narrative essay lesson plan high school

A Step-by-Step Plan for Teaching Narrative Writing

July 29, 2018

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“Those who tell the stories rule the world.”  This proverb, attributed to the Hopi Indians, is one I wish I’d known a long time ago, because I would have used it when teaching my students the craft of storytelling. With a well-told story we can help a person see things in an entirely new way. We can forge new relationships and strengthen the ones we already have. We can change a law, inspire a movement, make people care fiercely about things they’d never given a passing thought.

But when we study storytelling with our students, we forget all that. Or at least I did. When my students asked why we read novels and stories, and why we wrote personal narratives and fiction, my defense was pretty lame: I probably said something about the importance of having a shared body of knowledge, or about the enjoyment of losing yourself in a book, or about the benefits of having writing skills in general.

I forgot to talk about the  power of story. I didn’t bother to tell them that the ability to tell a captivating story is one of the things that makes human beings extraordinary. It’s how we connect to each other. It’s something to celebrate, to study, to perfect. If we’re going to talk about how to teach students to write stories, we should start by thinking about why we tell stories at all . If we can pass that on to our students, then we will be going beyond a school assignment; we will be doing something transcendent.

Now. How do we get them to write those stories? I’m going to share the process I used for teaching narrative writing. I used this process with middle school students, but it would work with most age groups.

A Note About Form: Personal Narrative or Short Story?

When teaching narrative writing, many teachers separate personal narratives from short stories. In my own classroom, I tended to avoid having my students write short stories because personal narratives were more accessible. I could usually get students to write about something that really happened, while it was more challenging to get them to make something up from scratch.

In the “real” world of writers, though, the main thing that separates memoir from fiction is labeling: A writer might base a novel heavily on personal experiences, but write it all in third person and change the names of characters to protect the identities of people in real life. Another writer might create a short story in first person that reads like a personal narrative, but is entirely fictional. Just last weekend my husband and I watched the movie Lion and were glued to the screen the whole time, knowing it was based on a true story. James Frey’s book  A Million Little Pieces  sold millions of copies as a memoir but was later found to contain more than a little bit of fiction. Then there are unique books like Curtis Sittenfeld’s brilliant novel American Wife , based heavily on the early life of Laura Bush but written in first person, with fictional names and settings, and labeled as a work of fiction. The line between fact and fiction has always been really, really blurry, but the common thread running through all of it is good storytelling.

With that in mind, the process for teaching narrative writing can be exactly the same for writing personal narratives or short stories; it’s the same skill set. So if you think your students can handle the freedom, you might decide to let them choose personal narrative or fiction for a narrative writing assignment, or simply tell them that whether the story is true doesn’t matter, as long as they are telling a good story and they are not trying to pass off a fictional story as fact.

Here are some examples of what that kind of flexibility could allow:

• A student might tell a true story from their own experience, but write it as if it were a fiction piece, with fictional characters, in third person.
• A student might create a completely fictional story, but tell it in first person, which would give it the same feel as a personal narrative.
• A student might tell a true story that happened to someone else, but write it in first person, as if they were that person. For example, I could write about my grandmother’s experience of getting lost as a child, but I might write it in her voice.

If we aren’t too restrictive about what we call these pieces, and we talk about different possibilities with our students, we can end up with lots of interesting outcomes. Meanwhile, we’re still teaching students the craft of narrative writing.

A Note About Process: Write With Your Students

One of the most powerful techniques I used as a writing teacher was to do my students’ writing assignments with them. I would start my own draft at the same time as they did, composing “live” on the classroom projector, and doing a lot of thinking out loud so they could see all the decisions a writer has to make.

The most helpful parts for them to observe were the early drafting stage, where I just scratched out whatever came to me in messy, run-on sentences, and the revision stage, where I crossed things out, rearranged, and made tons of notes on my writing. I have seen over and over again how witnessing that process can really help to unlock a student’s understanding of how writing actually gets made.

A Narrative Writing Unit Plan

Before I get into these steps, I should note that there is no one right way to teach narrative writing, and plenty of accomplished teachers are doing it differently and getting great results. This just happens to be a process that has worked for me.

Step 1: Show Students That Stories Are Everywhere

Getting our students to tell stories should be easy. They hear and tell stories all the time. But when they actually have to put words on paper, they forget their storytelling abilities: They can’t think of a topic. They omit relevant details, but go on and on about irrelevant ones. Their dialogue is bland. They can’t figure out how to start. They can’t figure out how to end.

So the first step in getting good narrative writing from students is to help them see that they are already telling stories every day . They gather at lockers to talk about that thing that happened over the weekend. They sit at lunch and describe an argument they had with a sibling. Without even thinking about it, they begin sentences with “This one time…” and launch into stories about their earlier childhood experiences. Students are natural storytellers; learning how to do it well on paper is simply a matter of studying good models, then imitating what those writers do.

So start off the unit by getting students to tell their stories. In journal quick-writes, think-pair-shares, or by playing a game like Concentric Circles , prompt them to tell some of their own brief stories: A time they were embarrassed. A time they lost something. A time they didn’t get to do something they really wanted to do. By telling their own short anecdotes, they will grow more comfortable and confident in their storytelling abilities. They will also be generating a list of topic ideas. And by listening to the stories of their classmates, they will be adding onto that list and remembering more of their own stories.

And remember to tell some of your own. Besides being a good way to bond with students, sharing  your stories will help them see more possibilities for the ones they can tell.

Step 2: Study the Structure of a Story

Now that students have a good library of their own personal stories pulled into short-term memory, shift your focus to a more formal study of what a story looks like.

Use a diagram to show students a typical story arc like the one below. Then, using a simple story (try a video like The Present or Room ), fill out the story arc with the components from that story. Once students have seen this story mapped out, have them try it with another one, like a story you’ve read in class, a whole novel, or another short video.

Step 3: Introduce the Assignment

Up to this point, students have been immersed in storytelling. Now give them specific instructions for what they are going to do. Share your assignment rubric so they understand the criteria that will be used to evaluate them; it should be ready and transparent right from the beginning of the unit. As always, I recommend using a single point rubric for this.

Step 4: Read Models

Once the parameters of the assignment have been explained, have students read at least one model story, a mentor text that exemplifies the qualities you’re looking for. This should be a story on a topic your students can kind of relate to, something they could see themselves writing. For my narrative writing unit (see the end of this post), I wrote a story called “Frog” about a 13-year-old girl who finally gets to stay home alone, then finds a frog in her house and gets completely freaked out, which basically ruins the fun she was planning for the night.

They will be reading this model as writers, looking at how the author shaped the text for a purpose, so that they can use those same strategies in their own writing. Have them look at your rubric and find places in the model that illustrate the qualities listed in the rubric. Then have them complete a story arc for the model so they can see the underlying structure.

Ideally, your students will have already read lots of different stories to look to as models. If that isn’t the case, this list of narrative texts recommended by Cult of Pedagogy followers on Twitter would be a good place to browse for titles that might be right for your students. Keep in mind that we have not read most of these stories, so be sure to read them first before adopting them for classroom use.

Step 5: Story Mapping

At this point, students will need to decide what they are going to write about. If they are stuck for a topic, have them just pick something they can write about, even if it’s not the most captivating story in the world. A skilled writer could tell a great story about deciding what to have for lunch. If they are using the skills of narrative writing, the topic isn’t as important as the execution.

Have students complete a basic story arc for their chosen topic using a diagram like the one below. This will help them make sure that they actually have a story to tell, with an identifiable problem, a sequence of events that build to a climax, and some kind of resolution, where something is different by the end. Again, if you are writing with your students, this would be an important step to model for them with your own story-in-progress.

Step 6: Quick Drafts

Now, have students get their chosen story down on paper as quickly as possible: This could be basically a long paragraph that would read almost like a summary, but it would contain all the major parts of the story. Model this step with your own story, so they can see that you are not shooting for perfection in any way. What you want is a working draft, a starting point, something to build on for later, rather than a blank page (or screen) to stare at.

Step 7: Plan the Pacing

Now that the story has been born in raw form, students can begin to shape it. This would be a good time for a lesson on pacing, where students look at how writers expand some moments to create drama and shrink other moments so that the story doesn’t drag. Creating a diagram like the one below forces a writer to decide how much space to devote to all of the events in the story.

Step 8: Long Drafts

With a good plan in hand, students can now slow down and write a proper draft, expanding the sections of their story that they plan to really draw out and adding in more of the details that they left out in the quick draft.

Step 9: Workshop

Once students have a decent rough draft—something that has a basic beginning, middle, and end, with some discernible rising action, a climax of some kind, and a resolution, you’re ready to shift into full-on workshop mode. I would do this for at least a week: Start class with a short mini-lesson on some aspect of narrative writing craft, then give students the rest of the period to write, conference with you, and collaborate with their peers. During that time, they should focus some of their attention on applying the skill they learned in the mini-lesson to their drafts, so they will improve a little bit every day.

Topics for mini-lessons can include:

• How to weave exposition into your story so you don’t give readers an “information dump”
• How to carefully select dialogue to create good scenes, rather than quoting everything in a conversation
• How to punctuate and format dialogue so that it imitates the natural flow of a conversation
• How to describe things using sensory details and figurative language; also,  what  to describe…students too often give lots of irrelevant detail
• How to choose precise nouns and vivid verbs, use a variety of sentence lengths and structures, and add transitional words, phrases, and features to help the reader follow along
• How to start, end, and title a story

Step 10: Final Revisions and Edits

As the unit nears its end, students should be shifting away from revision , in which they alter the content of a piece, toward editing , where they make smaller changes to the mechanics of the writing. Make sure students understand the difference between the two: They should not be correcting each other’s spelling and punctuation in the early stages of this process, when the focus should be on shaping a better story.

One of the most effective strategies for revision and editing is to have students read their stories out loud. In the early stages, this will reveal places where information is missing or things get confusing. Later, more read-alouds will help them immediately find missing words, unintentional repetitions, and sentences that just “sound weird.” So get your students to read their work out loud frequently. It also helps to print stories on paper: For some reason, seeing the words in print helps us notice things we didn’t see on the screen.

To get the most from peer review, where students read and comment on each other’s work, more modeling from you is essential: Pull up a sample piece of writing and show students how to give specific feedback that helps, rather than simply writing “good detail” or “needs more detail,” the two comments I saw exchanged most often on students’ peer-reviewed papers.

Step 11: Final Copies and Publication

Once revision and peer review are done, students will hand in their final copies. If you don’t want to get stuck with 100-plus papers to grade, consider using Catlin Tucker’s station rotation model , which keeps all the grading in class. And when you do return stories with your own feedback, try using Kristy Louden’s delayed grade strategy , where students don’t see their final grade until they have read your written feedback.

Beyond the standard hand-in-for-a-grade, consider other ways to have students publish their stories. Here are some options:

• Stories could be published as individual pages on a collaborative website or blog.
• Students could create illustrated e-books out of their stories.
• Students could create a slideshow to accompany their stories and record them as digital storytelling videos. This could be done with a tool like Screencastify or Screencast-O-Matic .

So this is what worked for me. If you’ve struggled to get good stories from your students, try some or all of these techniques next time. I think you’ll find that all of your students have some pretty interesting stories to tell. Helping them tell their stories well is a gift that will serve them for many years after they leave your classroom. ♦

Want this unit ready-made?

If you’re a writing teacher in grades 7-12 and you’d like a classroom-ready unit like the one described above, including slideshow mini-lessons on 14 areas of narrative craft, a sample narrative piece, editable rubrics, and other supplemental materials to guide students through every stage of the process, take a look at my Narrative Writing unit . Just click on the image below and you’ll be taken to a page where you can read more and see a detailed preview of what’s included.

What to Read Next

Categories: Instruction , Podcast

Tags: English language arts , Grades 6-8 , Grades 9-12 , teaching strategies

52 Comments

Wow, this is a wonderful guide! If my English teachers had taught this way, I’m sure I would have enjoyed narrative writing instead of dreading it. I’ll be able to use many of these suggestions when writing my blog! BrP

Lst year I was so discouraged because the short stories looked like the quick drafts described in this article. I thought I had totally failed until I read this and realized I did not fai,l I just needed to complete the process. Thank you!

I feel like you jumped in my head and connected my thoughts. I appreciate the time you took to stop and look closely at form. I really believe that student-writers should see all dimensions of narrative writing and be able to live in whichever style and voice they want for their work.

Can’t thank you enough for this. So well curated that one can just follow it blindly and ace at teaching it. Thanks again!

