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ydkmy New Member

Creative ways to describe a wolf.

Discussion in ' Character Development ' started by ydkmy , Oct 31, 2014 .

googletag.cmd.push(function() { googletag.display('funpub_cdb7afbb1c0d4dfaf4c1476691c616c7'); }); Hello everyone ~ I'm trying to bring a wolf to life in a piece but I am having difficulty. I'm no creative writing vet so my terminology may be juvenile ~ but I really like to stylishly describe what I'm writing about. For example, a wolf could be described as having a "nose to the wind". I'm trying to think of other mystical ways to describe the simple actions a wolf might take, how it sees prey, anticipates danger, or physical aspects of it like claws and fangs. Anything that a wolf is or would do. Maybe even something it would "say". Things that deal with pack mentality. Thank you for your help!  

Jack Asher Banned Contributor

googletag.cmd.push(function() { googletag.display('funpub_cdb7afbb1c0d4dfaf4c1476691c616c7'); }); "Like a dog, only 40,000 years ago."  

jonahmann Active Member

googletag.cmd.push(function() { googletag.display('funpub_cdb7afbb1c0d4dfaf4c1476691c616c7'); }); Opeth calls them "pest-ridden jackals of the Earth." Jack Asher said: ↑ a dog Click to expand...

Shadowfax Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_cdb7afbb1c0d4dfaf4c1476691c616c7'); }); ydkmy said: ↑ Things that deal with pack mentality. Click to expand...

jannert Retired Mod Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_cdb7afbb1c0d4dfaf4c1476691c616c7'); }); Watch wolf videos on YouTube or wherever you can find them. Look at what they ACTUALLY do, not all the cliched fantasy stuff. Watch how they run, what they look at AS they run. How do they behave around others of their kind? What is their predatory stance when they see their prey? Trust me, nature has more imagination than any of us do. Learn from nature. Watch what happens with real wolves. You'll get so many ideas! If you're trying to generate ideas from your own head only, you'll only be able to work with what's already there. If you don't understand wolves, you can't really write about them, except in the most general and stereotyped way. Even if your wolves in your story have supernatural elements (why do I suspect that??? ) you can do worse than watch the real McCoy in order to get ideas for how to describe them.  

Keitsumah The Dream-Walker Contributor

googletag.cmd.push(function() { googletag.display('funpub_cdb7afbb1c0d4dfaf4c1476691c616c7'); }); First: look at and study their behaviors. They have a severe pack mentality, and their body language is quite extensive. In my opinion it's not such a good idea to call a wolf anything more than what it is: a wolf. But i also use the word canine, and dog only if it is an insult. Using their rank: Alpha, Beta, Delta, then Omega (in that order!!), will work as well. My wolves are also not just ordinary wolves, however, so I have the ability to call them Shifters, or just by their names, as well as their rank in this kind of society (Alpha, Prince, General, Captain, Lieutenant, Guard, Raider, and Scout). Examples (from my kind of wolf's perspective): Batos's hackles rose, and his muzzle curled back to expose pearl-white fangs. Ears shoved forward, tail held high, he circled his opponent. Both wolves paced stiffly, tails lashing as they waited for the other to make a move. Batos kept his weight evenly on all four legs, aware of the treacherous nature of the snow they stalked upon. If he set his weight wrong when he pounced, he could end up slipping and provide the one fatal opening for the other wolf to win this fight. Atskio snapped his jaws in an attempt to startle him, but the growl in Batos's chest kept growing and he didn't even blink. Who was this Raider to challenge him? To think he could defeat a Prince, let alone the son of Arrcafah? The growl evolved, fluctuated, and with a howl Batos lunged. * * * The Scout cowered before Arrcafah, golden eyes wide, tail tucked in and ears flat. He was already small by Shifter standards -with long limbs and too big paws. But that was what made him good at what he did. It was another matter entirely for the Alpha to not kill him for delivering the news. Example (from an ordinary wolf's perspective): Farrow yawned and looked up just in time for the pups to come tumbling out of the den, as well as one exhausted Alpha. Wagging his tail but aware to keep it low, he stood and licked the bottom of her jaw in greeting. You look tired. How about I play with them so you can eat? The she-wolf nipped his ear and wagged her tail as well. Thank you Farrow. She barked. Just be sure none stray too far from the den. Overall, so long as the general behavior of a wolf is there, you can pull off any number of creative things with it. I would advise that you watch several wolf documentaries. They tell you a lot about information as to what wolves have gone through, what they can survive, and as to how they behave in grater detail. I could go in a very long-winded rant as to every little nuance of how they act, but I think it would be better for you if you learn them on your own, so your writing is a lot smoother because of it.  

Shayla New Member

googletag.cmd.push(function() { googletag.display('funpub_cdb7afbb1c0d4dfaf4c1476691c616c7'); }); Thinking about senses can often help when describing things. What does a wolf look like is an obvious one I'll leave to you! But how would a wolf feel to touch? Think of every part of a wolf you would touch; his ears, nose, back, neck, stomach, how would they each feel different? Think textures! What does a wolf smell like? Alone and in a pack? Can you smell the last dinner they had on their breath, do they smell like the ground they lie in, do they smell of fresh fur or dirty matted coats? What do you hear from a wolf? When they walk through grass or through forests are they loud or silent movers? Can you hear them breathing? Can you hear a growl at the back of their throat as they walk on. You could even get detailed - hearing the flare of their noses as they smell their prey, hearing their fur stand on end, hearing their coats brush past the trunks of trees. What do they think? Are they alert or do they stroll freely? Finally taste... - I won't ask you to imagine what they would taste like but maybe imagine what it's like for them to taste. Does all food taste the same? Do they lap up their food in a few swift gulps or take slow pleasure in their eating. Are there teeth sharp and jagged and their tongues rough? Play and experiment! Making brainstorms may help!  

googletag.cmd.push(function() { googletag.display('funpub_cdb7afbb1c0d4dfaf4c1476691c616c7'); }); Keitsumah said: ↑ First: look at and study their behaviors. They have a severe pack mentality, and their body language is quite extensive. In my opinion it's not such a good idea to call a wolf anything more than what it is: a wolf. But i also use the word canine, and dog only if it is an insult. Using their rank: Alpha, Beta, Delta, then Omega (in that order!!), will work as well. My wolves are also not just ordinary wolves, however, so I have the ability to call them Shifters, or just by their names, as well as their rank in this kind of society (Alpha, Prince, General, Captain, Lieutenant, Guard, Raider, and Scout). Examples (from my kind of wolf's perspective): Batos's hackles rose, and his muzzle curled back to expose pearl-white fangs. Ears shoved forward, tail held high, he circled his opponent. Both wolves paced stiffly, tails lashing as they waited for the other to make a move. Batos kept his weight evenly on all four legs, aware of the treacherous nature of the snow they stalked upon. If he set his weight wrong when he pounced, he could end up slipping and provide the one fatal opening for the other wolf to win this fight. Atskio snapped his jaws in an attempt to startle him, but the growl in Batos's chest kept growing and he didn't even blink. Who was this Raider to challenge him? To think he could defeat a Prince, let alone the son of Arrcafah? The growl evolved, fluctuated, and with a howl Batos lunged. * * * Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_cdb7afbb1c0d4dfaf4c1476691c616c7'); }); Jack Asher said: ↑ It's actually interesting that you bring this up, because most of the common themes or lycanthropic fiction are based entirely on complete bullshit. For a start the constantly aggressive behavior that so many werewolf novels copy comes from a study of wolves held in captivity in 1975. It's results were never replicated, and most wolf researchers will tell you that conflicts over dominance (not even fight's, just conflicts) are very rare, and are usually confined only to body language. Wolves don't fight over dominance, mates, or food. They cooperate in a much more complex and subtle way then even humans and dogs, and (especially) far more then dogs and dogs. Alpha wolves have no problem with sharing their food with an omega. Alpha dogs do. We did not want to breed dogs to cooperate with us, we wanted to breed dogs who would take orders. And so dogs by themselves turn into a ridgedly hierarchical group constantly fighting against itself. Feral dogs don't form packs, they can barely get along in a group of four or more. The idea that a wolf pack of twelve would behave in such a self destructive manner is ridiculous. The constant struggle for dominance would rip the group apart faster then Yoko Ono did the Beatles. Wolves are just like packs of humans really. They cooperate, they help each other altruistically, and if they get fed up with what's going on they don't fight about it, they just leave. Most packs have a fairly fluid membership and a wolf might belong to as many as four different packs in his lifetime. The desire to belong to a group is another thing we bred into dogs. Click to expand...

Stephen Paden Member

googletag.cmd.push(function() { googletag.display('funpub_cdb7afbb1c0d4dfaf4c1476691c616c7'); }); A dog that had rolled around in the mud and then ravaged through bags of salt and pepper.  

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19,890 quotes, descriptions and writing prompts, 4,964 themes

wolf - quotes and descriptions to inspire creative writing

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Moving into the morning light is a wolf. She is a white-silver, fur glossy and thick. Her paws kiss the earth with a lightness and there is a serenity in her gaze. I stay still, for if I move she will take flight into the trees. I breathe slow and let time slow down, taking photographs with only my eyes. Perhaps tonight I will dream of being as free as she, out here with nature, living with her family,

In the half-light they could be dogs, but dogs don't move the way wolves do - in choreographed motions, one family of canine "dancers" flowing over the earth. There's an intelligence in their eyes, a shyness, a wariness of our kind. Wolves are loyal to their kin, the alpha's mating for life, the others helping to raise the puppies as an aunt or uncle might do. For a moment my spirit is with them, up there in the dawn-forest, drinking in pine aromas the same as we love fresh flowers.

