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Ancient Wisdom for Modern Readers
How to Tell a Story: An Ancient Guide to the Art of Storytelling for Writers and Readers
An inviting and highly readable new translation of Aristotle's complete Poetics--the first and best introduction to the art of writing and understanding stories
Aristotle's Poetics is the most important book ever written for writers and readers of stories--whether novels, short fiction, plays, screenplays, or nonfiction. Aristotle was the first to identify the keys to plot, character, audience perception, tragic pleasure, and dozens of other critical points of good storytelling. Despite being written more than 2,000 years ago, the Poetics remains essential reading for anyone who wants to learn how to write a captivating story--or understand how such stories work and achieve their psychological effects. Yet for all its influence, the Poetics is too little read because it comes down to us in a form that is often difficult to follow, and even the best translations are geared more to specialists than to general readers who simply want to grasp Aristotle's profound and practical insights. In How to Tell a Story, Philip Freeman presents the most readable translation of the Poetics yet produced, making this indispensable handbook more accessible, engaging, and useful than ever before.
In addition to its inviting and reliable translation, a commentary on each section, and the original Greek on facing pages, this edition of the Poetics features unique bullet points, chapter headings, and section numbers to help guide readers through Aristotle's unmatched introduction to the art of writing and reading stories.
Aristotle's Poetics is the most important book ever written for writers and readers of stories--whether novels, short fiction, plays, screenplays, or nonfiction. Aristotle was the first to identify the keys to plot, character, audience perception, tragic pleasure, and dozens of other critical points of good storytelling. Despite being written more than 2,000 years ago, the Poetics remains essential reading for anyone who wants to learn how to write a captivating story--or understand how such stories work and achieve their psychological effects. Yet for all its influence, the Poetics is too little read because it comes down to us in a form that is often difficult to follow, and even the best translations are geared more to specialists than to general readers who simply want to grasp Aristotle's profound and practical insights. In How to Tell a Story, Philip Freeman presents the most readable translation of the Poetics yet produced, making this indispensable handbook more accessible, engaging, and useful than ever before.
In addition to its inviting and reliable translation, a commentary on each section, and the original Greek on facing pages, this edition of the Poetics features unique bullet points, chapter headings, and section numbers to help guide readers through Aristotle's unmatched introduction to the art of writing and reading stories.
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First published January 1, 2022
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About the author
Aristotle
3,936 books5,483 followersAristotle (Greek: Αριστοτέλης; 384–322 BC) was an Ancient Greek philosopher and polymath. His writings cover a broad range of subjects spanning the natural sciences, philosophy, linguistics, economics, politics, psychology, and the arts. As the founder of the Peripatetic school of philosophy in the Lyceum in Athens, he began the wider Aristotelian tradition that followed, which set the groundwork for the development of modern science.
Little is known about Aristotle's life. He was born in the city of Stagira in northern Greece during the Classical period. His father, Nicomachus, died when Aristotle was a child, and he was brought up by a guardian. At 17 or 18, he joined Plato's Academy in Athens and remained there until the age of 37 (c. 347 BC). Shortly after Plato died, Aristotle left Athens and, at the request of Philip II of Macedon, tutored his son Alexander the Great beginning in 343 BC. He established a library in the Lyceum, which helped him to produce many of his hundreds of books on papyrus scrolls.
Though Aristotle wrote many treatises and dialogues for publication, only around a third of his original output has survived, none of it intended for publication. Aristotle provided a complex synthesis of the various philosophies existing prior to him. His teachings and methods of inquiry have had a significant impact across the world, and remain a subject of contemporary philosophical discussion.
Aristotle's views profoundly shaped medieval scholarship. The influence of his physical science extended from late antiquity and the Early Middle Ages into the Renaissance, and was not replaced systematically until the Enlightenment and theories such as classical mechanics were developed. He influenced Judeo-Islamic philosophies during the Middle Ages, as well as Christian theology, especially the Neoplatonism of the Early Church and the scholastic tradition of the Catholic Church.
Aristotle was revered among medieval Muslim scholars as "The First Teacher", and among medieval Christians like Thomas Aquinas as simply "The Philosopher", while the poet Dante Alighieri called him "the master of those who know". His works contain the earliest known formal study of logic, and were studied by medieval scholars such as Pierre Abélard and Jean Buridan. Aristotle's influence on logic continued well into the 19th century. In addition, his ethics, although always influential, gained renewed interest with the modern advent of virtue ethics.
Little is known about Aristotle's life. He was born in the city of Stagira in northern Greece during the Classical period. His father, Nicomachus, died when Aristotle was a child, and he was brought up by a guardian. At 17 or 18, he joined Plato's Academy in Athens and remained there until the age of 37 (c. 347 BC). Shortly after Plato died, Aristotle left Athens and, at the request of Philip II of Macedon, tutored his son Alexander the Great beginning in 343 BC. He established a library in the Lyceum, which helped him to produce many of his hundreds of books on papyrus scrolls.
Though Aristotle wrote many treatises and dialogues for publication, only around a third of his original output has survived, none of it intended for publication. Aristotle provided a complex synthesis of the various philosophies existing prior to him. His teachings and methods of inquiry have had a significant impact across the world, and remain a subject of contemporary philosophical discussion.