Great post! I especially liked your comments about reminding kids about the power of storytelling. My favourite podcasts and posts from you are always about how to do things in the classroom and I appreciate the research you do.

On a side note, the ice breakers are really handy. My kids know each other really well (rural community), and can tune out pretty quickly if there is nothing new to learn about their peers, but they like the games (and can remember where we stopped last time weeks later). I’ve started changing them up with ‘life questions’, so the editable version is great!

I love writing with my students and loved this podcast! A fun extension to this narrative is to challenge students to write another story about the same event, but use the perspective of another “character” from the story. Books like Wonder (R.J. Palacio) and Wanderer (Sharon Creech) can model the concept for students.

Thank you for your great efforts to reveal the practical writing strategies in layered details. As English is not my first language, I need listen to your podcast and read the text repeatedly so to fully understand. It’s worthy of the time for some great post like yours. I love sharing so I send the link to my English practice group that it can benefit more. I hope I could be able to give you some feedback later on.

Thank you for helping me get to know better especially the techniques in writing narrative text. Im an English teacher for 5years but have little knowledge on writing. I hope you could feature techniques in writing news and fearute story. God bless and more power!

Thank you for this! I am very interested in teaching a unit on personal narrative and this was an extremely helpful breakdown. As a current student teacher I am still unsure how to approach breaking down the structures of different genres of writing in a way that is helpful for me students but not too restrictive. The story mapping tools you provided really allowed me to think about this in a new way. Writing is such a powerful way to experience the world and more than anything I want my students to realize its power. Stories are how we make sense of the world and as an English teacher I feel obligated to give my students access to this particular skill.

The power of story is unfathomable. There’s this NGO in India doing some great work in harnessing the power of storytelling and plots to brighten children’s lives and enlighten them with true knowledge. Check out Katha India here: http://bit.ly/KathaIndia

Thank you so much for this. I did not go to college to become a writing professor, but due to restructuring in my department, I indeed am! This is a wonderful guide that I will use when teaching the narrative essay. I wonder if you have a similar guide for other modes such as descriptive, process, argument, etc.?

Hey Melanie, Jenn does have another guide on writing! Check out A Step-by-Step Plan for Teaching Argumentative Writing .

Hi, I am also wondering if there is a similar guide for descriptive writing in particular?

Hey Melanie, unfortunately Jenn doesn’t currently have a guide for descriptive writing. She’s always working on projects though, so she may get around to writing a unit like this in the future. You can always check her Teachers Pay Teachers page for an up-to-date list of materials she has available. Thanks!

I want to write about the new character in my area

That’s great! Let us know if you need any supports during your writing process!

I absolutely adore this unit plan. I teach freshmen English at a low-income high school and wanted to find something to help my students find their voice. It is not often that I borrow material, but I borrowed and adapted all of it in the order that it is presented! It is cohesive, understandable, and fun. Thank you!!

So glad to hear this, Nicole!

Thanks sharing this post. My students often get confused between personal narratives and short stories. Whenever I ask them to write a short story, she share their own experiences and add a bit of fiction in it to make it interesting.

Thank you! My students have loved this so far. I do have a question as to where the “Frog” story mentioned in Step 4 is. I could really use it! Thanks again.

This is great to hear, Emily! In Step 4, Jenn mentions that she wrote the “Frog” story for her narrative writing unit . Just scroll down the bottom of the post and you’ll see a link to the unit.

I also cannot find the link to the short story “Frog”– any chance someone can send it or we can repost it?

This story was written for Jenn’s narrative writing unit. You can find a link to this unit in Step 4 or at the bottom of the article. Hope this helps.

I cannot find the frog story mentioned. Could you please send the link.? Thank you

Hi Michelle,

The Frog story was written for Jenn’s narrative writing unit. There’s a link to this unit in Step 4 and at the bottom of the article.

Debbie- thanks for you reply… but there is no link to the story in step 4 or at the bottom of the page….

Hey Shawn, the frog story is part of Jenn’s narrative writing unit, which is available on her Teachers Pay Teachers site. The link Debbie is referring to at the bottom of this post will take you to her narrative writing unit and you would have to purchase that to gain access to the frog story. I hope this clears things up.

Thank you so much for this resource! I’m a high school English teacher, and am currently teaching creative writing for the first time. I really do value your blog, podcast, and other resources, so I’m excited to use this unit. I’m a cyber school teacher, so clear, organized layout is important; and I spend a lot of time making sure my content is visually accessible for my students to process. Thanks for creating resources that are easy for us teachers to process and use.

Do you have a lesson for Informative writing?

Hey Cari, Jenn has another unit on argumentative writing , but doesn’t have one yet on informative writing. She may develop one in the future so check back in sometime.

I had the same question. Informational writing is so difficult to have a good strong unit in when you have so many different text structures to meet and need text-dependent writing tasks.

Creating an informational writing unit is still on Jenn’s long list of projects to get to, but in the meantime, if you haven’t already, check out When We All Teach Text Structures, Everyone Wins . It might help you out!

This is a great lesson! It would be helpful to see a finished draft of the frog narrative arc. Students’ greatest challenge is transferring their ideas from the planner to a full draft. To see a full sample of how this arc was transformed into a complete narrative draft would be a powerful learning tool.

Hi Stacey! Jenn goes into more depth with the “Frog” lesson in her narrative writing unit – this is where you can find a sample of what a completed story arc might look. Also included is a draft of the narrative. If interested in checking out the unit and seeing a preview, just scroll down to the bottom of the post and click on the image. Hope this helps!

Helped me learn for an entrance exam thanks very much

Is the narrative writing lesson you talk about in https://www.cultofpedagogy.com/narrative-writing/

Also doable for elementary students you think, and if to what levels?

Love your work, Sincerely, Zanyar

Hey Zanyar,

It’s possible the unit would work with 4th and 5th graders, but Jenn definitely wouldn’t recommend going any younger. The main reason for this is that some of the mini-lessons in the unit could be challenging for students who are still concrete thinkers. You’d likely need to do some adjusting and scaffolding which could extend the unit beyond the 3 weeks. Having said that, I taught 1st grade and found the steps of the writing process, as described in the post, to be very similar. Of course learning targets/standards were different, but the process itself can be applied to any grade level (modeling writing, using mentor texts to study how stories work, planning the structure of the story, drafting, elaborating, etc.) Hope this helps!

This has made my life so much easier. After teaching in different schools systems, from the American, to British to IB, one needs to identify the anchor standards and concepts, that are common between all these systems, to build well balanced thematic units. Just reading these steps gave me the guidance I needed to satisfy both the conceptual framework the schools ask for and the standards-based practice. Thank you Thank you.

Would this work for teaching a first grader about narrative writing? I am also looking for a great book to use as a model for narrative writing. Veggie Monster is being used by his teacher and he isn’t connecting with this book in the least bit, so it isn’t having a positive impact. My fear is he will associate this with writing and I don’t want a negative association connected to such a beautiful process and experience. Any suggestions would be helpful.

Thank you for any information you can provide!

Although I think the materials in the actual narrative writing unit are really too advanced for a first grader, the general process that’s described in the blog post can still work really well.

I’m sorry your child isn’t connecting with The Night of the Veggie Monster. Try to keep in mind that the main reason this is used as a mentor text is because it models how a small moment story can be told in a big way. It’s filled with all kinds of wonderful text features that impact the meaning of the story – dialogue, description, bold text, speech bubbles, changes in text size, ellipses, zoomed in images, text placement, text shape, etc. All of these things will become mini-lessons throughout the unit. But there are lots of other wonderful mentor texts that your child might enjoy. My suggestion for an early writer, is to look for a small moment text, similar in structure, that zooms in on a problem that a first grader can relate to. In addition to the mentor texts that I found in this article , you might also want to check out Knuffle Bunny, Kitten’s First Full Moon, When Sophie Gets Angry Really Really Angry, and Whistle for Willie. Hope this helps!

I saw this on Pinterest the other day while searching for examples of narritives units/lessons. I clicked on it because I always click on C.o.P stuff 🙂 And I wasn’t disapointed. I was intrigued by the connection of narratives to humanity–even if a student doesn’t identify as a writer, he/she certainly is human, right? I really liked this. THIS clicked with me.

A few days after I read the P.o.C post, I ventured on to YouTube for more ideas to help guide me with my 8th graders’ narrative writing this coming spring. And there was a TEDx video titled, “The Power of Personal Narrative” by J. Christan Jensen. I immediately remembered the line from the article above that associated storytelling with “power” and how it sets humans apart and if introduced and taught as such, it can be “extraordinary.”

I watched the video and to the suprise of my expectations, it was FANTASTIC. Between Jennifer’s post and the TEDx video ignited within me some major motivation and excitement to begin this unit.

Thanks for sharing this with us! So glad that Jenn’s post paired with another text gave you some motivation and excitement. I’ll be sure to pass this on to Jenn!

Thank you very much for this really helpful post! I really love the idea of helping our students understand that storytelling is powerful and then go on to teach them how to harness that power. That is the essence of teaching literature or writing at any level. However, I’m a little worried about telling students that whether a piece of writing is fact or fiction does not matter. It in fact matters a lot precisely because storytelling is powerful. Narratives can shape people’s views and get their emotions involved which would, in turn, motivate them to act on a certain matter, whether for good or for bad. A fictional narrative that is passed as factual could cause a lot of damage in the real world. I believe we should. I can see how helping students focus on writing the story rather than the truth of it all could help refine the needed skills without distractions. Nevertheless, would it not be prudent to teach our students to not just harness the power of storytelling but refrain from misusing it by pushing false narratives as factual? It is true that in reality, memoirs pass as factual while novels do as fictional while the opposite may be true for both cases. I am not too worried about novels passing as fictional. On the other hand, fictional narratives masquerading as factual are disconcerting and part of a phenomenon that needs to be fought against, not enhanced or condoned in education. This is especially true because memoirs are often used by powerful people to write/re-write history. I would really like to hear your opinion on this. Thanks a lot for a great post and a lot of helpful resources!

Thank you so much for this. Jenn and I had a chance to chat and we can see where you’re coming from. Jenn never meant to suggest that a person should pass off a piece of fictional writing as a true story. Good stories can be true, completely fictional, or based on a true story that’s mixed with some fiction – that part doesn’t really matter. However, what does matter is how a student labels their story. We think that could have been stated more clearly in the post , so Jenn decided to add a bit about this at the end of the 3rd paragraph in the section “A Note About Form: Personal Narrative or Short Story?” Thanks again for bringing this to our attention!

You have no idea how much your page has helped me in so many ways. I am currently in my teaching credential program and there are times that I feel lost due to a lack of experience in the classroom. I’m so glad I came across your page! Thank you for sharing!

Thanks so much for letting us know-this means a whole lot!

No, we’re sorry. Jenn actually gets this question fairly often. It’s something she considered doing at one point, but because she has so many other projects she’s working on, she’s just not gotten to it.

I couldn’t find the story

Hi, Duraiya. The “Frog” story is part of Jenn’s narrative writing unit, which is available on her Teachers Pay Teachers site. The link at the bottom of this post will take you to her narrative writing unit, which you can purchase to gain access to the story. I hope this helps!

I am using this step-by-step plan to help me teach personal narrative story writing. I wanted to show the Coca-Cola story, but the link says the video is not available. Do you have a new link or can you tell me the name of the story so I can find it?

Thank you for putting this together.

Hi Corri, sorry about that. The Coca-Cola commercial disappeared, so Jenn just updated the post with links to two videos with good stories. Hope this helps!

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Narrative Writing

Description.

In this unit, students are introduced to the skills, practices, and routines of narrative writing by working collaboratively with their peers to examine narrative writing models, plan for their writing, and build their knowledge on the narrative writing topic. Students independently practice writing and revising and also engage in peer review to revise their work. Throughout the unit, the class will construct a Narrative Writing Checklist, which students will use to guide their drafting, review, and finalization. By the end of the unit, students will have produced fully developed narratives.

There may be cases when our downloadable resources contain hyperlinks to other websites. These hyperlinks lead to websites published or operated by third parties. UnboundEd and EngageNY are not responsible for the content, availability, or privacy policies of these websites.