The wolf had seen better days. His fur was thin and his clung to his frame like a windbreaker in a gale. Even from several yards away Gabby could count his ribs. His movements were faltering as if each step pained him and his head was sunk low to the ground. Those hazel eyes that should be scanning for danger or opportunities to eat never rose from the baked summer mud. Then just yards away he tumbled to the ground as if he meant to lie down but couldn't coordinate his limbs. Then with his great grey head on his paws he closed his eyes. This fine animal with no concept of death was ready for his long sleep.

The wolf is as white as the snow. Her fur, short over her body and longer at the neck, is smooth and shiny. Her stance is confident and body muscular, this girl knows how to take care of herself. She regards me fleetingly before heading back the way she came, further up the mountain toward the snow-line. Her movements are fluid and without apparent effort; while I huff and puff to climb a few yards she just goes up her limbs were the finest machines every made.

On the crest of the hill are several silhouettes, wolfish. Two stand almost statue-like while the others tumble about, pulling one another over. When the foremost wolf howls they all stop, drawn to join in like they have been invited to a family feast. Together they fill the still air with their "singing." I guess that's their hymn, one song, no words, just pure joy.

The wolf was nothing like the monsters of fairy tales. Instead of being aggressive it was as docile and shy. Whatever gene it needed to be an alpha, it wasn't there. When Kevin approached she rolled onto her back, tail wagging. Her body bore scars. He reached out an hand for her to sniff and she sprang up, pushing her weight into him. He smiled. Two rejects together. Refusal to compete was always his worst fault according to his mother and this girl was the same. He didn't need a leash or collar, she just followed him home and made herself comfortable wherever he was.

The wolf looked like, Lola, my neighbour's husky-cross. I bet she'd be the same to touch, warm and soft. She lay there in the sunshine, eyes closed, blissful, listening to the music of the skies as much as anybody loves song and rhythm. There was something so right about her being there, as if nature craved her presence as much as she loved the sun-rays.

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27 Writing Prompts about Wolves

Swift of foot paired with stealthy hunting skills, wolves have long been considered a dangerous predator.

They have been hunted for their warm fur. Ranchers have killed wolf packs to protect their cattle.

Many wolf species have been over-hunted and are now listed as endangered. They have been hunted until near extinction.

Recently, wolves have been recognized as an integral part in the precarious balance of nature found in the wild.

These fascinating creatures live in tightly formed, hierarchical packs that offer protection for the pack members and add to the longevity of individual wolves.

Today we’re going to write everything we can about these beautiful yet much maligned animals.

How To Use Writing Prompts

The prompts below can help get your wolf-focused writing started.

Select one prompt you like as a main topic and incorporate others as subtopics. The prompts can also be used as a practice challenge where you construct a paragraph about each wolf prompt.

No matter how you use these wolf topics, the key to writing a successful story is to write consistently. Your writing composition will improve with each successive story.

Get Started Writing About Wolves

• The Gray Wolf is the most common type of wolf. It lives in many places, but high concentrations of packs are found…
• The Arctic Wolf is known by their fur color and lives in only a few places around the globe…
• A Red Wolf’s coat is a shade of cinnamon which helps camouflage the wolf…
• The Indian Wolf is often mistaken for a fox because…
• The Himalayan Wolf can be found mostly in the country of…
• An Ethiopian Wolf is often mistaken for a jackal due to its…
• The Eastern Wolf is distinct from other wolf species because it…
• Wolves are carnivores, they mostly hunt in packs, and prefer to eat…
• Wolves howl and use facial expressions when they want to communicate…
• Wolves tip their head back when they howl, this allows them to easily…
• The alpha male is the wolf pack leader, he is in control of….
• The beta female of the wolf pack is…
• The omega wolf’s pack rank is…
• Wolves growl as a form of communication when they are….
• Some wolf species are endangered because they have been…
• The country where the greatest concentration of wolf packs live is….
• A wolf pup’s eyes are blue at birth, around eight months old, they can change color to…
• Wolves have five toes on their front feet and four toes on their back feet. They run on their toes, making it easier for them to protect their…
• At birth, a wolf pup cannot see or hear, and is very small, only weighing…
• A wolf has 42 specialized teeth that have particular uses like shredding, crushing, and puncturing. Their jaws are massively strong making hunting prey…
• Curiously, wolves have webbing between their toes making it easy for them to…
• Dire Wolves are extinct, they were prehistoric wolves that lived…
• A wolf is swift and runs about 20 miles an hour, its top running speed can be as fast as…
• Many Indian tribes did not hunt wolves, they believed the slain wolves’ brothers would return to…
• A wolf pack can vary in size, they are typically between…
• A wolf has two coats of fur, the undercoat layer protects…
• An adult male wolf is heavier than you think. Nose to tail it is 4.5 to 5 feet long and weighs between…

More Resources

Check back again soon for more posts with writing prompts and ideas. We offer free resources for teachers and writers and are happy to share our writing ideas with authors of all ages.

If you’d like some more animal-related writing inspiration, try our zoo prompts or our prompts about pets ! They’re both getting some great feedback 🙂

Our goal is to encourage more people to take up the pen and share their thoughts and retell their stories.

If you are looking for a particular resource you don’t see on our site, please drop us a line and let us know what you would like to see. We’re always adding new resources, so check back tomorrow for more!

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How to Describe a Wolf: A Guide for Creative Writing Students

• April 25, 2023

In order to better prepare you for your writing assignments, both in and out of English class, we have put together some tips on how to write a perfect description for a wolf.

When it comes to writing a description for a wolf, you have to start by deciding whether you are going to paint a human-like character or a real-life animal. The answer will largely depend on your audience. If you are writing for a general audience, you might choose to use a human character. However, if you are aiming for a more scholarly audience, you might want to go for the more factual route and describe the wolf in all its splendor.

Make It Action-Packed

If you are deciding to write about a real-life animal instead of a human character, you need to do your research to make sure that you get the facts straight. When writing about a real wolf, you need to make sure that everything is correct, and the more you put in, the more you will get back. This means that you have to make sure that your description is as detailed and as eye-catching as possible. The more you put into it, the more you will get back. You want to make sure that your work is accurate and easy to understand.

Include Details On How It Lives

Even if you are describing a real-life animal, you still need to paint a bit of a picture of what it is like to live with one. Are they friendly? Does it howl at the moon or just during harsh winters? All these things should be included in your description for the sake of your readers. You want them to know as much as possible about what you are describing so that they can have a better understanding of it. The more you know about the creature you are writing about, the more you will be able to include in your description. If you can, go out and meet the animal in person so that you can include as much as possible in your writing.

Use Metaphors And Similes

If you are unable to describe the wolf in concrete terms, you can use metaphors and similes to help paint a picture in your reader’s mind. Metaphors are quite simply words or phrases that you use to compare one thing to another. For example, you could say that the wolf is a bit like a shark, in that it is a completely cold-blooded creature that preys on animals for survival. Or you could say that it is like an eagle, in that it can soar high into the sky and spot its prey from far away.

Using similes is almost the same as using metaphors, but with one important difference: With a simile, you are comparing two things that are actually of the same kind, such as night and day, hot and cold, or small and large. If you are writing about a majestic beast like a wolf, you might want to use similes comparing it to other animals or mythical creatures with which we are more familiar, such as an eagle or a lion. This will help your readers better understand your meaning, even if you are not a native English speaker, as most people are not very familiar with wolves, let alone what they look like or how they act. But don’t feel like you have to limit yourself to animals either. You can compare the wolf to anything that you can think of, as long as you have enough research to back it up.

The Parts Of A Wolf

If you are comparing the wolf to another creature, you need to make sure that you have described its essential parts accurately. This means that you need to include all of its limbs and organs (assuming that you are describing it as having limbs and organs). You also need to make sure that its tail is properly described, as this is what most people picture when they think of a wolf. Make sure that you have described the ears, the eyes, and the nose in enough detail, as these are the three things which most people look at first when they are presented with a wolf. If you have not painted a thorough enough picture in your mind, your readers might not be able to understand or identify with your work. Remember: you are writing to entertain as well as to educate!

One more thing to mention about wolves is the fact that they are usually depicted in black and white or in full color. If you are describing a wolf in color, make sure to include more than just its basic coloring, such as black or white fur and yellow or brown eyes. You should also include its natural environment as well as other animals that it might be interacting with. Be sure to describe the sounds that it makes and the things that it is doing, as these will provide your readers with a better sense of what is going on.

The Package

When it comes to a package for the perfect description of a wolf, you need to go for the classic brown paper sack. This is what all the cool kids are using these days. However, if you feel like your readers will have more of a scholarly or scientific background, you might want to go for the white paper bag. The choice is entirely up to you. You can also include some sort of outer wrapping, depending on the type of gift that it is. If you are writing for children, you might want to go for the white paper bag, as this will make the gift easier to identify. Overall, the essential elements of a perfect description for a wolf are:

• EXPLORE Random Article

How to Write Wolf Fiction

Last Updated: May 5, 2023

This article was co-authored by Grant Faulkner, MA . Grant Faulkner is the Executive Director of National Novel Writing Month (NaNoWriMo) and the co-founder of 100 Word Story, a literary magazine. Grant has published two books on writing and has been published in The New York Times and Writer’s Digest. He co-hosts Write-minded, a weekly podcast on writing and publishing, and has a M.A. in Creative Writing from San Francisco State University.  This article has been viewed 56,692 times.

