need to Know About Narrative Essay

What is a narrative essay.

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

Elements of a Narrative Essay

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

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

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

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

Conflict or Challenge

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

Theme or Message

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

Emotional Impact

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

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

The Purpose of a Narrative Essay

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

Sharing Personal Experience

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

Entertainment and Engagement

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

Conveying a Message or Insight

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

Building Empathy and Understanding

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

Inspiration and Motivation

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

Reflecting on Life’s Significance

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

Demonstrating Writing Skills

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

Preserving Personal History

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

Cultural and Societal Exploration

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

Format of a Narrative Essay

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

Introduction

Set the scene and introduce the story.

Engage the reader and establish the tone of the narrative.

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

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

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

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

Thesis Statement or Narrative Purpose

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

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

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

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

Body Paragraphs

Present the sequence of events in chronological order.

Develop characters, setting, conflict, and resolution.

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

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

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

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

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

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

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

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

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

Provide closure to the story.

Reflect on the significance of the experience and its impact.

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

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

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

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

Example Summary:

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

Different Types of Narrative Essays

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

Personal Narrative

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

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

Example of Narrative Essay Types:

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

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

Descriptive Narrative

Description : Emphasizes vivid details and sensory imagery.

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

Topic : “A Walk Through the Enchanted Forest”

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

Autobiographical Narrative

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

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

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

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

Experiential Narrative

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

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

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

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

Literary Narrative

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

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

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

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

Historical Narrative

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

Purpose: Presents history through personal experiences or perspectives.

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

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

Digital or Multimedia Narrative

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

Purpose: Explores storytelling through various digital platforms or formats.

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

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

How to Choose a Topic for Your Narrative Essay?

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

Reflect on Personal Experiences

Significant Moments:

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

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

Emotional Resonance:

Events that evoke strong emotions or feelings.

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

Lessons Learned:

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

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

Explore Unique Perspectives

Uncommon Experiences:

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

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

Different Points of View:

Stories from others’ perspectives that impacted you deeply.

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

Focus on Specific Themes or Concepts

Themes or Concepts of Interest:

Themes or ideas you want to explore through storytelling.

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

Symbolism or Metaphor:

Using symbols or metaphors as the core of your narrative.

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

Consider Your Audience and Purpose

Relevance to Your Audience:

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

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

Impact or Message:

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

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

Brainstorm and Evaluate Ideas

Free Writing or Mind Mapping:

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

Evaluate Feasibility:

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

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

Narrative Essay Topics

50 easy narrative essay topics.

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

Narrative Essay Topics for College Students

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

Narrative Essay Comparison

Narrative essay vs. descriptive essay.

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

Narrative Essay:

Storytelling: Focuses on narrating a personal experience or event.

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

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

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

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

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

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

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

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

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

Descriptive Essay:

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

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

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

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

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

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

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

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

Comparison:

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

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

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

Narrative Essay vs. Argumentative Essay

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

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

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

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

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

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

Argumentative Essay:

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

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

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

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

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

Counterarguments: Addresses opposing viewpoints and provides rebuttals with evidence.

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

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

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

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

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

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

Narrative Essay vs. Personal Essay

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

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

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

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

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

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

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

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

Personal Essay:

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

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

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

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

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

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

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

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

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

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

5 Easy Steps for Writing a Narrative Essay

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

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coun ter nar ra tive

Definition of counternarrative, examples of counternarrative in a sentence.

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'counternarrative.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Word History

counter- + narrative entry 1

circa 1685, in the meaning defined above

Dictionary Entries Near counternarrative

counternaiant

counternarrative

counteroffensive

Cite this Entry

“Counternarrative.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/counternarrative. Accessed 15 Sep. 2024.

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How to write a narrative essay | Example & tips

How to Write a Narrative Essay | Example & Tips

Published on July 24, 2020 by Jack Caulfield . Revised on July 23, 2023.