Aristotle's views profoundly shaped medieval scholarship. The influence of his physical science extended from late antiquity and the Early Middle Ages into the Renaissance, and was not replaced systematically until the Enlightenment and theories such as classical mechanics were developed. He influenced Judeo-Islamic philosophies during the Middle Ages, as well as Christian theology, especially the Neoplatonism of the Early Church and the scholastic tradition of the Catholic Church.
Aristotle was revered among medieval Muslim scholars as "The First Teacher", and among medieval Christians like Thomas Aquinas as simply "The Philosopher", while the poet Dante Alighieri called him "the master of those who know". His works contain the earliest known formal study of logic, and were studied by medieval scholars such as Pierre Abélard and Jean Buridan. Aristotle's influence on logic continued well into the 19th century. In addition, his ethics, although always influential, gained renewed interest with the modern advent of virtue ethics.
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Displaying 1 - 30 of 65 reviews
February 1, 2023
Another gem in the long-running Princeton Press series "Ancient Wisdom for Modern Readers." Aristotle's Poetics, on which How to Tell a Story is based, is not just one of the classics of western literature, but a book that is still very much used in writing programs today. The specific advice that Aristotle gives to authors has kept its value across 23 centuries, which is no small feat. The volume focuses on tragedy and epic, and includes suggestions on character and plot development, common mistakes to avoid, and even pointers on how to respond to one's critics. The very last sentence, though, is heartbreaking: “And now let us turn to comedy …” Unfortunately, the section on comedy is lost to the sands of time.
January 1, 2023
no bc how are you supposed to be mad at a philosopher who wrote this milleniums before you were even born? like yeah it’s outdated it’s in ancient greece guys. anyways it was pretty interesting and the translation was readable. many parts of it still pertain to modern day storytelling, but not all.
July 20, 2025
All kudos to one of the greatest theorists of various topics!
August 23, 2022
I went into this book expecting something of a compendium of ancient insight into the art of storytelling. While that wasn’t precisely what I came out of this with, I still feel that my reading of this book was worthwhile. The way in which this book deviated from my expectations was largely in the realm of scope, for, rather than covering storytelling as a whole, it largely concerned itself with the genres of tragedy and epic. This may actually have turned into something of an upside, as this book gave me a small nudge into a deep well of tragic and epic literature—that I’ve been enjoying thoroughly—that I’m still plumbing the depths of; furthermore, the actual instruction given on writing within these genres appears to have well stood the test of millenia, and has piqued my interest enough to start me plotting a tale of my own.
I can’t authoritatively speak on the quality of the translation itself, but it was easy enough to read, adeptly explained context for Greek metaphor and turn-of-phrase, and (to my, granted, inexperienced eye) seemed to hold the same feeling of aristotelian oeuvre.
The book was not without its black marks, however. It, ah, possesses some societal inclinations that are… understandably outdated (that does not make them acceptable, simply understandable). In the portion of the book devoted to poor characterization, it was noted that, “A character can be courageous, for example, but it would be inappropriate for a female character to be courageous or clever in the same way as a man,” which can hopefully be acknowledged as incorrect, and passed over in order to reach the rest of the book. Speaking of the rest of the book, it’s largely great; it contains potent explanations of how to “evoke pity and fear” for tragedy through appropriate use of character, plot, and spectacle and further subdivides and analyzes these categories.
As far as a recommended audience is concerned, I would probably recommend this book to poets in the 300s BC, those interested in writing in the style of Greek tragedy or epic, anyone interested in Aristotle’s musings on writing, or anyone interested in seeing something of an analysis of genre from that time period.
I can’t authoritatively speak on the quality of the translation itself, but it was easy enough to read, adeptly explained context for Greek metaphor and turn-of-phrase, and (to my, granted, inexperienced eye) seemed to hold the same feeling of aristotelian oeuvre.
The book was not without its black marks, however. It, ah, possesses some societal inclinations that are… understandably outdated (that does not make them acceptable, simply understandable). In the portion of the book devoted to poor characterization, it was noted that, “A character can be courageous, for example, but it would be inappropriate for a female character to be courageous or clever in the same way as a man,” which can hopefully be acknowledged as incorrect, and passed over in order to reach the rest of the book. Speaking of the rest of the book, it’s largely great; it contains potent explanations of how to “evoke pity and fear” for tragedy through appropriate use of character, plot, and spectacle and further subdivides and analyzes these categories.
As far as a recommended audience is concerned, I would probably recommend this book to poets in the 300s BC, those interested in writing in the style of Greek tragedy or epic, anyone interested in Aristotle’s musings on writing, or anyone interested in seeing something of an analysis of genre from that time period.
September 30, 2024
Very clear and readable translation of the Poetics. Translation accuracy is a matter someone much more trained than I will have to speak to. But this is a genuinely enjoyable read in which the Aristotle’s clear-eyed wisdom on the art of storytelling shines.
May 5, 2025
I thought this book was a great introduction to how to write stories. It mainly focuses on the definition of a tragedy and how tragedy differs from an epic. Lots of stuff came up from English classes from high school and made me regret not being as attentive as a student. I was kind of disappointed because Aristotle teases the section on comedy (which may or may not have been why I got the book) but doesn’t reach it. However this isn’t the books fault, that part of Poetics was just lost to history.