• Grades 9-10 Writing Module, Unit 3
• Writing Module, Unit 3 Overview
• College Application Essay
• Return of July
• The Flight of Apollo 11
• They Remember Where They Were

In This Unit

• lesson 1: Introduction to Narrative Writing
• lesson 2: Effective Narrative Writing: Organization and Purpose
• lesson 3: Narrative Writing: Analyzing the Prompt
• lesson 4: Narrative Writing: Source Material
• lesson 5: Narrative Writing: More Source Material
• lesson 6: Narrative Writing: Drafting an Introduction
• lesson 7: Narrative Writing: Drafting Body Paragraphs
• lesson 8: Narrative Writing: Drafting Body Paragraphs
• lesson 9: Narrative Writing: Drafting a Conclusion
• lesson 10: Narrative Writing: Structural Techniques
• lesson 11: Narrative Writing: Getting Feedback
• lesson 12: Finalizing Narrative Papers
• lesson 13: Narrative Writing: Reflecting on the Writing Process

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Elementary Narrative Writing Lesson plans and other teaching resources

|Elementary Narrative Writing| | Middle School Narrative Writing | | High School Narrative Writing |

20 Mystical Bridges That Will Take You To Another World Creative writing prompt: "I walked across the bridge and ..." The photographs of real bridges on this page are astonishingly beautiful. However, the page also carries ads that may not be appropriate for the classroom. Consider copying the photographs into a new file for classroom use.

27 Magical Paths Begging To Be Walked Photographs of beautiful paths all over the world, showing a variety of seasons and geography, just waiting to inspire a poem or serve as the setting for a short story. Note: this page carries ads that may not be appropriate for the classroom. Consider copying the photographs into a new file for classroom use.

Action Chains Students learn to elaborate on an event in a narrative by expanding their sentences into action chains. Expanding single actions into an action chain provides the reader with a more detailed picture of an event in a narrative. This lesson is designed for grades 3-5.

Active Beginnings This 3-page printable handout focuses on crafting strong leads. It is designed for elementary students and requires Adobe Reader or compatible application.

Animal Legends: Integrating Art with Writing Students use their own artwork as a story starter for a pourquoi tale or legend. Designed for grades 3-5.

Fictional Narratives In this 5-lesson unit students analyze a painting (choices included) and construct a narrative in which the painting comes at the beginning, middle, or end. Includes lesson plans, rubric, art. Designed for grade 1.

Getting Hooked: Introduction for a Narrative Students will be able to identify techniques for writing an introduction for a narrative and use them effectively. This lesson is designed for grades 2-4.

Little Red Riding Hood Little Red Riding Hood is now part of an elite group of fairy tale crime scene investigators. You remember Humpty Dumpty? He didn't fall. He was pushed. Or so it seemed at first. This idea will work on multiple grade levels.

Make Kids' Writing Shine: Using Beginnings and Endings to Teach Craft Strategies to build elementary writing skills. Scroll down for revision and assessment ideas, resources.

Narrative Writing & Reading Core Skills Lesson Plan Creating a story is like magic! Grab your magician's hat and wand for this activity. Teach core curriculum concepts of narrative writing (story creation) through the use of characters, setting, and plot. Also teaches skills needed to meet language arts reading and writing core curriculum standards that require the ability to describe characters, settings, and major events in a story. Designed for elementary students.

Nibble, Nibble, Little Mouse Students in grades 6-8 explore the implications of point of view in literature and write a narrative, retelling a traditional story from a different character's point of view.

Note: more ideas for teaching the personal narrative can be found on the Biography page .

Savvy Story Structure Students learn to actively engage in reading by becoming more familiar with the elements of a story. Students will be required to think at a higher level and will enhance their understanding of selected passages and stories. Students should also begin to relate stories to their own lives. Designed for grades 3-5.

Using Personal Photographs to Spark Narrative Writing The lesson plan asks students to bring in a photograph that has special meaning for them and to write about it. This will work on multiple grade levels.

Using Pictures to Teach Narrative Writing with Roll of Thunder, Hear My Cry Students respond to pictures depicting segregation. They write a story from the point of view of someone in the picture.

Narrative Writing: A Complete Guide for Teachers and Students

MASTERING THE CRAFT OF NARRATIVE WRITING

Narratives build on and encourage the development of the fundamentals of writing. They also require developing an additional skill set: the ability to tell a good yarn, and storytelling is as old as humanity.

We see and hear stories everywhere and daily, from having good gossip on the doorstep with a neighbor in the morning to the dramas that fill our screens in the evening.

Good narrative writing skills are hard-won by students even though it is an area of writing that most enjoy due to the creativity and freedom it offers.

Here we will explore some of the main elements of a good story: plot, setting, characters, conflict, climax, and resolution . And we will look too at how best we can help our students understand these elements, both in isolation and how they mesh together as a whole.

WHAT IS A NARRATIVE?

A narrative is a story that shares a sequence of events , characters, and themes. It expresses experiences, ideas, and perspectives that should aspire to engage and inspire an audience.

A narrative can spark emotion, encourage reflection, and convey meaning when done well.

Narratives are a popular genre for students and teachers as they allow the writer to share their imagination, creativity, skill, and understanding of nearly all elements of writing.  We occasionally refer to a narrative as ‘creative writing’ or story writing.

The purpose of a narrative is simple, to tell the audience a story.  It can be written to motivate, educate, or entertain and can be fact or fiction.

A COMPLETE UNIT ON TEACHING NARRATIVE WRITING

Teach your students to become skilled story writers with this HUGE   NARRATIVE & CREATIVE STORY WRITING UNIT . Offering a  COMPLETE SOLUTION  to teaching students how to craft  CREATIVE CHARACTERS, SUPERB SETTINGS, and PERFECT PLOTS .

Over 192 PAGES of materials, including:

TYPES OF NARRATIVE WRITING

There are many narrative writing genres and sub-genres such as these.

We have a complete guide to writing a personal narrative that differs from the traditional story-based narrative covered in this guide. It includes personal narrative writing prompts, resources, and examples and can be found here.

As we can see, narratives are an open-ended form of writing that allows you to showcase creativity in many directions. However, all narratives share a common set of features and structure known as “Story Elements”, which are briefly covered in this guide.

Don’t overlook the importance of understanding story elements and the value this adds to you as a writer who can dissect and create grand narratives. We also have an in-depth guide to understanding story elements here .

CHARACTERISTICS OF NARRATIVE WRITING

Narrative structure.

ORIENTATION (BEGINNING) Set the scene by introducing your characters, setting and time of the story. Establish your who, when and where in this part of your narrative

COMPLICATION AND EVENTS (MIDDLE) In this section activities and events involving your main characters are expanded upon. These events are written in a cohesive and fluent sequence.

RESOLUTION (ENDING) Your complication is resolved in this section. It does not have to be a happy outcome, however.

EXTRAS: Whilst orientation, complication and resolution are the agreed norms for a narrative, there are numerous examples of popular texts that did not explicitly follow this path exactly.

NARRATIVE FEATURES

LANGUAGE: Use descriptive and figurative language to paint images inside your audience’s minds as they read.

PERSPECTIVE Narratives can be written from any perspective but are most commonly written in first or third person.

DIALOGUE Narratives frequently switch from narrator to first-person dialogue. Always use speech marks when writing dialogue.

TENSE If you change tense, make it perfectly clear to your audience what is happening. Flashbacks might work well in your mind but make sure they translate to your audience.

THE PLOT MAP

This graphic is known as a plot map, and nearly all narratives fit this structure in one way or another, whether romance novels, science fiction or otherwise.

It is a simple tool that helps you understand and organise a story’s events. Think of it as a roadmap that outlines the journey of your characters and the events that unfold. It outlines the different stops along the way, such as the introduction, rising action, climax, falling action, and resolution, that help you to see how the story builds and develops.

Using a plot map, you can see how each event fits into the larger picture and how the different parts of the story work together to create meaning. It’s a great way to visualize and analyze a story.

Be sure to refer to a plot map when planning a story, as it has all the essential elements of a great story.

THE 5 KEY STORY ELEMENTS OF A GREAT NARRATIVE (6-MINUTE TUTORIAL VIDEO)

This video we created provides an excellent overview of these elements and demonstrates them in action in stories we all know and love.

HOW TO WRITE A NARRATIVE

Now that we understand the story elements and how they come together to form stories, it’s time to start planning and writing your narrative.

In many cases, the template and guide below will provide enough details on how to craft a great story. However, if you still need assistance with the fundamentals of writing, such as sentence structure, paragraphs and using correct grammar, we have some excellent guides on those here.

USE YOUR WRITING TIME EFFECTIVELY: Maximize your narrative writing sessions by spending approximately 20 per cent of your time planning and preparing.  This ensures greater productivity during your writing time and keeps you focused and on task.

Use tools such as graphic organizers to logically sequence your narrative if you are not a confident story writer.  If you are working with reluctant writers, try using narrative writing prompts to get their creative juices flowing.

Spend most of your writing hour on the task at hand, don’t get too side-tracked editing during this time and leave some time for editing. When editing a  narrative, examine it for these three elements.

• Spelling and grammar ( Is it readable?)
• Story structure and continuity ( Does it make sense, and does it flow? )
• Character and plot analysis. (Are your characters engaging? Does your problem/resolution work? )

1. SETTING THE SCENE: THE WHERE AND THE WHEN

The story’s setting often answers two of the central questions in the story, namely, the where and the when. The answers to these two crucial questions will often be informed by the type of story the student is writing.

The story’s setting can be chosen to quickly orient the reader to the type of story they are reading. For example, a fictional narrative writing piece such as a horror story will often begin with a description of a haunted house on a hill or an abandoned asylum in the middle of the woods. If we start our story on a rocket ship hurtling through the cosmos on its space voyage to the Alpha Centauri star system, we can be reasonably sure that the story we are embarking on is a work of science fiction.

Such conventions are well-worn clichés true, but they can be helpful starting points for our novice novelists to make a start.

Having students choose an appropriate setting for the type of story they wish to write is an excellent exercise for our younger students. It leads naturally onto the next stage of story writing, which is creating suitable characters to populate this fictional world they have created. However, older or more advanced students may wish to play with the expectations of appropriate settings for their story. They may wish to do this for comic effect or in the interest of creating a more original story. For example, opening a story with a children’s birthday party does not usually set up the expectation of a horror story. Indeed, it may even lure the reader into a happy reverie as they remember their own happy birthday parties. This leaves them more vulnerable to the surprise element of the shocking action that lies ahead.

Once the students have chosen a setting for their story, they need to start writing. Little can be more terrifying to English students than the blank page and its bare whiteness stretching before them on the table like a merciless desert they must cross. Give them the kick-start they need by offering support through word banks or writing prompts. If the class is all writing a story based on the same theme, you may wish to compile a common word bank on the whiteboard as a prewriting activity. Write the central theme or genre in the middle of the board. Have students suggest words or phrases related to the theme and list them on the board.

You may wish to provide students with a copy of various writing prompts to get them started. While this may mean that many students’ stories will have the same beginning, they will most likely arrive at dramatically different endings via dramatically different routes.

A bargain is at the centre of the relationship between the writer and the reader. That bargain is that the reader promises to suspend their disbelief as long as the writer creates a consistent and convincing fictional reality. Creating a believable world for the fictional characters to inhabit requires the student to draw on convincing details. The best way of doing this is through writing that appeals to the senses. Have your student reflect deeply on the world that they are creating. What does it look like? Sound like? What does the food taste like there? How does it feel like to walk those imaginary streets, and what aromas beguile the nose as the main character winds their way through that conjured market?

Also, Consider the when; or the time period. Is it a future world where things are cleaner and more antiseptic? Or is it an overcrowded 16th-century London with human waste stinking up the streets? If students can create a multi-sensory installation in the reader’s mind, then they have done this part of their job well.

Popular Settings from Children’s Literature and Storytelling

• Fairytale Kingdom
• Magical Forest
• Village/town
• Underwater world
• Space/Alien planet

2. CASTING THE CHARACTERS: THE WHO

Now that your student has created a believable world, it is time to populate it with believable characters.

In short stories, these worlds mustn’t be overpopulated beyond what the student’s skill level can manage. Short stories usually only require one main character and a few secondary ones. Think of the short story more as a small-scale dramatic production in an intimate local theater than a Hollywood blockbuster on a grand scale. Too many characters will only confuse and become unwieldy with a canvas this size. Keep it simple!

Creating believable characters is often one of the most challenging aspects of narrative writing for students. Fortunately, we can do a few things to help students here. Sometimes it is helpful for students to model their characters on actual people they know. This can make things a little less daunting and taxing on the imagination. However, whether or not this is the case, writing brief background bios or descriptions of characters’ physical personality characteristics can be a beneficial prewriting activity. Students should give some in-depth consideration to the details of who their character is: How do they walk? What do they look like? Do they have any distinguishing features? A crooked nose? A limp? Bad breath? Small details such as these bring life and, therefore, believability to characters. Students can even cut pictures from magazines to put a face to their character and allow their imaginations to fill in the rest of the details.