Wolves are majestic creatures, and writing about them is fun and rewarding. But if you, like many, live in the city, then non-wolf fiction is harder than wolf fiction. Many are daunted by the prospect of writing novels, especially when it's their first time. You could also write poems or short stories, but either way, keep in mind that writing wolf fiction is easy, despite how difficult it may seem at first.

Doing Research

• Watch YouTube videos on wolves. There are a lot of great documentation videos on wolves on YouTube, ready to be watched any time. Look for videos on wolves in their natural habitat. One of the best things you learn from watching is that you get a lot of visual information. You can see all the small things wolves do and develop visual impressions that you can later use in descriptions in your wolf fiction.
• Read non-fiction. Read books and articles on wolves. Learn their habits and their biology. You certainly do not have to get into super-scientific details, but you should know of their family structures, most prominent instincts, normal hunting techniques – stuff like that.
• 2 Take notes. The mind is forgetful. Take notes of small things which may easily slip your mind or which simply caught your interest. Some examples may be the way cubs lick adults’ mouths for them to throw up food for the young ones to eat or the way a large submissive wolf will hunch over to seem smaller and less threatening. Or perhaps the way wolves whine when they gather for a hunt or some such.

• 4 Read about mythologies containing wolves. For example, there is the wolf Fenrir in Norse mythology. The legends say that when he breaks loose of his chains, he shall devour the great god Odin and Ragnarok – the end of the world – thus comes. The people of that culture struggled through cold and dark winters – winters which were hard for wolves, as well. And a hungry, desperate wolf may very well attack an unsuspecting human. It makes sense that the people would come to fear wolves and see them as evil predators of the dark.
• 5 Listen to opinions. Hear what the wolf-lovers have to say. Hear what the wolf-haters have to say. You certainly don’t have to agree with any of it, but try to see where each person is coming from and what motivates their opinion of wolves. This can inspire you by pointing out a wide range of traits wolves have, that you may not have thought of yourself.

• Read pieces of wolf fiction that vary as much as possible. Read Jack London’s classics White Fang and The Call of the Wild (technically the latter is a dog-centered book, but it is a great example of canine fiction). Read an innocent children’s story, read a piece of urban fiction with sexy werewolves for young adults… Try it all!

Early Planning of a Piece of Wolf Fiction

• Currently, wolves are scarce in most parts of the world and human hunters pose a major threat – something you can use in your story to create conflict and tragedy. Perhaps you will want to write the story of a wolf set on taking revenge on humans for what they have done to the wolf species.
• In a fantasy world, humans may have such powerful magical skills that they need not fear wolves in the dark winter night. Or the wolves are magical or perhaps even have wings. How might this impact the relationship between wolves and humans?
• If you're making an entirely new world, make sure that you're defining the rules and being consistent.

• If you are aiming for werewolf fiction – how does your werewolf character’s mind change when they transform? Are their minds the same, or does it change entirely? Is the mind of an un-shifted werewolf the same as that of a human?

Writing Stories

• Make subplots, such as two cubs playing tag during an event, that will add depth and originality to your story.

Writing Poetry

There once was a wolf that was fluffy Its fur was rather stuffy An example of a haiku would be – The wolf was howling it was singing in wolf talk howl, wolf, howl loudly

Expert Q&A

• Don't give up on getting it published, as the first publisher asked often rejects a work (especially from an unknown author). At the same time, check your manuscript thoroughly so you can catch anything that a publisher would disapprove of. Thanks Helpful 1 Not Helpful 0
• Take kindly to commentary (it guides you and your book) without taking it personally. Thanks Helpful 1 Not Helpful 0
• Remember wolves aren't furry humans, so don't make them cry or act humanlike, and make sure you watch wolf behavior so you can describe the ears, tail and make your character all-around wolflike. Thanks Helpful 0 Not Helpful 1

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Writing Wolves Fairly and Accurately

July 14, 2016 by dankoboldt 5 Comments

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About the Expert

William Huggins is an environmentalist, writer, and soon-to-be PhD student studying Literature and Environmental Rhetoric. He also writes about green issues for the We Are Wildness blog. His short story “Grid Drop” recently appeared in the Hyperpowers anthology from Third Flatiron Publishing (edited by Bascomb James). He also has a story in the forthcoming Wolf Warriors III anthology from Thurston Howl Books.

Writing Fairly and Accurately About Wolves

“Demand evidence, and think critically.” —Neil Degrasse Tyson

Of all the animals used, abused, misused, misrepresented, mistreated, and turned into poor clichés of their actual selves over the course of literary history, few have been so wrongly written about as the wolf. Such poor representation has consequences in realms both literary and temporal. Consider that wolves have been exterminated from over 90% of their historic range. A systematic elimination of a species like that emerges from a cultural history built on poor storytelling. In other words, misrepresenting the wolf in story has led to blaming the species for more than its share of damage done beyond a small amount of economics, such as preying on cattle and sheep, which more often than not is shown to be the fault of domesticated dogs gone feral.

Putting an animal in a story means we, as writers and readers, must be honest about how that four-legged sentient being might behave in its real life. Or, as S. K. Robisch notes in Wolves and the Wolf Myth in North American Literature, “All of the components used in framing an argument are both proactively and retroactively affected by the argument, including any ecological components. This means when we put a wolf in a story, the story at that point must be responsible to the wolf.”

The Demonization of Wolves in Literature

From the earliest literatures the wolf has been demonized for its purely natural proclivities. Most of the world’s major religions have portrayed wolves in a particularly unkind light. In Tablet VI of The Epic of Gilgamesh , Ishtar returns a shepherd’s love for her by turning him into a wolf, the very bane of his profession. In the Kaushitaki Upanishad, Indra delivers Arunmukhas to wolves. The Christian Bible is replete with negative connotations for wolves, in line with Matthew 7:15’s “Beware of the false prophets, who come to you in sheep’s clothing but inwardly are ravenous wolves.” Not to be left out, the Koran’s sole mention of wolves, Chapter 12, includes Joseph’s death at the hand of wolves.

Childrens’ stories have been no less unkind. One exception might be Aesop’s Fables , which are almost evenly balanced, the pithy morals that close each fable not wholly making wolves evil, giving them some leniency for natural actions. In most childrens’ media wolves are a convenient foil for the heroes or heroines: think Red Riding Hood or the Three Little Pigs. These early impressions are important because children form biases at an early age.

Wolf Populations in the Western World

Medieval bestiaries often compared the wolf to the devil, hunting sheep with cunning and guile—which is, of course, true, at least in the case of the wolf. In Europe, Portugal, Spain and Italy have the only wolf packs considered sustainable at this writing, though wolves have slowly been migrating back into areas they once occupied hundreds of years ago. The British Isles are entirely devoid of wolves. Even great poets such as Chaucer borrowed from the bestiaries and noted wolves negatively in the Nun’s Priest’s Tale and the nearly unreadable Parson’s Tale .

The same medieval mind came across the Atlantic with early Euroamerican settlers. With better guns and ammunition than their European forebears, the settlers of America and Canada declared an unnecessary war on wolves that removed the species almost entirely from the entire North American continent—and continues today.

Wolves in Young Adult and SF/F

Recent young adult books, possibly because of better scientific understanding of wolves’ role in nature or a more forceful conservation movement, have turned the tide a bit: Kathryn Lasky’s Wolves of the Beyond and Michelle Paver’s Wolf Brother both do a fair job of showing wolves as they more naturally behave, especially in their devotion and dedication to their young, in which the entire pack plays a role.

Science fiction and fantasy have not been entirely accurate in representations of wolves, either. The Lord of the Rings takes a purely medievalist approach toward wolves, turning them into agents of the dark forces. Whitley Streiber, in his Wolfen, presents wolves as intelligent actors in their revenge strategy but the story goes a bit off the rails— Wolfen is one of those rare moments where the movie did a better job representing the wolves as they might naturally act than the book.

Plenty of other examples exist, perhaps most importantly the relationship of the Starks to their direwolves in Game of Thrones. Yet while an opportunity may have existed to show wolves in a more natural light, GOT’s direwolves function more as devoted pets, though Arya did release Nymeria—also, the possibility of warging with direwolves takes some of their potential wildness away. Even the ever-amazing C. J. Cherryh falls into cliché in Chernevog with the traditional Russian fable of wolves at the door, which has never been backed up by science.

Indigenous Writers on Wolves

One noteworthy exception exists in how wolves get represented in story, both orally and textually: indigenous writers. James Welch’s (Blackfoot) Fools Crow portrays wolves as they might exist in a wild setting, fictional or not. The lone wolf attack in the book comes from a rabid wolf, which is consistent with the scientific literature. Unlike the feral attackers in James Fenimore Cooper (see The Oak Opening ) and Jack London (take your pick) or Nicholas Evans’ ridiculous The Loop , wolves do not like being around human beings very much and will avoid us if possible. Welch hits this fact perfectly.