Read
March 16, 2023Not sure how to rate this one. It was very readable and understandable and I loved reading it while listening to the Literary Life podcast but not sure I would have appreciated it reading it alone. I really enjoyed this translation. Definitely easier to understand if you are at least familiar with Oedipus (thank you high school!… even so long ago that one is hard to forget!) and some of Homer (high school and more recently in our homeschool).
January 28, 2023
Beethoven: Symphony No. 6
June 29, 2025
Being my first work by Aristotle, Poetics has earned him my utmost respect. As a lover of literature and storytelling, this was an absolute joy to read.
Possibly the earliest systematic study of literature, this work treats the subject with reverence and explores both its purpose and mechanics. Before reading this book, I hadn’t expected such depth of thought to be applied to plays, tragedies, epics, and comedy over 2,000 years ago.
Aristotle does not shy away from criticism, and the consistent examples of playwrights who "got an aspect of poetry wrong" provided me with great insight and entertainment.
The translator did an amazing job organizing this edition of a classic. There are parts I disagree with of course, but overall this book is an intellectual engagement with story-telling & literature that I would highly recommend!
Possibly the earliest systematic study of literature, this work treats the subject with reverence and explores both its purpose and mechanics. Before reading this book, I hadn’t expected such depth of thought to be applied to plays, tragedies, epics, and comedy over 2,000 years ago.
Aristotle does not shy away from criticism, and the consistent examples of playwrights who "got an aspect of poetry wrong" provided me with great insight and entertainment.
The translator did an amazing job organizing this edition of a classic. There are parts I disagree with of course, but overall this book is an intellectual engagement with story-telling & literature that I would highly recommend!
January 23, 2023
There are some useful tid-bits here and there. Aristotle is mainly concerned with ancient Greek forms of literature and story-telling, particularly tragedy and epic. He critiques and celebrates the different forms and highlights what makes a good story.
July 13, 2024
Modern compilation, translation, and retelling of Aristotle's essays on "Poetics".
His narratives on storytelling are quite interesting; not only is it from a very logical perspective, he is brings up surprisingly hard arguments in different angles for theatric concepts.
Content itself gave much insight on the foundation of western storytelling and theatrics, its like Id got a glimpse of a cornerstone of present day media.
His narratives on storytelling are quite interesting; not only is it from a very logical perspective, he is brings up surprisingly hard arguments in different angles for theatric concepts.
Content itself gave much insight on the foundation of western storytelling and theatrics, its like Id got a glimpse of a cornerstone of present day media.
June 20, 2022
Phew.
I can imagine an english teacher with a turtle neck, putting on vinyl, pouring a glass of wine, and setting down with this book, only to throw it away in disgust.
I feel like Aristotle was better off leaving these ideas in his lecture notes.
In a very dated compilation, the great philosopher provides a lesson on story telling. He would sh*t his pants if he saw the ways story was told over the last millennium.
Big flubs on his part: Aristotle insists woman should never be the protagonist because they aren’t as interesting or intelligent as men. He then claims villains or unsympathetic characters should never be the main character. Not sure how he would feel that Joker was a billion dollar earner. Also, stories should be told around famous families or royalty. Anything below this would be uninteresting and lowly. Somewhere, Oliver Twist and Annie are punching at the air right now.
Aristotle goes on to profess and dismiss his fandom and loathing of epics and tragedies, drooling over Homer, but frowning at everyone else for daring to make anything that he considered too long.
Speaking of too long, let me close this book. I could write a rebuttal as long as an epic to dismiss the claims made here. That’s enough literature criticism for me.
I can imagine an english teacher with a turtle neck, putting on vinyl, pouring a glass of wine, and setting down with this book, only to throw it away in disgust.
I feel like Aristotle was better off leaving these ideas in his lecture notes.
In a very dated compilation, the great philosopher provides a lesson on story telling. He would sh*t his pants if he saw the ways story was told over the last millennium.
Big flubs on his part: Aristotle insists woman should never be the protagonist because they aren’t as interesting or intelligent as men. He then claims villains or unsympathetic characters should never be the main character. Not sure how he would feel that Joker was a billion dollar earner. Also, stories should be told around famous families or royalty. Anything below this would be uninteresting and lowly. Somewhere, Oliver Twist and Annie are punching at the air right now.
Aristotle goes on to profess and dismiss his fandom and loathing of epics and tragedies, drooling over Homer, but frowning at everyone else for daring to make anything that he considered too long.
Speaking of too long, let me close this book. I could write a rebuttal as long as an epic to dismiss the claims made here. That’s enough literature criticism for me.
October 3, 2022
I am unable to relate to the examples that Aristotle made in this book. What can one expect? Its an ancient guide.
Some of the concepts make sense, while others hold untrue in modern times. A slave is inferiormost person of all according to Aristotle... (and thus? have no virtues? no voice? what is he getting at...?). He should have seen the movie Django Unchained.
He also talks about the concepts of tragedy, imitation, promotes the idea that conflicts among families and friends make good stories and about the concept of plot of the story. These concepts feels more like an introduction rather than an in depth discussion of why it works and why it doesn't.