Younger students will often dictate to the reader the nature of their characters. To improve their writing craft, students must know when to switch from story-telling mode to story-showing mode. This is particularly true when it comes to character. Encourage students to reveal their character’s personality through what they do rather than merely by lecturing the reader on the faults and virtues of the character’s personality. It might be a small relayed detail in the way they walk that reveals a core characteristic. For example, a character who walks with their head hanging low and shoulders hunched while avoiding eye contact has been revealed to be timid without the word once being mentioned. This is a much more artistic and well-crafted way of doing things and is less irritating for the reader. A character who sits down at the family dinner table immediately snatches up his fork and starts stuffing roast potatoes into his mouth before anyone else has even managed to sit down has revealed a tendency towards greed or gluttony.

Understanding Character Traits

Again, there is room here for some fun and profitable prewriting activities. Give students a list of character traits and have them describe a character doing something that reveals that trait without ever employing the word itself.

It is also essential to avoid adjective stuffing here. When looking at students’ early drafts, adjective stuffing is often apparent. To train the student out of this habit, choose an adjective and have the student rewrite the sentence to express this adjective through action rather than telling.

When writing a story, it is vital to consider the character’s traits and how they will impact the story’s events. For example, a character with a strong trait of determination may be more likely to overcome obstacles and persevere. In contrast, a character with a tendency towards laziness may struggle to achieve their goals. In short, character traits add realism, depth, and meaning to a story, making it more engaging and memorable for the reader.

Popular Character Traits in Children’s Stories

• Determination
• Imagination
• Perseverance
• Responsibility

We have an in-depth guide to creating great characters here , but most students should be fine to move on to planning their conflict and resolution.

3. NO PROBLEM? NO STORY! HOW CONFLICT DRIVES A NARRATIVE

This is often the area apprentice writers have the most difficulty with. Students must understand that without a problem or conflict, there is no story. The problem is the driving force of the action. Usually, in a short story, the problem will center around what the primary character wants to happen or, indeed, wants not to happen. It is the hurdle that must be overcome. It is in the struggle to overcome this hurdle that events happen.

Often when a student understands the need for a problem in a story, their completed work will still not be successful. This is because, often in life, problems remain unsolved. Hurdles are not always successfully overcome. Students pick up on this.

We often discuss problems with friends that will never be satisfactorily resolved one way or the other, and we accept this as a part of life. This is not usually the case with writing a story. Whether a character successfully overcomes his or her problem or is decidedly crushed in the process of trying is not as important as the fact that it will finally be resolved one way or the other.

A good practical exercise for students to get to grips with this is to provide copies of stories and have them identify the central problem or conflict in each through discussion. Familiar fables or fairy tales such as Three Little Pigs, The Boy Who Cried Wolf, Cinderella, etc., are great for this.

While it is true that stories often have more than one problem or that the hero or heroine is unsuccessful in their first attempt to solve a central problem, for beginning students and intermediate students, it is best to focus on a single problem, especially given the scope of story writing at this level. Over time students will develop their abilities to handle more complex plots and write accordingly.

Popular Conflicts found in Children’s Storytelling.

• Good vs evil
• Individual vs society
• Nature vs nurture
• Self vs others
• Man vs self
• Man vs nature
• Man vs technology
• Individual vs fate
• Self vs destiny

Conflict is the heart and soul of any good story. It’s what makes a story compelling and drives the plot forward. Without conflict, there is no story. Every great story has a struggle or a problem that needs to be solved, and that’s where conflict comes in. Conflict is what makes a story exciting and keeps the reader engaged. It creates tension and suspense and makes the reader care about the outcome.

Like in real life, conflict in a story is an opportunity for a character’s growth and transformation. It’s a chance for them to learn and evolve, making a story great. So next time stories are written in the classroom, remember that conflict is an essential ingredient, and without it, your story will lack the energy, excitement, and meaning that makes it truly memorable.

4. THE NARRATIVE CLIMAX: HOW THINGS COME TO A HEAD!

The climax of the story is the dramatic high point of the action. It is also when the struggles kicked off by the problem come to a head. The climax will ultimately decide whether the story will have a happy or tragic ending. In the climax, two opposing forces duke things out until the bitter (or sweet!) end. One force ultimately emerges triumphant. As the action builds throughout the story, suspense increases as the reader wonders which of these forces will win out. The climax is the release of this suspense.

Much of the success of the climax depends on how well the other elements of the story have been achieved. If the student has created a well-drawn and believable character that the reader can identify with and feel for, then the climax will be more powerful.

The nature of the problem is also essential as it determines what’s at stake in the climax. The problem must matter dearly to the main character if it matters at all to the reader.

Have students engage in discussions about their favorite movies and books. Have them think about the storyline and decide the most exciting parts. What was at stake at these moments? What happened in your body as you read or watched? Did you breathe faster? Or grip the cushion hard? Did your heart rate increase, or did you start to sweat? This is what a good climax does and what our students should strive to do in their stories.

The climax puts it all on the line and rolls the dice. Let the chips fall where the writer may…

Popular Climax themes in Children’s Stories

• A battle between good and evil
• The character’s bravery saves the day
• Character faces their fears and overcomes them
• The character solves a mystery or puzzle.
• The character stands up for what is right.
• Character reaches their goal or dream.
• The character learns a valuable lesson.
• The character makes a selfless sacrifice.
• The character makes a difficult decision.
• The character reunites with loved ones or finds true friendship.

5. RESOLUTION: TYING UP LOOSE ENDS

After the climactic action, a few questions will often remain unresolved for the reader, even if all the conflict has been resolved. The resolution is where those lingering questions will be answered. The resolution in a short story may only be a brief paragraph or two. But, in most cases, it will still be necessary to include an ending immediately after the climax can feel too abrupt and leave the reader feeling unfulfilled.

An easy way to explain resolution to students struggling to grasp the concept is to point to the traditional resolution of fairy tales, the “And they all lived happily ever after” ending. This weather forecast for the future allows the reader to take their leave. Have the student consider the emotions they want to leave the reader with when crafting their resolution.

While the action is usually complete by the end of the climax, it is in the resolution that if there is a twist to be found, it will appear – think of movies such as The Usual Suspects. Pulling this off convincingly usually requires considerable skill from a student writer. Still, it may well form a challenging extension exercise for those more gifted storytellers among your students.

Popular Resolutions in Children’s Stories

• Our hero achieves their goal
• The character learns a valuable lesson
• A character finds happiness or inner peace.
• The character reunites with loved ones.
• Character restores balance to the world.
• The character discovers their true identity.
• Character changes for the better.
• The character gains wisdom or understanding.
• Character makes amends with others.
• The character learns to appreciate what they have.

Once students have completed their story, they can edit for grammar, vocabulary choice, spelling, etc., but not before!

As mentioned, there is a craft to storytelling, as well as an art. When accurate grammar, perfect spelling, and immaculate sentence structures are pushed at the outset, they can cause storytelling paralysis. For this reason, it is essential that when we encourage the students to write a story, we give them license to make mechanical mistakes in their use of language that they can work on and fix later.

Good narrative writing is a very complex skill to develop and will take the student years to become competent. It challenges not only the student’s technical abilities with language but also her creative faculties. Writing frames, word banks, mind maps, and visual prompts can all give valuable support as students develop the wide-ranging and challenging skills required to produce a successful narrative writing piece. But, at the end of it all, as with any craft, practice and more practice is at the heart of the matter.

TIPS FOR WRITING A GREAT NARRATIVE

• Start your story with a clear purpose: If you can determine the theme or message you want to convey in your narrative before starting it will make the writing process so much simpler.
• Choose a compelling storyline and sell it through great characters, setting and plot: Consider a unique or interesting story that captures the reader’s attention, then build the world and characters around it.
• Develop vivid characters that are not all the same: Make your characters relatable and memorable by giving them distinct personalities and traits you can draw upon in the plot.
• Use descriptive language to hook your audience into your story: Use sensory language to paint vivid images and sequences in the reader’s mind.
• Show, don’t tell your audience: Use actions, thoughts, and dialogue to reveal character motivations and emotions through storytelling.
• Create a vivid setting that is clear to your audience before getting too far into the plot: Describe the time and place of your story to immerse the reader fully.
• Build tension: Refer to the story map earlier in this article and use conflict, obstacles, and suspense to keep the audience engaged and invested in your narrative.
• Use figurative language such as metaphors, similes, and other literary devices to add depth and meaning to your narrative.
• Edit, revise, and refine: Take the time to refine and polish your writing for clarity and impact.
• Stay true to your voice: Maintain your unique perspective and style in your writing to make it your own.

NARRATIVE WRITING EXAMPLES (Student Writing Samples)

Below are a collection of student writing samples of narratives.  Click on the image to enlarge and explore them in greater detail.  Please take a moment to read these creative stories in detail and the teacher and student guides which highlight some of the critical elements of narratives to consider before writing.

Please understand these student writing samples are not intended to be perfect examples for each age or grade level but a piece of writing for students and teachers to explore together to critically analyze to improve student writing skills and deepen their understanding of story writing.

We recommend reading the example either a year above or below, as well as the grade you are currently working with, to gain a broader appreciation of this text type.

NARRATIVE WRITING PROMPTS (Journal Prompts)

When students have a great journal prompt, it can help them focus on the task at hand, so be sure to view our vast collection of visual writing prompts for various text types here or use some of these.

• On a recent European trip, you find your travel group booked into the stunning and mysterious Castle Frankenfurter for a single night…  As night falls, the massive castle of over one hundred rooms seems to creak and groan as a series of unexplained events begin to make you wonder who or what else is spending the evening with you. Write a narrative that tells the story of your evening.
• You are a famous adventurer who has discovered new lands; keep a travel log over a period of time in which you encounter new and exciting adventures and challenges to overcome.  Ensure your travel journal tells a story and has a definite introduction, conflict and resolution.
• You create an incredible piece of technology that has the capacity to change the world.  As you sit back and marvel at your innovation and the endless possibilities ahead of you, it becomes apparent there are a few problems you didn’t really consider. You might not even be able to control them.  Write a narrative in which you ride the highs and lows of your world-changing creation with a clear introduction, conflict and resolution.
• As the final door shuts on the Megamall, you realise you have done it…  You and your best friend have managed to sneak into the largest shopping centre in town and have the entire place to yourselves until 7 am tomorrow.  There is literally everything and anything a child would dream of entertaining themselves for the next 12 hours.  What amazing adventures await you?  What might go wrong?  And how will you get out of there scot-free?
• A stranger walks into town…  Whilst appearing similar to almost all those around you, you get a sense that this person is from another time, space or dimension… Are they friends or foes?  What makes you sense something very strange is going on?   Suddenly they stand up and walk toward you with purpose extending their hand… It’s almost as if they were reading your mind.

NARRATIVE WRITING VIDEO TUTORIAL

Teaching Resources

Use our resources and tools to improve your student’s writing skills through proven teaching strategies.

When teaching narrative writing, it is essential that you have a range of tools, strategies and resources at your disposal to ensure you get the most out of your writing time.  You can find some examples below, which are free and paid premium resources you can use instantly without any preparation.

FREE Narrative Graphic Organizer

THE STORY TELLERS BUNDLE OF TEACHING RESOURCES

A MASSIVE COLLECTION of resources for narratives and story writing in the classroom covering all elements of crafting amazing stories. MONTHS WORTH OF WRITING LESSONS AND RESOURCES, including:

NARRATIVE WRITING CHECKLIST BUNDLE

⭐⭐⭐⭐⭐ (92 Reviews)

OTHER GREAT ARTICLES ABOUT NARRATIVE WRITING

Narrative Writing for Kids: Essential Skills and Strategies

7 Great Narrative Lesson Plans Students and Teachers Love

Top 7 Narrative Writing Exercises for Students

How to Write a Scary Story

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Narrative Lesson Plans and Activities

Explore ready-made resources and discover how to teach the key concepts behind each Step.

Lesson plans.

• This series of sample Lesson Plans demonstrates how to teach the Seven Steps activities using the explicit teaching model – I Do, We Do, You Do.
• Each Lesson Plan includes relevant links to the Australian Curriculum and NAPLAN marking criteria, plus a learning intention and success criteria to assist with planning and assessment.
• Become a Teacher Hub member to access the full range of Lesson Plans.

STEP Step 1: Plan for Success PURPOSE Teach RESOURCE TYPE Lesson Plan YEAR  3–6 RELATED Creativity in the classroom

• Learn how to use brainstorming and mind-mapping techniques to generate and select great story ideas.
• Includes an editable mind map template.