Louise Erdrich (Anishinaabe) portrays wolves superbly in her Turtle Mountain cycle of novels, perhaps nowhere better than The Painted Drum where an Anishinaabe elder actually hears a nearby wolf speaking to him. The wolves leave him alone, as is generally their way, if they are healthy. Erdrich’s wolves also play with ravens, a connection seen throughout nature but rarely on the pages of fiction involving wolves. Writers of non-indigenous descent can learn a great deal from indigenous writers, not only in matters of technique but also in perceiving the world in a way to make not only story but connecting other nonhuman sentient beings. Perhaps this is because of the John Wayne-style Western film or Dances With Wolves —the indigenous peoples of our planet know what it is like to be misrepresented in literature and cinema.

Other Fair Treatments of Wolves

There are examples of wolves well done outside indigenous literatures, but they are few and far between. Mostly this issue evolved from culture: Euroamericans were not taught to respect the wolf and its role in nature as were indigenous peoples. The wolf was seen as either a harbinger of doom, a wild beast possessed of supernatural powers, or simply a pest that stole and killed stock. So it is that writers like Rick Bass ( Where the Sea Used to Be ), Renee Askins ( Shadow Mountain ), and Cormac McCarthy ( The Crossing ) have a lot more work to do to balance out negative portrayals of wolves.

In film it’s even worse. Try to sit down and watch the absurd The Grey with a wildlife biologist. Yet there may be some hope: BK Loren’s recent debut novel Theft brilliantly extrapolates the character of a wild wolf and may be a harbinger of things to come.

Onus on the Author

Authors, especially in the fields of science fiction and fantasy, where some writers literally inhabit and recreate the minds of alien beings, including animals, can and should do better. If one can write about aliens, one should be able to write about the other intelligences with which we share our own planet. Wolves predate humans by millions of years and have just as much right to be here as we do. In a world where science—especially wildlife biology and the emerging field of ethology—has shown us the ecological importance of wolves in properly managed wilderness systems (think of Yellowstone National Park since the reintroduction of wolves there in 1994), one would think that science would translate into better writing and storytelling.

Wolves deserve better, both on the ground and on the page. Writers—it’s time to be honest, and tell stories that are not only good, but true. As the wolf makes a comeback across its historic range, reviving itself and the landscapes that absolutely had to miss it, stories matter. If we are to reverse the destruction and mismanagement the human occupation of the planet has caused, rewriting our stories with respect to science and the rights of nonhuman animals would not be the worst place to start. In a world of ever-diminishing biodiversity, we need to recognize the power of our words: otiose writing, flawed legends, and no science took wolves to the brink of extinction—good writing and good science could keep them where they belong, right here, with us, on the page and in person.

Neither in our actions nor our literatures have we been responsible to the wolf. It is high time we should be.

Related Posts:

Ready to put science in your fiction.

July 14, 2016 at 10:00 am

Great article – I’m always horrified when I see or read the usual horrific portrayals of wolves!

July 14, 2016 at 6:59 pm

David Eddings painted wolves in a good light in the Belgariad & Mallorean, making wolves both Belgarath and Garion’s preferred alternate forms. And don’t forget Elfquest, featuring elves riding wolves (although when they were looking to put it on film, the studio suggested it become live action with children riding real wolves. Not a good idea).

Despite their bad rep, images featuring them are usually gorgeous! Between the works above and the art, I think that’s why I fell in love with them.

July 20, 2016 at 9:42 pm

I love wolves, and I would like to see more people writing them accurately. At the same time, I don’t think it’s fair to say that it is wrong for any author to have any wolf characters that are evil or act unnaturally. In fantasy, for instance, many many people feature wolves that are far different than what we have in real life. Whether it is that the wolves are massive enough to ride(and are actually used for riding) or they possess human level intelligence, one would expect them to have some similarity to real wolves, but not be carbon copies of their behavior. And stories that center on wolves with human level intelligence are going to have wolf characters that make their own choices on how they think, feel, and behave. So many wolf centric stories have a scene where one wolf hunts livestock and the others are very angry that a packmember would put them in danger that way. So I think it all depends on the story and what the author is trying to say. There’s a difference between using wolves to represent an idea in a kid’s story and having a fantasy wolf species with unique behavior and a story that is actually trying to say that all wolves are bad.

March 20, 2017 at 1:44 pm

Wolves are one of the most polarizing animals on the planet. I think all authors would do them incredible justice by simply portraying them as they are, as neither demonic child-killers OR spirit animals. The wolf is a wild animal that indeed kills other animals to survive (and can cause local extirpation of deer/elk/moose populations in certain conditions), stays away from people, and occasionally gets into trouble by killing dogs and livestock (and, very rarely, humans). Fear-mongering obviously hurts them, but encouraging the general public to victimize them is just as bad, in my opinion–and often only serves to make the wolf-haters hate them even more, and resort to “SSS tactics”–shoot, shovel, and shut up–to manage wolves on their own terms.

As a wildlife manager in a state that allows wolf hunting….all of this just makes my job harder, and makes it a harder place for wolves to exist.

People either love them or hate them, it seems, and–as with many issues–the best place for our emotions along that spectrum is somewhere in the middle. We ought neither to love or hate them, but to appreciate their presence on the landscape and respect them for what they are.

March 19, 2018 at 10:36 pm

In the mid 80s I was working as a forest technician in BC Canada. My grandma was dreadfully worried and begged me to be careful of the wolves! Naturally I assured her I would. Of course I knew they didn’t normally attack humans. But I didn’t mention to her that I was more worried about bears! They are far more of a risk.

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Creative Writing Prompts for Animal Lovers

by Melissa Donovan | Aug 16, 2018 | Creative Writing Prompts | 16 comments

Creative writing prompts about animals.

Today’s post includes a selection of prompts from 1200 Creative Writing Prompts . Enjoy!

Animals have played a significant role in literature throughout history.

They appear in poems and stories, and plenty of nonfiction works have been written about animals and humans’ experiences with animals.

From E.B. White’s  Charlotte’s Web to Jane Goodall’s (aff links) books on primatology, authors and readers alike have delighted in writing and reading about animals.

And it’s no wonder. We humans have forged strong bonds with animals. Our pets are like family members. In fact, Americans spend billions a year on their animal companions. Billions more are donated to wildlife preservation, animal welfare advocacy, and conservation efforts.

Naturally, animals fit comfortably into the stories we tell. Today’s creative writing prompts pay homage to our animal friends by inspiring a writing session that features animals.

Creative Writing Prompts About Animals

Below, you’ll find a series of creative writing prompts. Choose one, and turn it into a short story, a poem, a play, or an essay. Write anything you want, and if you can’t decide what to write, then do a freewrite.

• Children are delighted when a mama cat gives birth to a litter of five orange tabbies and one little gray runt.
• Write a piece using the following image: a camel walking across the desert.
• A young man on his first hunting trip has a deer in his sight and suddenly remembers the day his dad took him to see Bambi .
• Write a piece using the following image: sea life dying in waters that have been poisoned with toxins or littered with dangerous waste.
• Sunlight dances on the surface of the water. Waves roll gently against the shore. Seagulls soar above, dipping and diving through the sky.
• A school of dolphins is too trusting and approaches a boat whose crew is intent on capturing the dolphins and bringing them to a theme park for a swim-with-the-dolphins attraction.
• A bird and squirrel live together in the same tree (like The Odd Couple ).
• Write about hunting.
• Two children, a brother and sister, respectively capture a butterfly and a moth, then proceed to argue over which insect is superior.
• Write a piece using the following image: a bird’s nest full of eggs.

Creative Writing Prompts

If you use any of these creative writing prompts to spark a writing session, come back and tell us how they worked for you. What did you write? Did you learn anything new? Share your thoughts by leaving a comment. And keep writing.

For more inspiring prompts, pick up a copy of 1200 Creative Writing Prompts , available at your favorite online bookstore.

16 Comments

two puppies are seperated at birth. then reunited at the dog pound, when they are taken from their owners

That’s a great one! Thanks, James.

Why would an animal lover want to write about hunting?

Why wouldn’t they? There are animal lovers who hunt, and some animal lovers might have opinions about hunting that they want to express.

Animal lovers who hunt sort of doesn’t make sense because if they love animals, then why do they kill them?

I have known people who love their cats and dogs but go duck hunting. Most people who love animals also eat meat.

These look cool! TOTALLY using one!!

That’s awesome! Thanks, Margaret.

A person gets bit by a magicall wolf then…

That’s interesting!

I like that one!!! I used it for an assignment!! LOL

That’s great!

This is so helpful please do more of these.

There’s a whole category of prompts here: writing prompts , and you can also check out the books page , where you’ll find even more!

what about a group of wild animals are slowly being captured and taken to zoos.

I’m gonna use this is that’s ok!

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The Wolf and the Dog

In the aftermath of a school shooting, a teacher plans for next time

*This essay refers to the shooting at New River Community College in Christiansburg, VA, April 12, 2013.

Every time I talk about the shooting, I dream my dog is murdered.

I am standing in a field in the twilight, high grass painted black against the glowing, lavender-gold sky. My dog has run away. A man is calling her by her name, and she’s running toward him, not me. I can tell from the tone of his voice that he isn’t calling her out of love and concern, that there’s hate beneath the honey in his voice, and when Daisy comes to him, he says, “I’ll teach you to run away from me again,” and I see his hand, clutching a hammer, rising high above his head, and he brings it down on her over and over and over again. He beats her to death and I stand there, shaking, paralyzed, unable to scream, unable to save her as she howls and cries in agony, until finally there’s silence.