Do I finish this book and feel that I can tell a story better? I suppose it made me to observe more about stories.
Some of the concepts make sense, while others hold untrue in modern times. A slave is inferiormost person of all according to Aristotle... (and thus? have no virtues? no voice? what is he getting at...?). He should have seen the movie Django Unchained.
He also talks about the concepts of tragedy, imitation, promotes the idea that conflicts among families and friends make good stories and about the concept of plot of the story. These concepts feels more like an introduction rather than an in depth discussion of why it works and why it doesn't.
Do I finish this book and feel that I can tell a story better? I suppose it made me to observe more about stories.
May 6, 2023
For those who are genuinely interested in writing, I’m sure this book is perfect.
A few key points I’ve taken away but there are many more genuinely helpful things enthusiastic writers can gather from this.
Also references lots of other story’s and writers of the time which you could go and read on afterwards.
Could be 4 stars but I personally didn’t love it as much as I have other books
A few key points I’ve taken away but there are many more genuinely helpful things enthusiastic writers can gather from this.
Also references lots of other story’s and writers of the time which you could go and read on afterwards.
Could be 4 stars but I personally didn’t love it as much as I have other books
October 8, 2024
Interesting, sometimes funny, and occasionally offensive to modern sensibilities. I enjoyed this edition. The short introduction by Philip Freeman was helpful, and his translation was very accessible. (I glanced at some passages in Stephen Halliwell's translation in the Loeb Classical Library and was surprised to find his translation, too, quite accessible.) Some quotes:
"The people represented must be either good or bad in their character. Almost everyone is marked by either a good or a bad character, since it is by virtue or vice that the character of a person is known."
"Tragedy imitates a better sort of person than us. Comedy imitates people worse than we are." (Note: Aristotle's discussion of comedy is lost.)
"We often use trimeters in everyday conversation, but not other meters such as hexameters, except when were departing from our normal style of speech." Imagine what that would be like!
"The most important element in any tragedy is plot."
"A final argument for the supremacy of plot is that beginning writers can often achieve excellence in speech and characterization before they can master the structure of a story. Almost all our earliest tragic writers share this deficiency as well."
"A story that is complete must have a beginning, middle, and ending."
"A simple definition of the proper length of a story would be that it is long enough to allow a change from good fortune to bad or bad fortune to good, in accord with what is probable or necessary."
"A plot should be structured so that if any of its episodes were rearranged or removed, the whole story would be disturbed and dislocated. If this isn't the case, then that episode is not an essential part of the whole." There are some implications here for any type of communication, including preaching.
"It is clear from all of this that a writer should be a maker of plots more than of verses, for a tragic poet is a creator of imitations, and imitations are of actions."
"As we mentioned earlier, the best tragic plots are complex (with reversal and recognition), not simple, and should evoke pity and fear in an audience, since this is what imitation in tragedy does."
"But plot is the best way and should be the aim of the best writers, for the plot should be so strong that even those just hearing of it and not seeing it onstage will feel horror and pity about what happens (as anyone would with Oedipus)."
"The characters are good if their choices are good. This is possible in every class of person, even slaves and women, though women are weaker and slaves inferior. ... A character can be courageous, for example, but it would be inappropriate for a female character to be courageous or clever in the same way as a man."
"The best kind of recognition arises naturally from the course of events so that the emotional impact comes about by probable actions, as in Sophocless Oedipus and Euripidess Iphigenia (since it is probable she would want to send a letter). This best type of recognition happens without tokens and necklaces. But the second-best type is recognition by reasoning."
"The truest anger or distress is conveyed by authors who actually feel anger or distress in their soul. Thus the best writers are those who are either highly gifted or insane. The gifted ones have versatile imaginations, but the latter have lost their minds."
"But the proper and most important way to compare and judge tragedies is by plot, that is, how the writers handle both complication and resolution. Some writers are good at creating complications, but bad at resolutions. Excellence at both is what makes a great story."
"The most important thing in the language of storytelling is to be clear, but not too ordinary. ... What a writer should aim for in language is a mixture of the special and the ordinary."
"Therefore, in the end, we can say that tragedy achieves its purpose better than epic and is the superior kind of storytelling."
From Freeman's introduction: "As Aaron Sorkin, the Academy Award-winning screenwriter behind The Social Network and The West Wing says: 'Rules are what makes art beautiful. ... These rules also apply to writing. The rulebook is the Poetics by Aristotle. All the rules are there.'"
"The people represented must be either good or bad in their character. Almost everyone is marked by either a good or a bad character, since it is by virtue or vice that the character of a person is known."
"Tragedy imitates a better sort of person than us. Comedy imitates people worse than we are." (Note: Aristotle's discussion of comedy is lost.)
"We often use trimeters in everyday conversation, but not other meters such as hexameters, except when were departing from our normal style of speech." Imagine what that would be like!
"The most important element in any tragedy is plot."
"A final argument for the supremacy of plot is that beginning writers can often achieve excellence in speech and characterization before they can master the structure of a story. Almost all our earliest tragic writers share this deficiency as well."
"A story that is complete must have a beginning, middle, and ending."