A narrative essay tells a story. In most cases, this is a story about a personal experience you had. This type of essay , along with the descriptive essay , allows you to get personal and creative, unlike most academic writing .

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What is a narrative essay for, choosing a topic, interactive example of a narrative essay, other interesting articles, frequently asked questions about narrative essays.

When assigned a narrative essay, you might find yourself wondering: Why does my teacher want to hear this story? Topics for narrative essays can range from the important to the trivial. Usually the point is not so much the story itself, but the way you tell it.

A narrative essay is a way of testing your ability to tell a story in a clear and interesting way. You’re expected to think about where your story begins and ends, and how to convey it with eye-catching language and a satisfying pace.

These skills are quite different from those needed for formal academic writing. For instance, in a narrative essay the use of the first person (“I”) is encouraged, as is the use of figurative language, dialogue, and suspense.

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Narrative essay assignments vary widely in the amount of direction you’re given about your topic. You may be assigned quite a specific topic or choice of topics to work with.

Write a story about your first day of school.
Write a story about your favorite holiday destination.

You may also be given prompts that leave you a much wider choice of topic.

Write about an experience where you learned something about yourself.
Write about an achievement you are proud of. What did you accomplish, and how?

In these cases, you might have to think harder to decide what story you want to tell. The best kind of story for a narrative essay is one you can use to talk about a particular theme or lesson, or that takes a surprising turn somewhere along the way.

For example, a trip where everything went according to plan makes for a less interesting story than one where something unexpected happened that you then had to respond to. Choose an experience that might surprise the reader or teach them something.

Narrative essays in college applications

When applying for college , you might be asked to write a narrative essay that expresses something about your personal qualities.

For example, this application prompt from Common App requires you to respond with a narrative essay.

In this context, choose a story that is not only interesting but also expresses the qualities the prompt is looking for—here, resilience and the ability to learn from failure—and frame the story in a way that emphasizes these qualities.

An example of a short narrative essay, responding to the prompt “Write about an experience where you learned something about yourself,” is shown below.

Hover over different parts of the text to see how the structure works.

Since elementary school, I have always favored subjects like science and math over the humanities. My instinct was always to think of these subjects as more solid and serious than classes like English. If there was no right answer, I thought, why bother? But recently I had an experience that taught me my academic interests are more flexible than I had thought: I took my first philosophy class.

Before I entered the classroom, I was skeptical. I waited outside with the other students and wondered what exactly philosophy would involve—I really had no idea. I imagined something pretty abstract: long, stilted conversations pondering the meaning of life. But what I got was something quite different.

A young man in jeans, Mr. Jones—“but you can call me Rob”—was far from the white-haired, buttoned-up old man I had half-expected. And rather than pulling us into pedantic arguments about obscure philosophical points, Rob engaged us on our level. To talk free will, we looked at our own choices. To talk ethics, we looked at dilemmas we had faced ourselves. By the end of class, I’d discovered that questions with no right answer can turn out to be the most interesting ones.

The experience has taught me to look at things a little more “philosophically”—and not just because it was a philosophy class! I learned that if I let go of my preconceptions, I can actually get a lot out of subjects I was previously dismissive of. The class taught me—in more ways than one—to look at things with an open mind.