Five + 1 Senses

STEP Step 3: Tightening Tension PURPOSE Teach RESOURCE TYPE Lesson Plan YEAR  3–6 RELATED   Collaborate, create and celebrate great writing

• Learn how to use the Five + 1 Senses to generate ideas for a tension scene.
• Includes an editable brainstorming template.

Planning Tools

• Need tips on how to implement the Seven Steps? We have a selection of planning resources on Teacher Hub to help you with ideas and inspiration.

Writing Improvement Agenda

STEP All Steps PURPOSE Teach RESOURCE TYPE Planning YEAR  F–10 RELATED Bucking the trend with the Seven Steps

• A sample Term 4 planning document from Allenstown State School in Queensland.
• Amalgamates the NAPLAN marking criteria with the Seven Steps in a fortnightly scheme of work.

• These templates promote creative thinking and encourage students to have fun with the Seven Steps.
• We have a range of templates available for students of all ages and ability levels (see Teacher Hub for more). Students can write or draw on the templates; many are editable PDFs that can be used electronically.

The Chatterbox

STEP Step 1: Plan for Success PURPOSE Apply RESOURCE TYPE Template YEAR F–6

• A random ideas generator that can create over 500 unique story ideas!
• Collaborative story planning game that students love.

Special Power (Book Week 2019)

STEP Step 2: Sizzling Starts PURPOSE Apply RESOURCE TYPE Template/Writing Sample YEAR F–6

• Draw and write a Sizzling Start for the following topic: You wake up to discover you have developed a special power overnight.
• This resource was created by Rosie Russell from Churchlands Primary School and includes a selection of student samples.

Through the Window

STEP Step 2 PURPOSE Apply RESOURCE TYPE Template YEAR F – 2

• Develop your younger students’ creativity with this fun writing (and drawing) template.
• Use the prompt given or create your own – students will have a blast as they learn to write in an engaging way.

Finals Fever

STEP Putting It All Together PURPOSE Apply RESOURCE TYPE Template YEAR F–10 RELATED Finals Fever (how to play)

• Once students have mastered all Seven Steps, take things up a notch with some healthy competition!
• Based on the final eight system in the AFL and NRL – split your class into teams and have them compete for a place in the Grand Final.
• This template is taken from our popular resource Game Cards – Finals Fever  which is available on Teacher Hub.

More narrative resources

Explore more classroom resources and make narrative writing fun with the Seven Steps!

Writing samples and exemplars

Discover the difference Seven Steps can make with these student writing samples. We also have ‘real world’ exemplars – discover how professional authors use the Seven Steps in narrative texts.

Picture writing prompts

These visual prompts offer fun and quick writing practice to develop your students’ writing skills, one Step at a time.

Other text types

Mastered narrative writing? Explore more Seven Steps resources for persuasive and informative writing!

Persuasive writing

Lesson plans and activities to help your students write engaging persuasive texts that convince and inspire the reader.

Informative writing

Lesson plans and activities to help your students write engaging informative texts that bring facts to life.

Narrative Writing Course

Step-by-Step guide to teaching the Seven Steps for narrative writing.

• Chess (Gr. 1-4)
• TV (Gr. 1-4)
• Metal Detectors (Gr. 2-6)
• Tetris (Gr. 2-6)
• Seat Belts (Gr. 2-6)
• The Coliseum (Gr. 2-6)
• The Pony Express (Gr. 2-6)
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Common core state standards related to narrative writing.

CCSS.ELA-Literacy.CCRA.W.3 – Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.

ELA Standards: Writing

CCSS.ELA-Literacy.W.K.3 – Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events, tell about the events in the order in which they occurred, and provide a reaction to what happened. CCSS.ELA-Literacy.W.1.3 – Write narratives in which they recount two or more appropriately sequenced events, include some details regarding what happened, use temporal words to signal event order, and provide some sense of closure. CCSS.ELA-Literacy.W.2.3 – Write narratives in which they recount a well-elaborated event or short sequence of events, include details to describe actions, thoughts, and feelings, use temporal words to signal event order, and provide a sense of closure. CCSS.ELA-Literacy.W.3.3a – Establish a situation and introduce a narrator and/or characters; organize an event sequence that unfolds naturally. CCSS.ELA-Literacy.W.3.3b – Use dialogue and descriptions of actions, thoughts, and feelings to develop experiences and events or show the response of characters to situations. CCSS.ELA-Literacy.W.4.3 – Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences. CCSS.ELA-Literacy.W.4.3d – Use concrete words and phrases and sensory details to convey experiences and events precisely. CCSS.ELA-Literacy.W.4.3e – Provide a conclusion that follows from the narrated experiences or events. CCSS.ELA-Literacy.W.5.3 – Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences. CCSS.ELA-Literacy.W.6.3a – Engage and orient the reader by establishing a context and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically. CCSS.ELA-Literacy.W.7.3 – Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences. CCSS.ELA-Literacy.W.7.3a – Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically. CCSS.ELA-Literacy.W.7.3b – Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters. CCSS.ELA-Literacy.W.8.3c – Use a variety of transition words, phrases, and clauses to convey sequence, signal shifts from one time frame or setting to another, and show the relationships among experiences and events. CCSS.ELA-Literacy.W.8.3d – Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events. CCSS.ELA-Literacy.W.8.3e – Provide a conclusion that follows from and reflects on the narrated experiences or events. CCSS.ELA-Literacy.W.9-10.3a – Engage and orient the reader by setting out a problem, situation, or observation, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events. CCSS.ELA-Literacy.W.11-12.3c – Use a variety of techniques to sequence events so that they build on one another to create a coherent whole and build toward a particular tone and outcome (e.g., a sense of mystery, suspense, growth, or resolution).

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50 Engaging Narrative Essay Topics for High Schoolers

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What’s Covered:

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!

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Narrative Essay Lesson Plans: Tips for Planning

• Categories : English lesson plans for middle school
• Tags : Teaching middle school grades 6 8

Narrative Essay Writing

If you’ve ever told your students to write a narrative essay and left them to their own devices, you probably received lots of stories that started with “once upon a time,” ended with “happily ever after,” and had very little happen in between.

Most students don’t intend to write boring stories, they just hear the word “story,” think, “Easy!” and proceed from there. However, there is a way to fix this and it’s pretty simple. Like anything else you want your students to learn in the classroom, you must teach your students how to write a narrative essay.

Explain the Purpose of a Narrative Essay

Don’t just say the purpose is to tell a story. The purpose of a narrative essay is to move an event through time.

Choose One Event

If a student chooses to write about their family vacation to Disney World, tell them to pick their one favorite moment during the trip. Many times students will want to describe an entire day, starting with what they ate for breakfast and ending with dinner that evening. When teaching them how to write a narrative essay, make sure they know their story should have a clear beginning, middle, and end.

As with any other writing assignment, students should have a plan for how to write their narrative essay. Since they are moving an event through time, they need to figure out what happens when and they should complete a pre-write to do this successfully.

Beginning, Middle, and End

Stories should have a beginning, middle, and end. Students should determine how the story begins, what happens in the middle (where the bulk of the action will take place) and how the story ends.

How to Move an Event Through Time

One way to move an event through time is by choosing words that reflect this movement. Some words that show movement through time are meanwhile, before, after, during, and suddenly. There are many more. Students should choose the ones that make the most sense for their story.

Rising Action & Big Moment

The story should have a big moment, or climax, and it should have events leading up to that big moment. Students frequently make the mistake of rushing through this integral part of the story. They should do just the opposite. This part needs to be slowed down as much as possible in order to build suspense.

Students slow down their big moments by using sensory detail to describe what is happening. If they have a hard time slowing down their big moment, you can tell them their story must contain at least “X” number of sentences in their rising action and big moment. You would only do this if students continually use only one or two sentences in their big moments and you would stop this requirement as soon as students became successful with the concept.

Stories need endings. Students should resolve their endings and wrap up any loose ends. There is no need to leave their readers wondering what happens next.

Use Dialogue

Students should feel free to use dialogue in their stories. Done correctly; dialogue can really bump their stories up to the next level.

No Need to Be 100% Accurate

Many times students base narrative essays on real life events. If they do so, there is no reason they have to tell the story exactly like it happened. This is a time when they not only can , but should, embellish the facts in order to make their stories more interesting.

As always, the more you model what you expect from your students, the more successful they will be. Keep this in mind as you are teaching them how to write a narrative essay and you will be wonderfully surprised at the entertaining stories your students create.

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Narrative Writing High School Lesson Plan Song Analysis for Essay Writing

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Help your students gain a deeper understanding of the characteristics of narrative essay writing with this free song analysis! Students take notes on the characteristics of narrative writing, listen to Pearl Jam's Last Kiss, and analyze its content for narrative characteristics. Click for a complete no-prep 2-Week Narrative Writing Unit !

All materials are available in PDF to print and student materials are writeable in Google Slides.

Top Resources

⭐ Romeo and Juliet Unit Plan

⭐ Expository Writing Essay Unit

⭐ To Kill a Mockingbird Unit Plan

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Tabloid Publisher Testifies Trump Asked Him to ‘Help the Campaign’

The jury heard testimony about what prosecutors say was a conspiracy to bury negative news, including a porn star’s claim of a sexual encounter with Donald Trump. The longtime publisher of The National Enquirer will resume his testimony on Thursday.

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Jesse McKinley and Kate Christobek

Five takeaways from the sixth day of Trump’s criminal trial.

Tuesday’s session of Donald J. Trump’s criminal trial began with a heated clash between Justice Juan M. Merchan and Mr. Trump’s lead lawyer over a gag order . It ended with an insider’s look into a tabloid newspaper practice known as “catch and kill.”

Prosecutors said that Mr. Trump had “willfully and blatantly” violated a gag order barring him from attacking jurors and witnesses, among others. They said he had done so in comments outside the courtroom and online and should be found in contempt of court.

Mr. Trump’s top lawyer said in response that Mr. Trump was simply defending himself from political attacks. Justice Merchan did not rule, but he scolded the lawyer, Todd Blanche, saying, “you’re losing all credibility with the court.”

A former ally of Mr. Trump, David Pecker, the ex-publisher of The National Enquirer, later testified to buying and burying unflattering stories about Mr. Trump during his 2016 run for president, an arrangement he called “highly, highly confidential.”

Mr. Trump, 77, faces 34 felony counts of falsifying business records to hide a payment to a porn star, Stormy Daniels, made to cover up a sex scandal that threatened to derail his campaign. Ms. Daniels, who may testify, has said that she and Mr. Trump had a brief sexual encounter in 2006, something the former president denies.

Mr. Trump has pleaded not guilty. If convicted, the former president — and presumptive Republican nominee — could face probation or up to four years in prison.

Here are five takeaways from Mr. Trump’s sixth day on trial:

Pecker describes “catch-and-kill.”

Taking the stand for a second day, Mr. Pecker outlined a decades-old friendship with Mr. Trump, a relationship that he said deepened in 2015.

It was then, Mr. Pecker said, that he, Mr. Trump and Michael D. Cohen, Mr. Trump’s former lawyer and fixer, met at Trump Tower in Manhattan to hatch a plan to write promotional stories about Mr. Trump and negative stories about his political opponents.

Mr. Pecker said he acted as the campaign’s “eyes and ears,” notifying Mr. Cohen about possible scandals, particularly regarding women in Mr. Trump’s life.

Mr. Pecker on Tuesday walked through one of the “catch-and-kill” deals. He said that The National Enquirer learned that a doorman who had worked at a Trump building was looking to sell a story about Mr. Trump fathering a child out of wedlock. The tabloid discovered that the story was apparently false, but paid $30,000 anyway, “because of the potential embarrassment” it could have caused Mr. Trump, Mr. Pecker said.

Who Are Key Players in the Trump Manhattan Criminal Trial?

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Pecker paints a portrait of a bygone era.

Mr. Pecker’s testimony depicted an anachronistic New York, with landlines, powerful supermarket tabloids and must-see network television, including “The Apprentice,” which made Mr. Trump nationally famous.

It also shed light on Mr. Pecker’s editorial tactics, including getting tips from Mr. Trump about who was getting kicked off “The Apprentice,” in line with Mr. Trump’s penchant for feeding dirt to tabloids.

Mr. Pecker said that he called Mr. Trump “Donald,” and that they had “a great relationship,” adding that he went so far as to start a magazine called Trump Style. When he proposed the magazine, Mr. Pecker said, Mr. Trump’s biggest question was, “Who’s going to pay for it?”