"A simple definition of the proper length of a story would be that it is long enough to allow a change from good fortune to bad or bad fortune to good, in accord with what is probable or necessary."
"A plot should be structured so that if any of its episodes were rearranged or removed, the whole story would be disturbed and dislocated. If this isn't the case, then that episode is not an essential part of the whole." There are some implications here for any type of communication, including preaching.
"It is clear from all of this that a writer should be a maker of plots more than of verses, for a tragic poet is a creator of imitations, and imitations are of actions."
"As we mentioned earlier, the best tragic plots are complex (with reversal and recognition), not simple, and should evoke pity and fear in an audience, since this is what imitation in tragedy does."
"But plot is the best way and should be the aim of the best writers, for the plot should be so strong that even those just hearing of it and not seeing it onstage will feel horror and pity about what happens (as anyone would with Oedipus)."
"The characters are good if their choices are good. This is possible in every class of person, even slaves and women, though women are weaker and slaves inferior. ... A character can be courageous, for example, but it would be inappropriate for a female character to be courageous or clever in the same way as a man."
"The best kind of recognition arises naturally from the course of events so that the emotional impact comes about by probable actions, as in Sophocless Oedipus and Euripidess Iphigenia (since it is probable she would want to send a letter). This best type of recognition happens without tokens and necklaces. But the second-best type is recognition by reasoning."
"The truest anger or distress is conveyed by authors who actually feel anger or distress in their soul. Thus the best writers are those who are either highly gifted or insane. The gifted ones have versatile imaginations, but the latter have lost their minds."
"But the proper and most important way to compare and judge tragedies is by plot, that is, how the writers handle both complication and resolution. Some writers are good at creating complications, but bad at resolutions. Excellence at both is what makes a great story."
"The most important thing in the language of storytelling is to be clear, but not too ordinary. ... What a writer should aim for in language is a mixture of the special and the ordinary."
"Therefore, in the end, we can say that tragedy achieves its purpose better than epic and is the superior kind of storytelling."
From Freeman's introduction: "As Aaron Sorkin, the Academy Award-winning screenwriter behind The Social Network and The West Wing says: 'Rules are what makes art beautiful. ... These rules also apply to writing. The rulebook is the Poetics by Aristotle. All the rules are there.'"
May 4, 2025
How to Tell a Story: An Ancient Guide to the Art of Storytelling for Writers and Readers is a refreshing reminder that Aristotle’s wisdom remains as true and vital today as it was in ancient Greece. This remarkable translation of Poetics serves not merely as an academic relic but as a living testament to the timeless nature of storytelling, resonating with readers and writers alike in our modern age.
The heart of this book lies in Aristotle’s understanding of the human condition. He recognized that our attraction to stories that grip, move, and compel us is universal—unchanged by centuries of technological and cultural shifts. Aristotle’s structure and discipline in storytelling are no mere historical curiosities; they are the foundations of what makes a story enduring. In an age of rapid consumption and fleeting narratives, Aristotle reminds us that the core principles of plot, character, and catharsis are essential to creating stories that resonate on a deeper level.
While some may scoff at the idea of a Netflix-binge audience turning to ancient wisdom for guidance, How to Tell a Story strikes a chord for those who seek more than formulaic entertainment. Aristotle believed storytelling to be an art that explores the highest forms of human drama, and this book invites modern readers to reconnect with the soul of narrative rather than simply focusing on market trends or the latest publishing fads.
The book truly shines in this philosophical depth. Aristotle’s ideas about mimesis and anagnorisis go beyond technical advice. They address why stories matter. They speak to our shared humanity and innate desire to reflect, learn, and experience catharsis through storytelling. In a world often dominated by commercial expediency, this book reminds us that stories have the power to touch the core of the human experience and elevate us beyond mere entertainment.
Though Aristotle’s guidance may seem lofty or abstract to the modern writer or reader, this loftiness challenges us. He asks us to look beyond the superficial and consider storytelling an art form transcending time. Whether one is crafting a Hollywood blockbuster or a literary novel, the principles Aristotle lays down about structure and emotional impact remain profoundly relevant.
In How to Tell a Story, we find more than a historical treatise; we see a bridge between the ancient and the modern—a reminder that the stories that move us today are built on a foundation as old as humanity. Aristotle’s legacy, now freshly presented for contemporary readers, remains a powerful guide to understanding the art and soul of storytelling.
The heart of this book lies in Aristotle’s understanding of the human condition. He recognized that our attraction to stories that grip, move, and compel us is universal—unchanged by centuries of technological and cultural shifts. Aristotle’s structure and discipline in storytelling are no mere historical curiosities; they are the foundations of what makes a story enduring. In an age of rapid consumption and fleeting narratives, Aristotle reminds us that the core principles of plot, character, and catharsis are essential to creating stories that resonate on a deeper level.
While some may scoff at the idea of a Netflix-binge audience turning to ancient wisdom for guidance, How to Tell a Story strikes a chord for those who seek more than formulaic entertainment. Aristotle believed storytelling to be an art that explores the highest forms of human drama, and this book invites modern readers to reconnect with the soul of narrative rather than simply focusing on market trends or the latest publishing fads.