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

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

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

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

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

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

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

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Consider John Keene's recent and deeply rewarding collection out from New Directions, Counternarratives. The book's title already asserts the power of some stories to push back, challenge, or yes, counter the harm done by other stories. Keene's "Counternarratives" (and "Encounternarratives," accounting for about half of the ...
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Counter-narrative refers to the narratives that arise from the vantage point of those who have been historically marginalized. The idea of "counter-" itself implies a space of resistance against traditional domination. A counter-narrative goes beyond the notion that those in relative positions of power can just tell the stories of those in ...
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effective counter-narrative content in the future by creating 'how-to' videos and a counter-narrative 'toolkit'.2 To achieve these objectives, AVE identified two pre-existing organisations and assisted them in the creation of counter-narrative content along with the development and execution of a target audience strategy.
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In a composite narrative, researchers use data to create characters and then place these characters in social and political contexts. Using a version of this approach, Tolliver (2020) constructed a counter narrative of Avenae'J though integrating the work from her short story, fieldnotes from observations of writer's workshop, and interviews. . Tolliver included Avenae'J's story in its
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The first step in writing a narrative essay is coming up with a list of potential topics to write about. From there, you should focus on the ideas you believe you can spend an entire essay and tell a compelling story on. Narrative writing will show up for the rest of your life. You'll need to tell life stories in college essays, in grad ...
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ine Counter-narrative Toolkit,which can be found at www.counternarratives.org and houses the Video Tutorials and Apps for Creating Content and Social Media, as well. as more in-depth Case Studies. The Handbook is intended as a beginner's guide for those with little or no previous experience of.
Routledge Handbook of Counter-Narratives
Routledge Handbook of Counter-Narratives is a landmark volume providing students, university lecturers, and practitioners with a comprehensive and structured guide to the major topics and trends of research on counter-narratives. The concept of counter-narratives covers resistance and opposition as told and framed by individuals and social ...
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The chapter concludes by proposing critical counter-narrative as a transformative methodology that includes three key components: (1) critical race theory as a model of inquiry, (2) critical reflection and generativity as a model of praxis that unifies the use of counter-narratives for both research and pedagogy, and (3) transformative action ...
Considering counter-narratives: Narrating, resisting, making sense
Michael Bamberg and Molly Andrews (eds.), Considering counter-narratives: Narrating, resisting, making sense.Amsterdam: John Benjamins, 2004. Pp. x, 381. HB $126.00. Growing out of two special issues of the journal Narrative Inquiry, this volume assembles six chapters that "contemplate the meaning of counter-narratives and their relationship to master or dominant narratives" (p. x).
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Narrative #3: "I Don't Know the Code". When we walk into an unfamiliar social or cultural situation, our radar goes on high alert. Our minds must not just gather knowledge, but figure out "the code"—the relationships and communication norms of the people around us.
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A good narrative essay will begin with an attention-grabbing opening line. But make sure to avoid common clichés, such as "It was the best of times, it was the worst of times.". Instead, come up with something original and specific to you and your situation. For example: "My pre-calc teacher was obsessed with circles.
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Purpose: Reach the peak of the story, the moment of highest tension or significance. Elements: Turning Point: Highlight the most crucial moment or realization in the narrative. Example: "As the sun dipped below the horizon and hope seemed lost, a distant sound caught our attention—the rescue team's helicopters.".
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The meaning of COUNTERNARRATIVE is an alternative or contradictory narrative. How to use counternarrative in a sentence. an alternative or contradictory narrative… See the full definition. Games & Quizzes; Games & Quizzes ... rather than to those who produce counter-narratives that could unsettle our place in the world.
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Step 1: Topic choice (or prompt given) The first step in writing a narrative essay is to determine the topic. Sometimes, your topic is chosen for you in the form of a prompt. You might map out the topics you want to mention in the essay or think through each point you'd like to make to see how each will fit into the allotted word count (if ...
How to Write a Narrative Essay
Interactive example of a narrative essay. An example of a short narrative essay, responding to the prompt "Write about an experience where you learned something about yourself," is shown below. Hover over different parts of the text to see how the structure works. Narrative essay example.

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Routledge Handbook of Counter-Narratives

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Toward a Theory of Counter-Narrative: Narrative Contestation, Cultural Canonicity, and Tellability

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Countering the Narrative

What’s your story?

Narrative #1: “I’m Not Good at This”

The Counternarrative: “I’m Not Good at This ... Yet ”

Narrative #2: “I’m Just Here So I Can Get a Job”

The Counternarrative: “I’m Here to Learn How to Learn”

Narrative #3: “I Don’t Know the Code”

The Counternarrative: “We Can Crack the Code ... Together”

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