“The daemonic night and its chief product, the nightmare, have always been a special hell for survivors,” writes David Morris in his study of trauma, The Evil Hours: A Biography of Post-Traumatic Stress Disorder . Daisy—my most cherished companion, the tragic object of my nightmares—is the target, the innocent sacrificed to evil. All the dreams are variations on this one. She is tortured and killed, and I can’t save her. I cradle her in my arms as she bleeds to death, shuddering and gulping. 

I fling myself up out of sleep to see Daisy, safe in her bed in the corner; her sweet eyes are closed and her feathery tail thumps gently as she chases a rabbit in a dream of her own. I get out of bed and creep over to her, placing my hand on her maple-colored fur, feel her heart beating beneath my hand, stroke her ears. 

She’s alive. 

I know by now that every time I speak publicly about the shooting, or am “triggered” (how I hate that word: why must the term itself remind me of the gun?) by the news of another campus massacre, I will dream of Daisy’s murder. I turn the lights off and lie in the darkness, fighting off sleep for as long as I can. I never dream of my own students, or the classroom, or even guns. The shooting dreams are always Daisy dreams. Sometimes a man cuts her paws off. Sometimes he nails her ears to the floor. The killer comes after her, but spares me. I am never there in time to offer myself instead. 

Nighttime has become an entrée into a treacherous limbo. Instead of sipping the waters of Lethe, I choke on the filth of the river of lamentation.

On the Tuesday after the shooting, I, along with other faculty and staff, convened on campus with administrators and the director of the counseling center at Virginia Tech; fortunately / unfortunately, we had their experience to guide us through our own horror. We sat in an auditorium that had once been a movie theater. I chose a seat at the back, close to the door. Did I realize even then how space would rearrange itself, so that I would never again see a door as a benign architectural necessity? I was wobbly and frightened. I had gone back to my classroom with my father just three days earlier, the day after the shooting, to collect my belongings, and now the college was reopening. I had no idea how I was going to face my students the next day. All our focus was on them.

Our administrators walked us through the logistical steps for the rest of the semester. Students could finish early and accept their grades as they were, if they felt they couldn’t manage to return. (It did not occur to me to ask what to do if I couldn’t manage to return.) Police would be there every day for the rest of the term. One administrator reiterated that the official college safety protocol still advised sheltering in place and locking down during an “incident.” Even though we might think that we have safe egress, she said, we never know whether there will be a second shooter and if we might be sending students into sniper fire. 

I thought about how quickly I had made the decision to tell my students to run once the shots began ( Get out! ), I remembered the sound of gunfire coming from the reception lobby, just around the corner from our classroom, and the certainty that it—he—would come closer. The emergency exit was right across the hall. Using it had seemed like the only option. I remembered how my students flew over their desks and out the emergency exit door, how quickly they disappeared into their cars and sped away, or else hid with me behind parked cars. But what I heard from this administrator was that I could have sent my students into a gauntlet of bullets from an unknown second assailant, and that if they were unhurt today, it was in spite of my choices, not because of them. 

Images of my students tumbling one by one in a storm of bullets punched me in the gut. I crumpled forward in my seat and started to sob. The administrator came up to me afterwards and patted me on the back, saying that I had done the right thing and that no one was criticizing my choice in the moment. I couldn’t stop crying, though. The thought of my students, dead because of me, was too much to hold. What if? What if?

The what-ifs following a school shooting are as cacophonous and repetitive as tornado sirens. They constantly wake me out of hazy dreams, forcing me to go over each moment again and again, parsing every action for every other permutation I might have chosen. What if I had shut the door and turned off the lights? What if he had entered anyway? (I learned much later that surveillance video shows him coming to our classroom and peering inside just minutes after we fled.) What if I had gone back inside and tried to help instead of standing stupidly in the parking lot and listening to the shots? What if I had gone after him myself?

I wake up in the shadows, the sheets damp. I can smell the sour sweat on my body. There is a howl in my throat that can’t force its way out. Shreds of the dream linger in my mind, flitting away when I try to grasp them. No matter. I can imagine it well enough. What time did I go to bed? The clock radio reads 7 am, but that means I lay down hours ago. Time slips out of my hands now, minutes disappearing like snowflakes. The light outside is pale and gray, the steely sky melting into the dull snow-covered yard and neighboring paddock. Entre chien et loup : between a dog and a wolf, the French expression for that dusky hour when you can’t trust your eyes, when you don’t know if you’re safe or if there’s a predator lurking just around the corner. Harmless student, or furious young man?

Ice cracking, or gunshot? 

I wonder if the nightmares will always come like this. Could I avoid them by never speaking about the shooting, or by traveling out of town on anniversary dates, or by calling in sick to work and downing a Klonopin to black out the day? Why can’t April 12 be the new leap day, so that I only have to face it once every four years? And why can’t I dream about something else? Why can’t my nightmares take a different form? I would rather endure dreams of my own dismemberment than be forced repeatedly to watch Daisy’s torture.

Safe spaces, safe sex, drive safe; I want to weep with sick laughter at how meaningless the word has become. My school, my classroom, my dear students: all of us have been violated. Not even my unconscious mind is safe anymore. In the daytime, I can push away memories while I’m walking Daisy, opening into warrior pose on my yoga mat, or grading my students’ papers. But in sleep, in the daemonic night ? Powerless. 

A week after the shooting, I get an email from the mother of one of my students, thanking me for keeping them safe and getting them all out of the classroom. My boyfriend, too, assures me that I did just the right thing and fuck protocol; the students are safe and that’s what matters most. No plan survives contact with the enemy , he tells me. I replay their words when I find myself, in my mind, back in the classroom that day, standing at the door and listening to the gunfire, deciding without deciding what to do. 

Unlike the flimsy cassette tapes of my adolescence, this mental tape never seems to wear out. I have played it ten thousand times, remembering the sound of the first shot, the number of steps it took to cross the room (eight), the sound of the next two shots, the total, flat silence in my classroom in the moment between comprehending and acting. I’ve mentally copied parts of it for the next time:

If I can get the students out, I will. Fuck protocol. The FBI says that if you can escape, you should escape. But this time, I’m not going with them. I will make sure they’re all outside, and then I am going back in. 

I’ve imagined the charge many times. I’ve pictured the kind of gun he will have (our shooter used a shotgun, but the AR-15 is the weapon of choice for many enraged men who decide to enact their death wish on us), whether he will be walking methodically from room to room or firing haphazardly in every direction. I’ve memorized the distance between every hallway off the main corridor so that I know where I can conceal myself for just a few moments before I make my attack. I consider every day what shoes I will wear to school, because I need shoes that I can either run in or kick off quickly. 

I’m not running away this time. I’m running toward him.

I’ll have the element of surprise on my side, I think. He might be looking for a cop, a male for sure. He won’t expect a small-framed female English professor to come tearing at him. I imagine paralyzing him with my gaze. I imagine my mouth open and teeth bared, my arms tight at my sides. A predator.

His surprise may buy me a few seconds to launch myself at him and tackle him to the ground. He may drop his weapon. He may shoot me as I’m coming at him; I know this. I probably won’t survive. Still, I’ll have startled him long enough for someone else to call 911, or to help me keep him pinned to the floor away from his guns. 

I’ll get there in time.

* Illustration by Anna Hall

The Eye of the Wolf – creative writing by Labibah

Labibah in Year 6 has a special talent for writing. She has been working very hard all year to achieve the almost impossible goal of a level 6 in her writing. However, due to the fact that Labibah has used her talent to the very best of her capability she has been successful. Read her story below. It is truly excellent and shows what can be achieved when you put talent and hard work together.

It is a rewrite of part of a story called the Eye of the Wolf from the character Toa’s point of view.

The Eye of the Wolf

It was a dark, dead night in a deserted town in Africa. The whistling sound of the descending bombs echoed through the air, as Toa sat agitated on his dromedary, uselessly trying to escape from the chaotic area. He was absolutely furious and had no time for the animal’s annoying antics. Chunks of rubble rolled on to the floor, mixing into the grainy sand. Toa kicked its chops, startling it, but not enough to get it to move. As he cursed under his breath, a woman holding a bundle in his arms rushed up to him; fear was swirling in her eyes, along with panic.

“Please keep this boy safe, Toa. He has no family and I cannot keep him. I will give you all my money and everything else I can offer. All I ask is to keep him safe,” the woman begged and pleaded.

Toa sat as straight as a bolt; conflicted as to whether he should be on his way or keep the child in exchange for the money. The flames from the burning houses and grass danced brightly as he snatched the money and the baby, before leaving the woman stranded alone in the burning town. She glanced at the baby pitifully, before taking off in the opposite direction. Although Toa had no intention of properly taking care of the baby, he was greedy for wealth, so he would bear the abomination for as long as he could.

The years passed by and the boy grew into a great storyteller, but Toa didn’t let his talent fool him. To him, the boy was dead weight on his shoulders – one that he was determined to get rid of. They would travel through the dry, empty desert, riding on the hump of the dromedary and every time Toa

would try to abandon the boy, the pathetic creature would stay firm on his toes and would refuse to budge. Toa despised Africa, he despised his job and he most definitely despised the boy. The thick, humid air was suffocating to Toa and he longed to be out of the roasting oven of a desert. He didn’t understand how the nomads found the boy’s stories interesting. Despite that, Toa didn’t care how good his stories were, he only cared about the money he earned. He really was a selfish, old man.