The book truly shines in this philosophical depth. Aristotle’s ideas about mimesis and anagnorisis go beyond technical advice. They address why stories matter. They speak to our shared humanity and innate desire to reflect, learn, and experience catharsis through storytelling. In a world often dominated by commercial expediency, this book reminds us that stories have the power to touch the core of the human experience and elevate us beyond mere entertainment.
Though Aristotle’s guidance may seem lofty or abstract to the modern writer or reader, this loftiness challenges us. He asks us to look beyond the superficial and consider storytelling an art form transcending time. Whether one is crafting a Hollywood blockbuster or a literary novel, the principles Aristotle lays down about structure and emotional impact remain profoundly relevant.
In How to Tell a Story, we find more than a historical treatise; we see a bridge between the ancient and the modern—a reminder that the stories that move us today are built on a foundation as old as humanity. Aristotle’s legacy, now freshly presented for contemporary readers, remains a powerful guide to understanding the art and soul of storytelling.
April 11, 2025
While I'm not thrilled about the view of women in one section of the book, I have to say I'm very pleased with everything else. It's worth reading imo if you have the time and would be interested in learning about Greek Tragedy and Epic especially. It's so sad that the section on Comedy is lost but I guess that in itself with Aristotle's last line of the book "And now let us turn to comedy..." is a strange kind of tragedy in and of itself.
This has honestly been a better read for me than most modern books on story telling which feel more like copy cats of each other, repeating the same half-useful advice and guides on story writing and structure, but they were all just missing something important for me: the very building blocks of storytelling. I wish I could articulate better what I mean, but... after reading the Poetics, I feel way more confident and assured that I can actually write good stories myself. Regardless of Aristotle's philosophical ideas and views on social things, it does seem like he knows what he's talking about when it comes to stories. Clearly the things he talks about works because they're still with us today so many years later.
This gave me a much clearer idea of what needs to be part of good storytelling, and also helped me to understand why some stories work and are much more satisfying than others. (I can only imagine the things Aristotle would have to say about some modern stories XD). Some parts did go over my head, and there are sections that have been lost to time, but taking the good with the bad, I'm grateful for what has been kept alive through the years.
I'll be using this book to aid my own future storytelling endeavors for sure.
This has honestly been a better read for me than most modern books on story telling which feel more like copy cats of each other, repeating the same half-useful advice and guides on story writing and structure, but they were all just missing something important for me: the very building blocks of storytelling. I wish I could articulate better what I mean, but... after reading the Poetics, I feel way more confident and assured that I can actually write good stories myself. Regardless of Aristotle's philosophical ideas and views on social things, it does seem like he knows what he's talking about when it comes to stories. Clearly the things he talks about works because they're still with us today so many years later.
This gave me a much clearer idea of what needs to be part of good storytelling, and also helped me to understand why some stories work and are much more satisfying than others. (I can only imagine the things Aristotle would have to say about some modern stories XD). Some parts did go over my head, and there are sections that have been lost to time, but taking the good with the bad, I'm grateful for what has been kept alive through the years.
I'll be using this book to aid my own future storytelling endeavors for sure.
June 27, 2025
I started listening to this audiobook because it was free on Audible before I realized it is a new translation of Aristotle's Poetics. I first encountered this text in my freshman Accelerated Composition course in undergrad.
Aristotle's definition of Tragedy: “Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; with incidents arousing pity and fear, wherewith to accomplish its katharsis of such emotions. . . . Every Tragedy, therefore, must have six parts, which parts determine its quality—namely, Plot, Characters, Diction, Thought, Spectacle, Melody.”
Aristotle's definition of Tragedy: “Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; with incidents arousing pity and fear, wherewith to accomplish its katharsis of such emotions. . . . Every Tragedy, therefore, must have six parts, which parts determine its quality—namely, Plot, Characters, Diction, Thought, Spectacle, Melody.”
Tragedy is not a child being hit by a car, that is “pathetic” (from pathos) and deserves our sympathy. The way we use the word "tragedy" in our society is not the same as the genre of "tragedy."
Francis Ferguson (translated Aristotle):
* The word "imitation" is from the Greek, “mimesis.” It does not mean superficial copying, but representation of countless forms which life of human spirit may take.
*The word "action": from the Greek “praxis” is not limited to a physical activity, but also movement of spirit, action of soul.
So a Tragedy contains imitations of actions that incite pity and fear in the audience. It does something to us, doesn’t just show us. What happens to us when we read it is part of the meaning of tragedy.
Tragedy must incite both pity and fear in the audience.
Francis Ferguson (translated Aristotle):
* The word "imitation" is from the Greek, “mimesis.” It does not mean superficial copying, but representation of countless forms which life of human spirit may take.
*The word "action": from the Greek “praxis” is not limited to a physical activity, but also movement of spirit, action of soul.
So a Tragedy contains imitations of actions that incite pity and fear in the audience. It does something to us, doesn’t just show us. What happens to us when we read it is part of the meaning of tragedy.
Tragedy must incite both pity and fear in the audience.
February 3, 2024
Aristotle has a way of stating the obvious things that you didn’t realize were obvious until you hear them stated.