Trump’s short leash could get shorter.

Christopher Conroy, a prosecutor with the Manhattan district attorney’s office, argued that Mr. Trump had repeatedly violated the gag order that the court imposed on him. One alleged violation included a nine-minute diatribe outside the courtroom on Monday during which he attacked Michael Cohen, his former fixer and a key witness against him.

“He did it right here,” Mr. Conroy said.

But Mr. Blanche said that the former president was “facing a barrage of political attacks” from several potential witnesses and needed to strike back.

“He’s running for president,” Mr. Blanche said. “He has to be able to respond to that.”

Justice Merchan has chastised Trump once so far, for muttering in front of a prospective juror. If he holds him in criminal contempt, it will mark a serious escalation. For their part, prosecutors said they were not seeking to jail Mr. Trump, but wanted him to be fined.

A frustrated Trump

Mr. Trump sat stoically while prosecutors argued that he violated the gag order. But he grew animated during the interplay between Mr. Blanche and Justice Merchan. On several occasions, the former president sharply turned to his other lawyers and whispered.

When Mr. Blanche finished his argument, Mr. Trump immediately beckoned him over before he snatched a piece of paper off the defense table.

Mr. Trump posted on Truth Social right after the hearing, accusing Justice Merchan of taking away his “right to free speech” and claiming that he was “not allowed to defend myself.”

Thursday will be a big day for Trump in two courts.

Court is not in session on Wednesday, but prosecutors will continue their direct examination of Mr. Pecker on Thursday.

While Mr. Trump is expected to be in court in Manhattan that day, he may be a little preoccupied: In Washington, some of his other lawyers will be arguing in front of the Supreme Court that Mr. Trump should receive presidential immunity from prosecution in a federal election interference case.

Mr. Trump had sought to take a day away from his New York case to watch those arguments, but Justice Merchan denied his request.

Matthew Haag and Michael Rothfeld

Here’s how a tabloid quashed a doorman’s Trump tip.

David Pecker, the former publisher of The National Enquirer, revealed during Donald J. Trump’s criminal trial on Tuesday how a team of reporters chased down a potentially explosive news tip called into the publication in 2015 that evolved into a catch-and-kill deal.

Dino Sajudin, a former doorman at a Manhattan building managed by the Trump Organization, called the tabloid’s tip line late in 2015 and said he had overheard other employees claiming that Mr. Trump had fathered a child out of wedlock with a woman who previously worked for him.

While the claim appeared to be false, the allegation could have damaged Mr. Trump during the campaign if it ever became public, Mr. Pecker testified in Manhattan Criminal Court on Tuesday.

“I made the decision to buy the story because of the potential embarrassment it would have to the campaign and Mr. Trump,” Mr. Pecker said, adding that it was important to have it “removed from the market.”

The Enquirer initially reached a deal with Mr. Sajudin that would pay him $30,000 if the tip turned into a story. A contract with Mr. Sajudin was shown to the jury on Tuesday, featuring the words “Donald Trump’s illegitimate child.”

Mr. Pecker did not immediately alert Mr. Trump or his longtime fixer, Michael D. Cohen, about the tip, but instead dispatched a team of reporters to investigate the claim. They returned saying that it appeared totally false, in part because the child strongly resembled the man she knew as her father, a Trump Organization driver.

Mr. Cohen eventually heard about the allegation and called the tabloid’s editor, angry that its reporters would even consider the claim had merit. Mr. Pecker testified that Mr. Cohen also called him to say that Mr. Trump had offered to take a DNA test and could not be the child’s father.

The original deal with Mr. Sajudin was nonetheless amended to pay him the $30,000 whether the story was published or not, and adding a confidentiality provision requiring him to pay the publisher $1 million if he disclosed the tip elsewhere.

According to Mr. Pecker, Mr. Cohen told him that “the boss would be very pleased.”

Mr. Sajudin was released from the confidentiality agreement in December 2016, a month after Mr. Trump won the election, which prosecutors say reveals the deal’s true objective.

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Nate Schweber

A day after Trump issued a call for more supporters to gather outside the Manhattan Criminal Courthouse, the number reached its nadir. The number of identifiable Trump fans across the street in Collect Pond Park on Tuesday sank to the mid-single digits, after hovering at about a dozen for a week.

Trump continues to receive favorable treatment from the New York City Police Department. For a week, a large N.Y.P.D. dump truck has parked in the intersection of Hogan Place and Centre Street, with a uniformed driver sitting inside. Minutes before Trump's arrival each morning, the dump truck has pulled a half-car length forward, blocking news photographers’ views of him entering the side door of the courthouse. And this afternoon, like those before it, the driver did the same maneuver for Trump’s 2:37 p.m. departure.

Jim Rutenberg

The National Enquirer’s help for Trump broke norms, even for a tabloid.

The National Enquirer was more than a friendly media outlet for Donald J. Trump’s presidential campaign in 2016. It was a powerful, national political weapon that was thrust into the service of a single candidate, in violation of campaign finance law.

The tabloid’s former publisher, David Pecker, testified nonchalantly on Tuesday about how the tabloid operated in tandem with the Trump campaign, “catching and killing” potentially damaging stories and running elaborate and false hit pieces on Mr. Trump’s opponents. But its practices were unusual even in the wild supermarket tabloid news game.

By the admission of The Enquirer’s own publisher — first made to federal prosecutors years ago during the prosecution of Mr. Trump’s fixer, Michael Cohen — the tabloid was operating with the full intention of helping Mr. Trump’s campaign.

Under the First Amendment, newspapers are permitted to support candidates. But The Enquirer’s support went beyond journalism: The publication paid $150,000 for a story a Playboy model, Karen McDougal, was preparing to tell about an affair she said she had with the candidate. Then, it published nothing.

That sort of deal is not unusual in the tabloid news trade, even if it violates journalistic standards followed by mainstream American outlets like this one, which have rules against paying sources.

But before 2016, there had never been a known catch-and-kill deal to aid a presidential campaign. In that context, The Enquirer’s payment violated federal campaign laws prohibiting corporations from donating to presidential candidates — who are limited to receiving direct donations of $4,400 per person — and forbidding them to coordinate election-related spending with campaigns.

As The Enquirer’s parent company at the time, American Media, admitted in a “non-prosecution” deal with the federal government in 2018: “AMI knew that corporations such as AMI are subject to federal campaign finance laws, and that expenditures by corporations, made for purposes of influencing an election and in coordination with or at the request of a candidate or campaign, are unlawful.”

The deal helped secure Tuesday’s testimony.

(The Federal Election Commission later hit The Enquirer’s parent company with fines of $187,000; Mr. Trump’s campaign escaped sanction .)

The Enquirer was also providing a hidden value to Mr. Trump: By giving over its cover to his political needs, Mr. Pecker gave him the equivalent of free advertising space at most major supermarket checkout lines in the country, where the tabloid had long ago secured prime placement.

One expert said at the time that such exposure could be worth as much as $3 million a month.

Worth potentially even more: The Enquirer’s agreement to keep from the checkout line not only Ms. McDougal’s story but the cache of Trump dirt it had in its own files — “tabloid gold” that would never see the light of day.

Jonah Bromwich

We end the day without a final decision from the judge on whether Trump will be held in contempt and fined for violating his gag order. Justice Merchan could issue a written ruling at any point, or rule from the bench on Thursday or later. There is no deadline.

Michael Gold

Trump, speaking in the hallway outside the courtroom, says he thinks the gag order is unconstitutional. He’s holding a stack of printed articles that he says he’s not sure he’s allowed to share because of the gag order, which only pertains to a limited set of issues. While in the middle of talking to reporters, he says, “I’d love to talk to you people, I’d love to say anything that’s on my mind, but I’m restricted.”

He again criticized the trial as an attempt to interfere with his presidential bid. He complained that President Biden was free to campaign while he was stuck in a courtroom, “sitting up as straight as I can all day long.”

David Pecker is done testifying for the day. The judge gives jurors customary warnings, as well as one we haven’t heard before, about reporting anyone who seeks to violate jury integrity — making it sound almost as if someone has approached a juror inappropriately. Then they leave the courtroom.

Karen McDougal, by the way, was selling a story of having had an affair with Trump. Pecker concluded the day’s testimony by saying that Michael Cohen was becoming increasingly agitated as The National Enquirer editor, Dylan Howard, traveled to hear her story. “It looked like he was getting a lot of pressure to get the answer, like, right away,” Pecker says of Cohen.

David Pecker tells the courtroom that he asked Dylan Howard, the former editor of The National Enquirer, to investigate Karen McDougal’s story and that he told Cohen he had done so. He seems to indicate his conversations with Cohen soon increased in frequency and the two men began to talk multiple times daily. Cohen said they should communicate over Signal, an encrypted app, which is often used for conversations that a person wants to keep private.

Maggie Haberman

The jury is quite alert for this portion of Pecker’s testimony.

Kate Christobek

Trump’s body language changed when Pecker started testifying about the catch-and-kill deal involving McDougal. He started moving his head, squinting and pursing his lips, and then crossed his arms over his chest.

Pecker says he advised Trump to purchase McDougal’s story directly. “I think you should buy it,” he recalls having said to Trump, who was then a candidate for president. He says Trump said he’d think about it and have Cohen call Pecker back.

Matthew Haag

Former tabloid publisher details how he helped Trump’s campaign.

David Pecker, a former publisher of The National Enquirer, on Tuesday testified about the mutually beneficial relationship between Donald J. Trump and the supermarket tabloid that started decades ago and buoyed Mr. Trump’s 2016 presidential campaign.

Mr. Pecker said that the pivotal moment was an August 2015 meeting at Trump Tower in Midtown Manhattan. “I received a call from Michael Cohen telling me that the boss wanted to see me,” Mr. Pecker said, adding that he did not know the nature of the meeting before he showed up.

Mr. Trump had announced his presidential campaign a few months before in the same place, and Mr. Pecker said he arrived to meet not just Mr. Trump but also Mr. Cohen, his fixer at the time.

Mr. Trump and Mr. Cohen asked him how he could “help the campaign,” according to Mr. Pecker, underscoring prosecutors’ argument that the hush-money payments were made to help Mr. Trump get elected.

An outcome of that Trump Tower meeting were negative headlines attacking Mr. Trump’s rivals and positive stories that promoted him. Prosecutors said that negative coverage included stories about Ben Carson, Ted Cruz and Marco Rubio while they were seeking the Republican Party’s nomination.

During the campaign, Mr. Pecker said he worked closely with Mr. Cohen, who would feed him information. Mr. Cohen would call him after Republican debates and ask for negative coverage to be directed at whichever candidate had been most successful onstage.

In turn, The Enquirer would “embellish” the stories, Mr. Pecker said, essentially confessing that it published “fake news” to help Mr. Trump.

Mr. Pecker also said that the tabloid arranged to suppress negative information, especially pertaining to “women selling stories” about Mr. Trump, who Mr. Pecker said was known as “the most eligible bachelor and dated the most beautiful women.”

We are fifteen minutes — at most — away from the end of the day. Steinglass, the prosecutor, appears to be putting a bow on the story of the doorman who sought to sell Trump’s story. But he moves on immediately to the second catch-and-kill deal, which involved the former Playboy model Karen McDougal. She, too, had a story about Trump to sell.

Prosecutors like to end the day with the most intriguing question-and-answer series they can. I’d expected Steinglass to finish with the doorman, and perhaps allow the jurors to leave early. But by moving onto this next deal, he could be setting up a nice cliffhanger to leave jurors with, that he'll pick back up when we return Thursday morning.

Steinglass, the prosecutor, is asking Pecker why he paid so much for this story. “I made the decision to buy the story because of the potential embarrassment it would have to the campaign and Mr. Trump,” Pecker responds. This is catch-and-kill in a nutshell and Pecker just said several times in different ways that he was acting on Trump’s behalf.

Regardless of whether the allegation about Trump fathering the child was true or not, the jury is now being shown a contract the National Enquirer reached with Dino Sajudin, the doorman, in which the words “Donald Trump’s illegitimate child” feature prominently. Things like that can leave a mark.

Pecker says Cohen called him furiously denying that the child in question was Trump's, saying that he offered to take a DNA test and that because he was German-Irish and the woman was Hispanic, it was impossible for the child to be his.

To be clear, Pecker appeared to be saying that Cohen indicated that a child with a Hispanic mother couldn’t be Trump’s.

Trump has often talked about “good genes” and blood lines. While running for president, he has denigrated immigrants from Latin American countries and said undocumented immigrants are “poisoning the blood of our country.”