A day had come when they were trading in the great plains of Grey Africa and Toa was given the opportunity to separate himself from the dromedary and the boy. He was offered a deal he could not refuse. The wild thorn bushes camouflaged the grey rocks with the lifeless, dull leaves. Toa strictly advised the boy to stay behind as he entered the market place.

The warm sun beat down on the town as Toa dragged his dromedary through the market. A man with dark red blood stains and the pungent smell of raw meat emitting off him slowly trod over to Toa, staring intently at the dromedary.

“May I ask if you are selling this beautiful creature? I’m a local butcher and because of the dry sand and bushes, haven’t had a thick slice of juicy meat in ages,” his voice was husky and strong, smelling of dead meat.

Toa had no patience for pleasantries. Instead, he merely grunted and offered his hand whilst pushing the animal towards his new owner. The strange smelling man handed over a large bag of gold and Toa’s eyes brightened. Without acknowledging the animal in despair, Toa avariciously scrabbled for every penny and turned towards his next customer, eager to gain more money.

The customer was an old shepherd, slowly hobbling towards Toa with an old timber stick. His croaky voice called out to Toa, “Do you, sir, by any chance own a young shepherd boy who would be good for attending my flock? I have been searching for ages now and have grown tired. I’m willing to give

you everything.”

His broken voice coughed with every few words, but Toa heard him as clear as day.

“Well, it happens that I do. Now, before I consider anything, how much money will you pay for him?”

Toa put on the best smile he could muster, which was quite difficult for a grumpy old man like him.

“Everything I have,” the desperation in the man’s voice seemed to allure Toa even more.

“Well then, he now belongs to you.”

With a mischievous smirk on his wicked face, Toa snatched the man’s money before promising to return with the boy. Toa could feel an evil presence within him…and he loved it.

The mushy, mouldy smell of Grey Africa became somewhat pleasant to Toa as he returned to the boy. There was finally a way to get rid of the burden Toa had carried for the last few years of his life.

 By Labiba Y6

The Thomas Wolfe Scholarship

The Creative Writing Program and the Department of English of the University of North Carolina at Chapel Hill are pleased to announce the Thomas Wolfe Scholarship. It offers full four-year financial support to one incoming student per year, including tuition, room and board, books, a new laptop, and a summer stipend.

The Thomas Wolfe Scholarship’s level of support is comparable to that of the University’s well-known Morehead Scholarships. Whereas the Morehead Scholarship places broad emphasis on a candidate’s exemplary leadership, community service, academic excellence, and physical vigor, the Thomas Wolfe Scholarship seeks to identify and reward students with exceptionally focused literary ability and promise.

Current Winner

Elisa Troncoso

Previous winners.

Alex Gast 2022

Serene Almehmi 2022

Luisa Peñaflor 2021

Jenna Gartland 2020

Cecelia Tucker 2019

Grace Morse and Savannah Bradley  2018

Samuel gee 2017, mckenna ritter 2016.

Other Thomas Wolfe Scholars: Hayley Sigmon 2015, Diana Mellow 2014, Maddie Norris 2013, Heather Wilson 2012, Anna Faison 2011, Jordan Castelloe 2010, Maria Isabelle Carlos 2009,  Jenna Hall 2008, Denise Rickman and Maria Devlin 2007, Nate Lumpkin 2006, Kendra Fish 2005, Andrew Chan 2004, Hannah Poston 2003, Caitlin Doyle 2002

Application Information

The Thomas Wolfe Scholarship will accept applications for its 23nd national search   beginning September 1st, 2023 .

Please note that our application process involves two separate steps and two different dates, and all applicants must take both steps and meet both deadlines, to wit: Thomas Wolfe Scholarship applicants must apply  to the University of North Carolina at Chapel Hill   by the University’s October 15th, 2023 EARLY admission deadline and must meet all academic requirements for EARLY admission; and 2) Scholarship applicants must also apply   to The Thomas Wolfe Scholarship , with the deadline for submissions to the Scholarship being November 15th, 2023 (submissions must be electronically submitted by that date).   These are two distinct application processes and require different forms and separate online submissions.

The Thomas Wolfe Scholarship award will be based largely on written work submitted by candidates.  Artistic merit is the chief criterion of selection.  Students who write poetry, fiction, plays, creative nonfiction (personal essays, memoir, travel and nature essays, literary journalism, and lyric essays) are eligible. Multiple genre submissions are also encouraged. Submissions are limited to one application per student.

The application process requires the submission of a portfolio containing between forty (40) and fifty (50) pages of original creative writing composed in English. This work may be in any genre, and it may also be a combination of genres (for example: a short story, a short memoir, and three poems). In addition to completing the application, candidates must submit a five-hundred-word personal essay entitled “Why I Write.”

The age of entering students under The Thomas Wolfe Scholarship shall not exceed twenty-two (22) years. The scholarship is not available to undergraduate college students seeking to transfer to UNC-Chapel Hill from other institutions. All applicants should either be citizens of the United States and/or should be residing in the United States at the time of application.

The Board of Advisors of The Thomas Wolfe Scholarship may award the scholarship to a new recipient annually. However, the Board of Advisors may decide not to award the scholarship in any given year due to financial constraints, the quality of applicants, or other sufficient reason, in the Board’s sole discretion. The decision of the Board of Advisors will be final. The submission of an application will constitute assent to all conditions and stipulations expressed herein.

Application Materials:

• We are introducing a new online application system this year, available at: Thomas Wolfe Scholarship Application
• In preparation for filling out the application, you may wish to preview the questions in advance, which are available here: Application Questions for The Thomas Wolfe Scholarship 
• In preparation for the Writing Sample, please gather the following materials onto a SINGLE WORD or PDF Document that is double-spaced, 12-point type, with every page numbered:
• A Personal Essay of no more than five hundred (500) words, in which you introduce yourself as a writer and reader, as someone who aspires toward the writing life, entitled “Why I Write.”
• A Table of Contents for the Writing Sample that consists of titles, genres, and page numbers.
• A Writing Sample that consists of anywhere from forty (40) to fifty (50) pages of original creative writing composed in English, and that is arranged in the order listed in the Table of Contents. This work can be in any genre (poetry, fiction, plays, and creative nonfiction such as memoir or literary journalism). You may send in several different works of various genres. If submitting an excerpt of a longer work, please include a brief synopsis of the project. Please note that all work must be double-spaced, in 12-point type, with every page numbered.
• Must be on letterhead and must be submitted separately from the application by each recommender
• Please submit letters as PDF or WORD document only. We are unable to open SharePoint, OneDrive, or Google Doc files.
• The letter must be submitted by 11:59 pm on November 15, 2023 using this link: Thomas Wolfe Scholarship Recommendation Form

** PLEASE NOTE:: YOUR SUBMISSION MUST BE COMPLETE at the time you electronically submit it . Requests for additions, updates, revisions will not be honored. Incomplete submissions will automatically disqualify the applicant. The entire application, including the Writing Sample and the 3 Letters of Recommendation,   must be received by 11:59 pm on November 15, 2023  at Thomas Wolfe Scholarship Application   and at Thomas Wolfe Scholarship Recommendation Form . 

Frequently Asked Questions:

• If I am selected as the Thomas Wolfe Scholar, do I have to take creative writing classes at UNC? It is assumed by our Advisory Committee that only students who are deeply committed to the written word, the love of literature, the art of writing will apply for the Wolfe Scholarship. If students are applying for a scholarship that honors writing talent, it is also assumed that students will want to continue their study of writing at the college level. Students may choose to  major  in any discipline, but the Wolfe Scholar must agree to  minor  in Creative Writing.
• What if I’ve started college elsewhere or taken classes after high school graduation that would count as college credit?   To qualify as a candidate for the Wolfe Scholarship, you must plan to enter UNC-CH as a  first year student . College credits accumulated elsewhere, if transferable, should not exceed six hours, exclusive of AP and IB credits. You will be required to take a minimum of 12 hours each semester and complete your degree in four years. Students must be no older than 22 years of age and either a citizen or resident of the United States.
• I’m confused about the number of pages to send. If I am sending poems, for example, and one poem takes up half a page, should I begin the next poem on that same page, or should I write one poem per page?   One poem per page is fine. If you are a prose writer and a story or essay ends half-way down a page, you may begin your next story or essay on a new page.
• Is the Thomas Wolfe Scholarship judged separately from a regular UNC application?   Yes. The Thomas Wolfe Scholarship Program is altogether separate from UNC’s Office of Admissions. Our committee works with Admissions and often shares application information when it is in a candidate’s best interest. Candidates for the Wolfe Scholarship should plan to submit applications to the Office of Admissions by their  October 15th deadline. DO NOT send Admission materials along with your Wolfe application!  Admissions packets should be sent under separate cover to the  UNC  Admissions Office.  Applications/submissions for the Scholarship itself should be sent to The Thomas Wolfe Scholarship  by our November 15th deadline.
• When will I be notified about the status of my application?   This year’s deadline for materials is  November 15  . Your application will be read by several preliminary readers. You will receive notice in mid-to-late February indicating whether or not you have advanced as a semi-finalist. From the semi-finalist list, the Advisory Committee will select approximately 3-5 finalists who will be notified in early March of their status and invited to campus for further interviews. The new Wolfe Scholar will be named by mid-April.
• Am I at a disadvantage if I’ve never published anything or won a writing contest?   No. Many high school students who are excellent writers have never published their work. Your application will be evaluated on the basis of your giving evidence of genuine artistry.
• Should I send SAT scores and high school transcripts in my application?   No. Although we expect Wolfe Scholars to make good grades, our primary interest is in evaluating your writing skills.
• In my writing submission, are any subjects taboo?   There are no restrictions whatsoever placed on content. Censorship of manuscripts is prohibited by the Advisory Board.
• I have used profanity in some of my writing. When I apply, should I include or omit works that have “language”?   Applicants should not feel inhibited by the fact that what they deem superior work contains profanity. We can tell when an author, in being true to his or her characters, is letting them speak in their own voices, however profane and/or unsettling those voices may be from time to time, and when, on the other hand, an author is using profanity merely for sensational effect, in a simplistic attempt to engage the reader with shock value, rather than real wit and literary style.