Here is an example of the type of discussion you’ll find in this book:
We’ve all heard that stories must have a “beginning, middle, and end,” but Aristotle makes this distinction much clearer. For in fact the phrase ought to be “beginnings, middles, and ends,” as stories are a collection of events, and each of these—beginning, middle, and end—are particular kinds of events.
- Beginnings: Events that don’t necessarily follow from anything, but have subsequent events that follow from them.
- Middles: Events that follow from some preceding event, and have subsequent events that follow from them.
- Ends: Events that follow from some preceding event, but have no subsequent events.
In making this distinction, Aristotle raised the simple phrase “beginning, middle, and end” to a framework for thinking about stories as a causal chain of event. Seems obvious now, but I’ll admit that I never gave “beginning, middle, and end” more than a passing thought.
However, written over 2000 years ago, this book is still fixated a particular type of story. The world has come a long way since Homer. So although there is value here, it is by no means comprehensive.
Here is an example of the type of discussion you’ll find in this book:
We’ve all heard that stories must have a “beginning, middle, and end,” but Aristotle makes this distinction much clearer. For in fact the phrase ought to be “beginnings, middles, and ends,” as stories are a collection of events, and each of these—beginning, middle, and end—are particular kinds of events.
- Beginnings: Events that don’t necessarily follow from anything, but have subsequent events that follow from them.
- Middles: Events that follow from some preceding event, and have subsequent events that follow from them.
- Ends: Events that follow from some preceding event, but have no subsequent events.
In making this distinction, Aristotle raised the simple phrase “beginning, middle, and end” to a framework for thinking about stories as a causal chain of event. Seems obvious now, but I’ll admit that I never gave “beginning, middle, and end” more than a passing thought.
However, written over 2000 years ago, this book is still fixated a particular type of story. The world has come a long way since Homer. So although there is value here, it is by no means comprehensive.
March 25, 2024
Finished it in a day, it’s a quick and easy read. It was interesting to see Aristotle’s breakdown of what makes a story a ~good~ story. The intro gave me some much needed refreshers on the history of Greek philosophy. It’s an accessible and simple writing style, which I appreciated. It made me think about my own writing style. These days we are so character-driven when it comes to stories, but we forget that the beauty is in the plot. Think of Greek epics, comedies, and tragedies, and how massive those plots feel. Aristotle is very convinced that character development doesn’t matter at all. And then goes on to describe how to develop the perfect character and why it’s important. The author did warn about contradictions. There was a weird part about linguistics that I think is …. Not correct? But I’m not sure. I’m studying linguistics now and it seems …. Not correct. Also the author name drops all these Greek plays as if I’ve read them all which put me on the outside for most of it. He also only describes stories in terms of tragedies and epics, not in the forms we know today. Still, there’s some good stuff to be extracted here.
December 14, 2023
It would be more meaningful to read this knowing the Greek Comedies and Tragedies as they're used as examples throughout. There was also an unfortunate part about women and slaves being inferior etc. but considering the time, we'll let it slide. There were a few tidbits though.
Quotes: This is why poetry is more like philosophy and is more important than history. Poetry is about universals, while history is about particulars. A universal is what people would probably or necessarily say or do in a certain situation. Poetry does this even when it attaches a real name to a character, but history deals strictly with the actions or experiences of a particular person, like Alcibiades.
The writers who are most successful are those who by nature are able to identify with their characters and are gripped by their emotions. The truest anger or distress is conveyed by authors who actually feel anger or distress in their soul. Thus the best writers are those who are either highly gifted or insane.
Quotes: This is why poetry is more like philosophy and is more important than history. Poetry is about universals, while history is about particulars. A universal is what people would probably or necessarily say or do in a certain situation. Poetry does this even when it attaches a real name to a character, but history deals strictly with the actions or experiences of a particular person, like Alcibiades.
The writers who are most successful are those who by nature are able to identify with their characters and are gripped by their emotions. The truest anger or distress is conveyed by authors who actually feel anger or distress in their soul. Thus the best writers are those who are either highly gifted or insane.
August 23, 2025
A concise treatise on the art of writing tragedy. It wasn't until I reached the end that I realized this is part one, the second being on comedy.
I read it because it was written by the great Aristotle and contains multiple examples from the Iliad, Odyssey and Greek plays by Sophocles and Aeschylus. He makes several profound arguments such as 'imitation is the beginning of poetry' and that plot is the most important aspect of a tragedy. At first these statements feel exaggerated, but as a master philosopher, he uses rhetoric backed up by solid examples to make his point.
He distinguishes between tragedy and epic, and at the end makes the case for which he thinks is better. At certain points, he mixes in definitions of grammar, poetry meter system and Greek accents as if to contrast the practical with the theoretical. I think it works well.
I read it because it was written by the great Aristotle and contains multiple examples from the Iliad, Odyssey and Greek plays by Sophocles and Aeschylus. He makes several profound arguments such as 'imitation is the beginning of poetry' and that plot is the most important aspect of a tragedy. At first these statements feel exaggerated, but as a master philosopher, he uses rhetoric backed up by solid examples to make his point.
He distinguishes between tragedy and epic, and at the end makes the case for which he thinks is better. At certain points, he mixes in definitions of grammar, poetry meter system and Greek accents as if to contrast the practical with the theoretical. I think it works well.