On the other hand, Pecker did not clarify whether “the woman” he was referring to was the mother of the child or the child herself, who by then was in her 20s.

Pecker is now being asked about Dino Sajudin, a doorman who worked at a Trump building and looked to sell a story — which was apparently false — about Trump fathering a child out of wedlock. This is the first of three catch-and-kill deals that Pecker is expected to describe and we will likely get a fair amount of detail on each of them.

This story clearly bothers Trump. Just like yesterday when it came up during opening statements, he frowned and shook his head.

Pecker says the love child story would have been a big story, and he believed it was important to have it “removed from the market.” Cohen told him “the boss would be very pleased.”

To catch you up, David Pecker, the former publisher of The National Enquirer, has been testifying for nearly two hours, detailing a mutually beneficial relationship between Trump and his publication. Pecker said that at the direction of Trump and his fixer, Michael Cohen, The Enquirer published negative coverage about Trump’s political rivals and positive stories that promoted him. The National Enquirer benefited too, with increased newsstand sales. The tabloid also arranged for negative stories about Trump to be suppressed through “ catch-and-kill ” schemes.

The symbiotic relationship existed for years, Pecker said, stretching back to when Trump hosted the reality television show “The Apprentice.” But it picked up during the presidential campaign after Trump, Cohen and Pecker met at Trump Tower in August 2015.

Trump pulls down the lapels of his jacket sharply and walks out, again looking frustrated. To me, he’s looked far angrier yesterday and today than he did during all of last week, during jury selection.

Trump’s lawyers have objected all along to prosecutors couching Trump’s relationship with Pecker and Michael Cohen as a conspiracy — after all, Trump is not facing a conspiracy charge. But Joshua Steinglass, one of the prosecutors, just noted for the first time in court that one of the election statutes the case is based on does in fact have a conspiracy provision. That could prove important later when the jury is instructed on the laws they must consider in reaching a verdict.

We are taking a short break, though the lawyers and Trump are staying put. From our perspective, it seemed as if the jurors needed it. A few looked like they were flagging. We have no lunch break today — usually it’d be about a half hour away — and this is a lot of information to absorb. Jurors often feel a special responsibility to understand what they’re being told, given their role. It can be very tiring, regardless of the subject matter.

Pecker is now being asked about being introduced to Steve Bannon, Trump’s top campaign strategist, in October 2016. He recalls Trump saying, “I believe you and Steve would get along really well.” Bannon told Pecker that he went through some of the Enquirer articles and liked them, and had some other ideas. Pecker said he would give him old issues to study.

It’s worth recalling that this happened around the same time as the Wikileaks email dump, after a hack of Clinton’s top adviser John Podesta’s account, and the Trump team used that material frequently.

Prosecutors just showed several examples of the negative headlines about Trump's opponents, Ted Cruz, Ben Carson and Marco Rubio.

Pecker is being asked about an infamous Enquirer story linking Ted Cruz’s father to the John F. Kennedy assassination. He says it originated with Dylan Howard, The Enquirer’s editor.

Pecker said that after the Republican debates, Cohen would call him and direct him to focus the negative coverage on whichever candidate had been most successful onstage.

It should be pointed out that Pecker’s testimony isn’t just damaging to Trump. He is, in effect, laying waste to his own professional career by going through headline after headline and suggesting he attacked Trump’s rivals to aid Trump.

Pecker is asked about the nature of Cohen’s relationship to the Trump campaign. Pecker says Cohen always said he didn’t work for the campaign, and that he was instead “Mr. Trump’s personal attorney.” But jurors just heard that Cohen was central to feeding the tabloid negative information about campaign opponents.

“Michael was physically in every aspect of whatever the campaign was working on,” Pecker says. He adds that because Cohen wasn’t officially employed by the campaign, he may have heard things “informally” or “injected himself into it.”

Pecker finally says something mildly helpful to the defense. He says he doesn’t know who Cohen spoke to, and adds that Cohen may have essentially been freelancing, acting of his own volition as he tried to get more involved with the campaign.

Now, we are discussing negative headlines attacking three of Trump's Republican opponents in 2016, Ben Carson, Ted Cruz and Marco Rubio, which prosecutors argue illustrate the outcome of the agreement reached during the Trump Tower meeting. Pecker says that Cohen would feed him negative information and that The National Enquirer would “embellish” and add onto it.

Trump jumped on the negative coverage of Ted Cruz, especially about his father, in 2016. The campaign promoted it like it had come about organically and Trump was simply responding to it.

Trump just leaned in toward the monitor in front of him and squinted to look closer at a collection of headlines from The National Enquirer that praised him. They included: “Donald Trump — Cruzin to victory! Ted endorses Donald” and “Obama’s Half Brother — Cheering on Donald at Debate.”

Prosecutors call Trump’s echo of a Fox News host’s remarks ‘troubling.’

As prosecutors argued Tuesday that former President Donald J. Trump had repeatedly broken a gag order, they called one episode “very troubling” — his sharing of a commentator’s quote disparaging prospective jurors as clandestine operators for the left.

Mr. Trump posted the remark by Jesse Watters, a Fox News commentator, on his social media site Truth Social last week, as jury selection was underway in his hush-money trial. Mr. Trump quoted Mr. Watters as saying, “They are catching undercover Liberal Activists lying to the Judge in order to get on the Trump Jury.”

Mr. Trump’s post embellished the actual remarks made by the commentator, adding the phrase “in order to get on the Trump Jury” when Mr. Watters had not said that on air. A few hours later, however, Mr. Watters posted on X the exact statement as shared by Mr. Trump.

No juror or potential juror has been identified as a liberal activist.

In that Fox News segment, Mr. Watters also shared personal details about the jurors in his segment. The day after that post, the judge in the case, Juan M. Merchan, ordered reporters to withhold some information that could identify jurors.

“What happened here was exactly what this order was meant to prevent and the defendant doesn’t care,” a prosecutor, Christopher Conroy, said in court Tuesday.

A lawyer for Mr. Trump, Todd Blanche, argued that Mr. Trump was simply sharing a quote, a common argument used by Mr. Trump to put distance between him and reposts of other people’s comments.

Judge Merchan did not appear to buy that argument. “It’s not passive,” Mr. Merchan said about how a post is published on Truth Social.

Mr. Conroy said the timing of the “liberal activists” post was important. The next morning, a juror came into court and asked to be excused, saying that friends and colleagues had been able to identify her as a member.

Mr. Watters hosts the nightly program “Jesse Watters Primetime” and is a co-host on “The Five,” a weekday afternoon chat show. He rose to prominence on Fox News for his ambush-style interviews on the street, which included a 2016 segment in which he mocked Asian people in New York City’s Chinatown that was widely seen as trafficking in stereotypes and veering into racism.

Pecker asked that the “catch-and-kill” arrangement be kept secret. Steinglass asks him to explain why. Pecker says he was helping the campaign, and didn’t want it to “leak” that his publication was aiding Trump. He wanted it “very confidential,” he says. Steinglass, satisfied, moves on.

A hearing turns heated as judge considers citing Trump for contempt.

The judge overseeing former President Donald J. Trump’s trial in Manhattan held a fiery hearing on Tuesday about whether to find Mr. Trump in criminal contempt for repeatedly violating the provisions of a gag order.

While the judge, Juan M. Merchan, did not issue an immediate ruling, he engaged in a heated back-and-forth with one of Mr. Trump’s lawyers, scolding him for his failure to offer any facts in his defense of the former president.

“You’ve presented nothing,” Justice Merchan told the lawyer, Todd Blanche, adding soon after: “You’re losing all credibility with the court.”

Justice Merchan’s rebuke came moments after prosecutors in the Manhattan district attorney’s office had complained that Mr. Trump willfully violated the gag order by making 10 public statements on social media and on his campaign website that attacked two likely witnesses and the jury.

The prosecutors pointed to Mr. Trump’s attacks on Michael Cohen, a lawyer who had helped Mr. Trump arrange hush payments to a porn star to stop her from speaking about a sexual encounter she said she had had with Mr. Trump. The prosecutors also told Judge Merchan that a post Mr. Trump had made going after the woman, Stormy Daniels, violated the gag order.

Prosecutors flagged another post for Justice Merchan, saying it was even more troubling. In it, Mr. Trump had quoted a Fox News commentator, Jesse Watters, denigrating potential jurors in the case as “undercover liberal activists.”

Justice Merchan imposed the order on Mr. Trump in late March, barring him from public statements about any witnesses, prosecutors, jurors or court staff. But within a week, after Mr. Trump had found a loophole in the order and repeatedly attacked the judge’s daughter, Justice Merchan expanded it to cover the relatives of court staff members and relatives of lawyers working on the case.

Christopher Conroy, a prosecutor, told Justice Merchan on Tuesday that Mr. Trump had broken the order “repeatedly and hasn’t stopped.” Mr. Conroy added that the former president had made statements violating it even “right here in the hallway” outside the courtroom.

“He knows what he’s not allowed to do,” Mr. Conroy said of Mr. Trump, “and he does it anyhow.”

Mr. Blanche rejected that argument, telling the judge that Mr. Trump had never willfully violated the order. Mr. Blanche instead tried to paint his client’s statements as legitimate responses to “a barrage of political attacks.”

“Mr. Cohen in particular, and also Ms. Daniels, have ramped up their political attacks and their attacks on him as candidate in the weeks leading up to the trial,” Mr. Blanche said. His argument to Justice Merchan was that Mr. Trump should be allowed to respond.

The judge was skeptical, all but pleading with Mr. Blanche at one point to make a more substantive legal argument.

“I hate to keep coming back to this, but you’re not offering me anything to support your argument,” he said.

Prosecutors have asked Justice Merchan to fine Mr. Trump $1,000 for each of his violations of the gag order. They have also asked the judge to warn Mr. Trump that if he continues to violate the order, he could face jail time.

Matthew Haag and Alan Feuer

New York’s court system is publishing daily transcripts of Trump’s trial.

If you want to follow Donald J. Trump’s criminal trial in detail but can’t make it to the Lower Manhattan courthouse in person, you can still read every word of the proceedings.

The New York State Court system will publish a transcript of each day’s court action by the end of the following day on its website. The transcripts can be found here under People v Donald J. Trump (Criminal).

The trial is not televised nor is there live audio, so the transcripts provide the only way to read what is said in the courtroom, word for word.

The court system does not normally release daily transcripts for public consumption and in most cases, seeing transcripts for a court proceeding can be costly. But the court system’s chief administrative judge, Joseph A. Zayas , believed it was the right thing to do.

“This measure is in the interest of the public good and aligns with the court system’s commitment to judicial transparency and its ongoing efforts to enhance public access to, and understanding of, the courts and justice system,” said the judge, who made the decision to publish the transcripts.

In addition to the transcripts, the court website also includes various documents from the hush-money trial, including the 42 questions asked of prospective jurors during jury selection. The site also includes some documents from Mr. Trump’s civil fraud case as well as the previous criminal fraud case against Allen Weisselberg , the former chief financial officer of the Trump Organization.

Jonah E. Bromwich and Ben Protess

Here’s the latest on the trial.

A key witness in Donald J. Trump’s criminal trial pulled back the curtain Tuesday on what prosecutors say was a conspiracy to influence the 2016 presidential election, describing how he used his tabloid to aid Mr. Trump’s campaign.

The witness, David Pecker, the longtime publisher of The National Enquirer, described a 2015 meeting with Mr. Trump and his fixer at the time, Michael D. Cohen. Prosecutors described the meeting, which took place at Mr. Trump’s Midtown Manhattan headquarters, as the “Trump Tower conspiracy.”

Prosecutors say that meeting is where the trio hatched their efforts to conceal several sex scandals during the 2016 campaign. One of those efforts, a $130,000 hush-money payment Mr. Cohen made to a porn star, Stormy Daniels, is at the heart of the case.

Before court adjourned for the day, Mr. Pecker testified that Mr. Cohen and Mr. Trump had asked him what he and his magazines could do “to help the campaign,” a crucial statement that supports the prosecution’s argument that the men were not just protecting Mr. Trump’s personal reputation, but aiding his presidential bid.

“I would be your eyes and ears,” Mr. Pecker recalled telling them, as he explained the tabloid practice of “catch and kill,” in which an outlet bought the rights to a story, only to never publish it.

Mr. Pecker is expected to return to the stand when the trial resumes on Thursday. Court will not be in session on Wednesday.