For more information:

Please reach out to Gaby Calvocoressi and Stephanie Elizondo Griest, Co-Directors of The Thomas Wolfe Scholarship Program, at   [email protected] .

Werewolf Writing Prompts: Craft Tales of Transformation

My name is Debbie, and I am passionate about developing a love for the written word and planting a seed that will grow into a powerful voice that can inspire many.

Types of Werewolf Writing Prompts to Unleash Your Creativity

Exploring the art of metamorphosis: ⁢crafting captivating werewolf tales, 1. immerse yourself in werewolf⁢ lore, 2. ‌embrace the animalistic nature, 1. embrace the‌ symbolism:, 2. harness the lunar transformation:, from myth to reality: integrating historical and cultural elements ⁣in werewolf writing, mastering the transformation: tips and techniques for writing convincing werewolf​ shifts, creating multidimensional characters: portraying the human-werewolf⁢ duality in writing prompts, frequently asked questions, in conclusion.

When it comes to werewolf writing prompts, ⁢the possibilities are as‌ vast as the full moon itself. Whether you’re looking to write ‌a thrilling horror story or a heartwarming tale ⁤of love and transformation, there’s a prompt out there to help unleash your creativity. Here are a few types⁢ of werewolf writing prompts to sink your teeth into:

• Survival Tales: Explore the challenges of living as a‍ werewolf in a world that may view you as a ‍monster. Write about a werewolf trying ⁤to conceal their true identity while navigating the complexities of everyday life.
• Historical Werewolf: Transport your readers to a different era and imagine werewolves lurking in the shadows of history. Explore how werewolves could have influenced ⁤key events or been ⁣involved ‍in ancient myths and legends.
• Romantic Werewolf: ‍Love ‍knows no⁣ boundaries, ‌not even under the moonlight. Create a story where a werewolf finds themselves ⁢entangled in a passionate romance,‌ overcoming ‌obstacles that‍ come with embracing⁢ their ⁤dual nature.

So whether you’re seeking spine-chilling tales, thrilling adventures, or heartwarming love⁤ stories, these werewolf writing prompts offer a howling good starting point for capturing the essence of these mystical creatures. Let your imagination run wild and allow the supernatural world of werewolves to come alive through your words.

Embark on a thrilling journey through the mysterious realm of werewolf lore ⁣as we delve into the intricate art of crafting captivating tales that revolve around these supernatural ⁤creatures. Werewolves, with ⁣their ability to transform effortlessly between ​human and wolf forms, have fascinated and captivated audiences ​for centuries. In this post, we will explore ⁣the key elements and techniques that can elevate your werewolf stories to entirely new heights, leaving readers​ spellbound.

One fundamental aspect to ‍consider when crafting werewolf tales is the ⁢portrayal of the⁤ transformation itself. The metamorphosis holds⁢ an undeniable allure, ⁣intertwining horror, fascination, and the raw ‌power of nature. By vividly describing the physical changes undergone by the protagonist, you can⁢ immerse⁢ your​ readers in a sensory experience that will keep them on the edge of their seats. Utilize rich language to depict the shattering⁢ of bones, the stretching⁤ of sinews, and‍ the eruption of fur. Ensure that the ⁢transformation is an intricate dance ⁤between beauty and terror, igniting⁣ the reader’s imagination.

• Focus on building a‌ relatable and compelling human character before delving into ​their transformation into a werewolf. This‌ allows readers to connect emotionally with ‌the protagonist and enhances their investment in the story.
• Explore‌ the psychological struggles faced ⁣ by the protagonist as they navigate their dual existence. The battle between their human conscience and ⁤the primal instincts of​ their wolf form ‌adds depth and complexity to the narrative.
• Bring the werewolf’s ‌sensory experiences to life. Describe ‍the heightened⁤ sights, ​smells, and sounds that the character encounters in their wolf ‍form, allowing readers to vicariously experience the world‍ through the creature’s ⁤perspective.

Unlock the ‍true potential of your werewolf tales by infusing them with these ​key elements. Captivate readers ‍with realistic and emotional storytelling, delve into the psychological turmoil of dual existence, and paint a vivid picture of the sensory delights and horrors of transformation. With these techniques, your werewolf stories will become enthralling⁤ works of art that will ​leave‌ readers howling for more.

Unleashing Your Inner Beast: How ⁣to Embrace the Transformation‍ in Werewolf Writing

Werewolf‌ writing has long captured the imaginations of readers and writers ‍alike, allowing us to explore the depths of our own primal instincts. So, how can you fully embrace the transformative power of this genre in your own writing? Here ⁤are some tips⁤ to help you unleash your inner beast:

To truly tap into​ the essence of werewolf writing, it’s essential ⁣to familiarize yourself ⁤with the ⁢rich history and mythology surrounding these mythical creatures. ⁢Dive ⁤into literature and films featuring werewolves, such as “The Wolfman” ⁣or “An American Werewolf​ in London.” By understanding the folklore, symbolism, and various interpretations of werewolves, ⁢you’ll gain a⁣ deeper appreciation for this genre and⁣ be able to infuse your own writing with authenticity.

In werewolf writing, it’s important to ⁤convey the raw, untamed⁣ energy that comes with the transformation. Embrace the animalistic ⁣nature not only⁣ through your characters ⁣but also through the language and⁤ imagery you use.⁢ Let your prose ⁢portray⁤ the heightened senses, the primal instincts, and the ⁢riveting physicality of the werewolf. Bold metaphors and vivid descriptions will ​help transport your readers into the world of your story, ‍where they can experience the rush of⁢ the beast within.

Finding Inspiration in the Full Moon: Using Nature’s Cycle in ​Werewolf Storytelling

The‍ full moon has long been associated with mystery, transformation, and the supernatural. For centuries, storytellers have drawn inspiration from this celestial event, particularly when⁣ weaving tales⁤ of the fearsome and mythical creatures known as werewolves.⁤ By incorporating‍ the ⁤cycle of the moon into werewolf storytelling, writers‌ can add depth, symbolism, and a sense of natural rhythm ‌to their ​narratives. Here are some ideas on how to⁢ harness⁢ the⁣ power of the full moon in your⁢ werewolf tales:

Throughout history, the full moon has ‍been ‍a ⁢symbol of intensity, heightened emotions, and hidden desires. Incorporate these themes into your werewolf characters⁣ to deepen their complexity and create captivating storylines that explore the duality of human and wolf. Imagine the internal​ struggle of a werewolf torn between ⁤their primal instincts and their desire‌ to retain their humanity, all under the ethereal glow of a full moon.

The transformation from human to werewolf is a pivotal moment ⁤in any werewolf story. By linking⁤ this‍ metamorphosis to the lunar cycle, you can infuse your narrative‌ with a ⁤natural rhythm​ that adds⁢ intrigue and suspense. Consider‍ using the‌ moon’s phases to affect the characters’ ​abilities, strengths, or ​weaknesses. The waxing moon could symbolize⁤ growing power, while the waning moon ​might represent the gradual loss of ⁢control. This connection connects your werewolf world to ​the ebb and flow⁤ of nature and creates a unique storytelling ​experience for your ​readers.

Werewolves have long been a ⁣captivating and intriguing subject in literature, allowing readers to ​delve into a world of mythical creatures and supernatural phenomena. However,‍ in recent years, there has ‌been a shift towards incorporating historical and cultural elements ​into werewolf ⁣writing, transforming the genre from mere myth to a more grounded and⁣ authentic experience. By integrating these elements, authors​ are able to provide readers with a richer understanding of the werewolf mythos while exploring the cultural significance behind these creatures.

One way⁣ in ⁢which‍ historical⁤ elements are incorporated into werewolf​ writing is through⁢ the inclusion of ancient folklore ‌and ⁤legends.⁤ Authors draw inspiration from ⁤ancient civilizations such as the Greeks and Romans, who believed in the existence of werewolves and had their own mythology surrounding ‍these creatures. By incorporating aspects of these ancient myths, writers are ‍able to add depth and complexity to their werewolf characters, exploring the roots of ‌their existence and the cultural ⁢beliefs surrounding them.

Additionally, cultural elements play a crucial role in shaping the werewolf narrative. Authors ⁢incorporate cultural practices, beliefs, and customs to create‍ a more authentic ⁤and relatable representation of these creatures.⁤ For example, Native American cultures have their own​ legends⁤ and stories about ⁤shape-shifters, ⁢which can be seamlessly integrated into the werewolf narrative.‍ By doing so, writers not only​ provide readers with a unique perspective on werewolves ‍but also promote cultural diversity and appreciation.