September 22, 2025
I'm at the airport in Taipei, getting ready to fly to LAX, walking, exploring the airport while listening to Aristotles How to Tell a Story. It's kind boggling to think how old this writing is. I have very little knowledge about all the Greek authors, thinkers and writers. I probably only understood Homer's Iliad and the Odyssey.
While listening to this, I thought the superior kind of story telling according to Aristotle is a tragedy over the long-drawn-out epic tale.
Aristotle says the essential plot of the Odyssey is about, a man who is away from home for many years and alone but watched over and protected by the god Poseidon. He gets shipwrecked, comes home and kills his enemies and is safe.
I think if you just write the truth, that's the most superior form of storytelling.
About to board the plane now to LAX. I'll have to look for another book to read next.
While listening to this, I thought the superior kind of story telling according to Aristotle is a tragedy over the long-drawn-out epic tale.
Aristotle says the essential plot of the Odyssey is about, a man who is away from home for many years and alone but watched over and protected by the god Poseidon. He gets shipwrecked, comes home and kills his enemies and is safe.
I think if you just write the truth, that's the most superior form of storytelling.
About to board the plane now to LAX. I'll have to look for another book to read next.
June 13, 2022
Disclaimer - I have not read other translations of Aristotle's Poetics, so I can't comment whether this translation is better or worse than others. Having said that, Freeman's version was easy to read and digest.
The prestige of this book seems to come from its age and author. If was "How to Tell A Story" by Larry, it would seem like nothing more than obvious observations (e.g., a story should have a beginning, middle and end). But perhaps we are all still living (and writing) in Aristotle's shadow and that the wisdom in this book only seems commonplace because his criticism continues to shape western literature.
The prestige of this book seems to come from its age and author. If was "How to Tell A Story" by Larry, it would seem like nothing more than obvious observations (e.g., a story should have a beginning, middle and end). But perhaps we are all still living (and writing) in Aristotle's shadow and that the wisdom in this book only seems commonplace because his criticism continues to shape western literature.
September 30, 2023
It had a few good insights but overall an incomplete text with a misleading title (how to tell a story). It uses many examples that are lost to time and focuses on tragedy and epics mainly. It was interesting to find out more about Greek media but again, my biggest problem with this book is how misleading it was to me at least. Nevertheless there were a few cool insights that I’ll try to remember, like that finding fluff in a story you are writing can be done by trying to place that episode into another section of the story. If it is not ruined, then that section is not needed. Another is: “In stories, what is impossible but believable is preferable to what is possible but unconvincing.”
November 2, 2022
Theoretical take on plays and epics, especially tragedies. Tried to understand it in the context of the basic Ibsen stuff I’ve read and seen but I need to read more of the classic Greek tragedies to understand this better.
Aristotle is of the opinion that plot is more important than character in tragedies. He also argues that the best tragedies is about conflicts in families and when bad things happen to people that are nice but with some character flaws. Makes me think about the family feud in The Brothers Karamazov and the tragic faith of Gregor in The Metamorphosis
Aristotle is of the opinion that plot is more important than character in tragedies. He also argues that the best tragedies is about conflicts in families and when bad things happen to people that are nice but with some character flaws. Makes me think about the family feud in The Brothers Karamazov and the tragic faith of Gregor in The Metamorphosis
January 9, 2025
It is a good book from Ancient Greece with many applications to today. They can be applied to all aspects of life. I recently saw a movie in theatres and am writing a systematic review. I can apply much of what I learned from this book to assess and compare each individually. I do wish that I had further knowledge and had read many of the stories mentioned in the book though, that is my fault and lessened my understanding to a great degree in my opinion. I was still able to read between the lines and have some surface level and in depth understanding.
September 6, 2025
Though short, this book was fascinating and surprisingly relevant after so many centuries. Aristotle’s breakdown of story—its structure, language, and essential elements—was refreshing and insightful, especially for those who enjoy definitions and categories. 🙋♀️ I think readers less familiar with Greek literature might feel a little lost at times, but I enjoyed making connections with stories I’ve read recently. Overall, a thought-provoking little book that still speaks to anyone who loves the craft of storytelling.
April 24, 2023
A well adapted and interesting read from an ancient mind that was definitely worth it. The title is slightly misleading, as it focuses more on the structure of ancient stories through plays primarily, and I can see some people believing that this will aid their writing in a more modern sense. Still, the wisdom is clear and is worth it for those interested in stories and how they've changed over the centuries.
May 17, 2023
Some good nuggets/frameworks in here, though obviously parts were pretty outdated. Still, an interesting take on the fundamentals of storytelling and story types.
Quotes
- "Storytelling is imitation."
- "We naturally delight in seeing the most accurate imitations possible, even when they cause us distress...."
- "The first essential, the life and soul, so to speak, of a story, is the Plot."
- "The proper use of metaphors is perceiving similarities."
Quotes
- "Storytelling is imitation."
- "We naturally delight in seeing the most accurate imitations possible, even when they cause us distress...."
- "The first essential, the life and soul, so to speak, of a story, is the Plot."
- "The proper use of metaphors is perceiving similarities."
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