During roughly three hours of testimony on Tuesday, the tabloid publisher described how Mr. Cohen communicated with him to protect Mr. Trump from negative stories, including a doorman’s apparently false claim that Mr. Trump had fathered a child out of wedlock. Mr. Pecker testified that Mr. Cohen had told him “the boss would be very pleased” to have that story suppressed.

Mr. Pecker also described working with Mr. Cohen to generate negative coverage of Mr. Trump’s political rivals, saying that Mr. Cohen would feed him information and that The National Enquirer would sometimes “embellish” and add onto it.

Mr. Pecker also said that Mr. Cohen was “physically in every aspect of whatever the campaign was working on.” But, in what may have been a positive moment for the defense, he testified that Mr. Cohen, who always insisted that he was not a campaign employee but Mr. Trump’s personal lawyer, may have “injected himself” into the campaign at times.

Mr. Trump, who repaid Mr. Cohen for the hush money, is charged with 34 counts of falsifying business records. Each charge reflects a check, invoice or ledger that prosecutors say disguised the true purpose of his reimbursement of Mr. Cohen, who is expected to be a key witness against him.

Mr. Pecker’s testimony on Tuesday came after a bruising hearing for Mr. Trump and his legal team, as prosecutors argued that Mr. Trump’s attacks on witnesses and jurors posed a “threat” to the trial. They urged the judge to hold him in contempt of court over what they said were 11 violations of the gag order barring him from attacking witnesses, prosecutors, jurors and court staff, as well as their relatives.

A prosecutor, Christopher Conroy, rattled off various statements from Mr. Trump that the district attorney’s office believes crossed the line, including calling Mr. Cohen and Ms. Daniels “sleaze bags” and reposting an attack on the jury pool, which came the night before a juror who had already been seated asked to be excused.

“What happened here was exactly what this order was meant to prevent, and the defendant doesn’t care,” Mr. Conroy said.

Mr. Trump’s lawyer, Todd Blanche, argued that Mr. Trump’s posts were political in nature, and said they did not violate the order because he was simply responding to “a barrage of political attacks,” including from Mr. Cohen.

Prosecutors have asked the judge, Juan M. Merchan, to fine Mr. Trump $1,000 for each violation. Justice Merchan, whose daughter has been among Mr. Trump’s targets, did not immediately rule.

But he appeared skeptical of the defense’s claims. At one point, after Mr. Blanche told the judge that Mr. Trump was trying to comply with the order, Justice Merchan replied, “You’re losing all credibility with the court.”

Here’s what to know on Day 6 of the trial:

The hearing over the gag order was heated at times, with Justice Merchan scolding Mr. Blanche for his failure to offer any facts in his defense of the former president. “You’ve presented nothing,” he said. Read more about the hearing.

One key issue in the hearing involved Mr. Trump echoing the remarks of a Fox News commentator , Jesse Watters, in a social media post. The full quote, as shared by Mr. Trump, said: “They are catching undercover Liberal Activists lying to the Judge in order to get on the Trump Jury.”

Yesterday, in its opening statement, the prosecution accused Mr. Trump, Mr. Cohen and Mr. Pecker of plotting to bury negative stories about Mr. Trump ahead of the 2016 election. Mr. Trump’s lawyer proclaimed that “President Trump is innocent.” Here’s a look back at the day in court.

Five takeaways from the fifth day of Trump’s criminal trial.

Monday marked another key moment in the criminal trial of Donald J. Trump: opening statements, during which the former president listened quietly to the prosecution’s allegations of crimes, and the defense’s counterargument that he was a simple man, wrongly accused.

The jury that will decide Mr. Trump’s case concentrated intently on the statements, which began the presentation of what will be weeks of testimony and other evidence, all in a tense courtroom in Lower Manhattan.

The presumptive Republican presidential nominee once more, Mr. Trump, 77, is charged with falsifying 34 business records in an attempt to cover up a payment to a porn star, Stormy Daniels, in the days before the 2016 election. Ms. Daniels, who may testify, says that she and Mr. Trump had a sexual encounter in 2006, a claim the former president denies.

Mr. Trump has also denied the 34 felony charges, calling them orchestrated by Democrats; if convicted, the former president could face probation or up to four years in prison.

Here are five takeaways from Mr. Trump’s fifth day on trial:

The prosecution has a big story to tell.

The charges faced by Mr. Trump may sound bland — “falsifying business records” doesn’t really set the heart racing — but the prosecution made clear on Monday that it plans on painting a much broader picture.

Matthew Colangelo, a prosecutor, laid out in his opening statement a tale that touched on tabloid journalism , tawdry affairs and covertly recorded phone calls . Jurors will likely be told about events inside fancy hotel rooms, Trump Tower and even the Oval Office. And the stakes? The presidency.

All that suggests that the case will keep jurors wide-awake during the six or so weeks it is projected to take. Indeed, when asked if they wanted paper and pens to take notes, more than half of the people in the jury box (12 jurors and six alternates) raised their hands.

The defense wants to destroy prosecution witnesses.

Mr. Trump’s lead lawyer, Todd Blanche, used his opening statement to cast Mr. Trump’s actions leading to this case as run-of-the-mill business, and said that Mr. Trump is defending himself at trial, just as “any of us would do.”

He argued that the use of a nondisclosure agreement — the document Ms. Daniels signed after receiving the payment — was typical among the wealthy and the famous and “nothing illegal.” He continued that there was nothing wrong with trying to influence an election, adding: “It’s called democracy.”

Mr. Blanche also attacked Mr. Cohen, a former lawyer and fixer for Mr. Trump. He said Mr. Cohen, who pleaded guilty to federal campaign finance crimes in 2018, was a “criminal” who “can’t be trusted.” He added that Ms. Daniels was “biased” against Mr. Trump and made a living off her story about the sexual encounter.

He called the heart of the prosecution case just “34 pieces of paper” that don’t involve Mr. Trump.

Trump was muted during the abbreviated day in court.

On Mr. Trump’s way into the courtroom on Monday, he addressed reporters for about three minutes and blasted a range of perceived enemies, including New York’s attorney general, Letitia James, and the judge in a recent civil fraud case that resulted in a $454 million judgment against him.

But Mr. Trump’s behavior during opening statements reflected that he understood the gravity of the moment.

Mr. Trump made no outbursts during the prosecution’s opening statement, although he occasionally showed displeasure: He shook his head slightly at arguments that he orchestrated a scheme to corrupt the presidential election and then more strenuously when prosecutors said he was guilty of felonies.

During his own side’s opening statement, Mr. Trump sat largely motionless and expressionless watching his lawyer Mr. Blanche. Mr. Trump’s behavior was muted compared with his volatility during past Manhattan court appearances.

But at the conclusion of the trial day, Mr. Trump took his preferred spot in front of a television camera in the hallway, and spoke for more than nine minutes, attacking the prosecutor’s case — once again — as unfair.

David Pecker used to live on celebrity news. Now, he is the news.

Prosecutors’ first witness was David Pecker, the longtime publisher of The National Enquirer . He ambled to the stand and promptly gave a lesson in the ways of tabloid journalism, including the purchasing of articles — anything more than $10,000, he had to approve — and the significance of putting a famous face right out front.

“The only thing that was important is the cover of a magazine,” Mr. Pecker testified.

In about 30 minutes of testimony, Mr. Pecker also laid out trade secrets on sourcing, saying hotel workers and limo drivers could be a font of information on the rich and famous.

He seemed at ease: laughing at a prosecutor’s jokes, and sometimes directly addressing the jury just a few feet away.

We’re moving right along.

Over the past five trial days, the judge overseeing the case, Juan M. Merchan, has shown that he is eager to keep this trial on schedule. He seems serious about keeping his word to the jurors that the trial will last six weeks.

On Monday, truncated by a juror’s dental emergency and the Passover holiday, he decided to start with the first witness — Mr. Pecker — despite having only half an hour left on his schedule.

On Tuesday, the court will first consider a prosecution motion to hold Mr. Trump in contempt over recent comments that they say violated a gag order meant to keep him from attacking participants in the trial and their families.

Then, Mr. Pecker will continue on the stand, probably diving deeper into the “catch-and-kill” scheme used to buy up — and cover up — unflattering stories, a central element of the prosecution’s narrative.

Court will end early again, at 2 p.m., for further observance of Passover and then will have its weekly Wednesday break.

But there is little indication that as the weeks pass, Justice Merchan will let the pace slacken.

Michael Rothfeld

A look at how tabloids used ‘catch-and-kill’ to trade on the secrets of celebrities.

“Catch-and-kill” is a term coined by old-time tabloid editors for buying the exclusive rights to stories, or “catching” them, for the specific purpose of ensuring the information never becomes public. That’s the “killing” part.

Why would anyone want to spend money on a story that it never intends to publish? In the world of tabloid journalism, where ethical lines are blurry, deciding what to publish and why is often a calculus that covers favors doled out and chits called in.

David Pecker, the former publisher of The National Enquirer, who also oversaw other tabloids such as Star and lifestyle publications such as Men’s Fitness, was a master of the technique , according to people who have worked for him.

In 2003, Mr. Pecker’s company, American Media Inc., bought several muscle magazines founded by a mentor of Arnold Schwarzenegger, the bodybuilding legend and movie star. When Mr. Schwarzenegger, who was often featured in those magazines, jumped into the recall election to replace California’s governor, Mr. Pecker ordered his staff to buy up negative stories about him in order to protect his investment, former employees said.

Staff members called it “the David Pecker Project.” American Media paid $20,000 to a former mistress of Mr. Schwarzenegger so that she would not speak about their affair — though news of it had previously been published. The company paid another $1,000 to her friend and $2,000 to a man who had a video of Mr. Schwarzenegger dancing lewdly in Rio de Janeiro 20 years earlier. Mr. Schwarzenegger was elected governor.

Mr. Pecker’s publications made deals with other celebrities as well, though not always for money. He traded away dirt about the golfer Tiger Woods in exchange for an exclusive interview in Men’s Fitness in 2007, according to people with knowledge of that episode.

And, according to the prosecutors in the Manhattan trial of Donald J. Trump, Mr. Pecker employed “catch-and-kill” tactics in the 2016 presidential election, paying a doorman and a Playboy model to suppress negative stories about Mr. Trump and boost the candidacy of his longtime associate.

Who is David Pecker, the trial’s first witness?

The first witness in Donald J. Trump’s criminal trial is David Pecker, who was the publisher of The National Enquirer, and had traded favors with Mr. Trump since the 1990s.

Mr. Pecker, who was sometimes referred to as the “tabloid king,” had long used his publications to curry favor with Mr. Trump and other celebrities, in exchange for tips or for business reasons. Staff members called Mr. Trump, like other favored stars who were off limits, an “F.O.P.” — “Friend of Pecker.”

Mr. Trump and Mr. Pecker, along with Mr. Trump’s former fixer Michael D. Cohen, hatched a plan in August 2015 to boost his upstart presidential campaign, prosecutors say. The former Trump allies are each expected to take a turn on the witness stand, giving testimony that could help make him the first president convicted of a felony.

Prosecutors for Alvin L. Bragg , the Manhattan district attorney, will try to show that the hush money payment to a porn star at the center of the trial was part of a larger effort to suppress negative news about Mr. Trump to sway the election. That scheme, they will contend, includes two other deals, both involving Mr. Pecker.

Mr. Trump had announced his presidential campaign in June 2015. The plan the men laid out two months later was simple, according to court documents, interviews with people involved in the events or familiar with them, private communications and other records.

Mr. Pecker would use The Enquirer to publish positive stories about Mr. Trump’s campaign and negative stories about his rivals. He would alert Mr. Trump, through Mr. Cohen, when The Enquirer learned of stories that might threaten Mr. Trump. The Enquirer could buy the rights to those stories in order to suppress them, a practice known in the tabloid world as “catch and kill.”

In late 2015, Mr. Pecker’s company paid $30,000 to suppress a claim by a former doorman at a Trump building who said he had heard Mr. Trump fathered a child out of wedlock — a rumor that was apparently untrue.

Then in August 2016, The Enquirer’s parent company paid $150,000 to a former Playboy model, Karen McDougal, to keep her account of an affair with Mr. Trump quiet. Two months later, Mr. Pecker and The Enquirer’s editor helped Mr. Cohen negotiate a $130,000 hush-money payment to Stormy Daniels, the former porn star who also said she had sex with Mr. Trump. He has denied both women’s claims.

Mr. Cohen pleaded guilty to federal campaign finance crimes in 2018.

The Enquirer’s parent company, American Media Inc., made a deal that year to avoid federal prosecution, acknowledging that it had illegally tried to influence the election .