When it comes to powerful and ⁣captivating storytelling, the art of⁣ describing werewolf transformations is an ⁢essential skill for any writer. To help you create spellbinding‌ scenes that will transport your readers into a world​ of moonlit metamorphosis, we’ve compiled some tips and techniques:

• Research and immerse‍ yourself: Understanding the folklore and mythology surrounding werewolves is crucial. Dive into⁤ books, movies, and legends to grasp the different aspects of these creatures and make your depiction authentic.
• Start small and build suspense: Allowing the transformation‍ to happen gradually not only ⁢adds tension but ⁣also enhances the believability of the shift. Begin with subtle changes like heightened senses⁤ or restlessness, gradually escalating to physical transformations.
• Engage the senses: Utilize vivid descriptions ⁣to bring the transformation to life. Detail ⁣how the character’s bones crack and reshape, the​ burning sensation of fur sprouting, or the overwhelming scents and sounds that‌ accompany ⁢the change.
• Tap into ⁤emotions: Writing ⁢about the emotional turmoil experienced during a werewolf transformation brings depth ⁤to your characters. Explore feelings of fear, loss of control, and the struggle to retain their humanity.

Remember, writing convincing werewolf shifts requires⁣ a balance between captivating descriptions and relatable​ human emotions. By incorporating ‍these tips and⁤ techniques, you’ll be well⁢ on your way to mastering the art of‌ portraying these supernatural transformations in your stories. So, let your imagination roam wild and ⁢let the moon guide your pen!

‍ When it‌ comes to⁤ crafting multidimensional characters, exploring the⁢ human-werewolf duality can add​ a captivating twist to your writing prompts. This age-old theme allows writers to ‍delve into themes of identity, self-control, ​and the struggle between the beast within⁣ and the human facade. Here are⁤ some tips to⁣ help you effectively portray this ​complex​ duality in ⁤your‍ writing:

• Create contrasting character traits: ​ Develop distinct qualities for your character’s human and werewolf personas. Highlight their human‍ side by ‌emphasizing their intelligence, empathy, and social skills.‍ Conversely, their werewolf side⁢ could ⁤exhibit heightened senses, ferocity, ​and an animalistic nature. By showcasing these⁣ contrasting characteristics, ⁤you can highlight the internal conflict your character faces in‍ reconciling their two identities. ⁢
• Explore‌ the internal struggle: Delve deep​ into​ your character’s psyche, allowing readers to witness ‍their constant struggle to maintain control over their primal instincts. Describe their internal battles, the⁢ dilemmas they face when making decisions, ⁢and the psychological toll it takes on them. This introspection will not only make your⁣ character more relatable and realistic, but it⁢ will also create tension and suspense within ‌your writing prompts. ⁣

By employing these techniques, you‌ can bring your human-werewolf characters to life,⁤ captivating readers with their inner⁢ turmoil⁣ and⁢ creating thought-provoking narratives. So, embrace the duality, unleash⁣ your creativity, and⁣ explore the captivating world of characters torn between their‍ human and wolfish sides.

Q: What are Werewolf Writing Prompts? A: Werewolf Writing Prompts are creative ideas and themes that can inspire writers to produce captivating⁢ stories centered around the concept of werewolves and their transformative nature.

Q: How can Werewolf Writing Prompts⁣ help writers? A: These prompts serve as a starting ⁢point for writers,⁤ providing⁤ them with unique scenarios, settings, ​and character developments related to ‍werewolves. They can ⁢help stimulate creativity and ⁤imagination, enabling writers to craft engaging narratives .

Q: Why are werewolves an interesting subject for writing prompts? A: Werewolves have fascinated people for centuries, and⁤ their‍ mythical transformation from human to wolf-like creatures offers abundant storytelling opportunities. Exploring the themes of identity, ⁣duality, and primal instincts, werewolves serve⁤ as ‌exciting and multi-dimensional characters for writers to explore.

Q: Where⁢ can ‍one find Werewolf ‌Writing Prompts? A: Many online ⁢platforms, writing blogs, and ‍creative writing ⁣communities offer a⁤ wide range of‍ Werewolf⁤ Writing Prompts. These resources can provide aspiring authors with a vast array‌ of ideas to choose​ from, ⁣ensuring that each⁢ writer finds inspiration tailored to their preferred style and genre.

Q: What‌ kind of story ​ideas do Werewolf Writing Prompts offer? A: Werewolf Writing Prompts can ⁤encompass a myriad of ideas, such⁤ as stories set in modern-day urban environments⁣ where werewolves ⁤navigate the challenges of⁣ secrecy and acceptance. Other prompts may explore historical settings, ancient folklore, or even futuristic worlds, allowing writers to tailor their stories to various genres like horror, ​fantasy, or ⁤romance.

Q: Can Werewolf Writing Prompts be used for⁤ different writing formats? A: Absolutely! Werewolf Writing Prompts are versatile and can be used for ‍various writing formats, including short stories, novels, and even poems. The prompts provide ⁤a solid foundation for writers to ⁣develop werewolf characters, build their world, and⁣ unravel captivating plotlines‌ across different literary forms.

Q: How can⁢ one make ⁣the most out of Werewolf Writing Prompts? A:⁣ To make the most out of these prompts, writers should aim to infuse their personal style, voice, and imagination into the ideas provided. By adding their unique​ twist and perspective, writers can develop truly original and compelling ‍narratives, making the werewolf prompts their own.

Q:⁣ Are Werewolf Writing Prompts only suitable for​ experienced writers? A: Not ‌at all! Werewolf Writing Prompts cater to writers of all skill levels. Whether you are ​a seasoned writer or just starting your writing⁤ journey, these prompts⁤ offer an opportunity to explore the werewolf theme and hone your storytelling abilities. They ⁤are⁤ designed to inspire creativity among​ writers at any stage.

Q: ⁢Are there any specific tips for using Werewolf Writing ‍Prompts ⁢effectively? A: Absolutely! Here are a few tips: ⁣First, choose a prompt that resonates with you​ and that you feel excited about. Second, spend⁢ some time brainstorming and outlining your story before diving into‌ writing. Third, don’t be ⁤afraid to explore different angles and perspectives within the werewolf theme. Lastly, remember that the prompts are merely a‍ starting point; allow your⁢ narrative to evolve beyond the initial idea.

Q: Can Werewolf Writing Prompts be used to teach writing ‌skills? A: Yes, ⁢these prompts can be an excellent ⁤tool for teaching ‌creative writing skills. Educators​ can integrate Werewolf Writing Prompts ​into​ writing workshops or assignments for ⁢students, cultivating their storytelling abilities and encouraging ⁣imagination. Prompts ⁤centered around werewolves can engage students in the writing process and make it more dynamic.

Q: Are there​ any copyright concerns when ⁢using Werewolf Writing Prompts? A: The copyright concerns associated ⁤with the⁣ use of ‍these prompts primarily depend on their source. It ⁢is always ‌good practice to ensure⁤ that the prompts you ​use are freely available, properly attributed to ‌their creators, or fall under public domain. Additionally, writers should avoid copying entire prompts verbatim ‍and‌ instead use them as a springboard for their original ideas ​and narratives.

Incorporating Werewolf Writing Prompts into your creative process can lead to captivating tales of transformation ⁤that will leave readers craving more.

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Celebrating thirty years of creative writing

By Kyra Gurney 03-18-2024

In the late 1980s, the acclaimed writer James Michener spent three years at the University of Miami working on a novel that recounts the history of the Caribbean.

His time on the Coral Gables campus inspired Michener to give back to the University, leading him to endow a creative writing program for graduate students .

Michener, known for writing historical novels deeply rooted in specific places, would no doubt approve of what the Master of Fine Arts in creative writing program has accomplished over the past three decades. In addition to producing award-winning fiction writers, poets, and memoirists , the M.F.A. program has become deeply rooted in Miami and its many languages.

“We encourage students to braid their home languages that might not be English into their work,” said Chantel Acevedo, the director of the M.F.A. program, which is housed in the College of Arts & Sciences . “We also encourage students to experiment with different kinds of English because English is not spoken the same way everywhere.”

In addition to being the only M.F.A. program in the country with a broad multilingual focus, the University of Miami program also has one of the most diverse faculty, Acevedo said. This diversity is reflected in writing workshops, where faculty strive to create an inclusive environment.

“I think you have a lot of folks who have been told their experience is somehow wrong because it doesn’t reflect the majority,” Acevedo said. “Rooted in a sense of equity, our workshops really allow writers to thrive and to grow into the spaces where they need to grow.”

This spring, the program—which welcomed its first students during the 1993-1994 academic year—is celebrating its 30th anniversary with a series of events.

The celebration kicks off on April 12 with an alumni reunion reception at The Betsy Hotel sponsored by Dean Leonidas Bachas. The next day, alumni will meet for a writing workshop on the University’s Coral Gables campus, followed by a reading by second-year M.F.A. students at Books & Books.

“We’re celebrating with our community and also bringing our community back together and reconnecting with those who we may have lost touch with over the years,” Acevedo said. 

The alumni have many reasons to celebrate. This “tiny but mighty” program, as M. Evelina Galang, the former director, calls it, has helped its graduates to launch successful literary careers. Recent alumnus Andrew Boryga published his debut novel with Doubleday in March, and another recent alumnus, Bobuq Sayed, has a novel forthcoming from Harper , to name just two examples. Poetry alumna Christell Victoria Roach currently holds a prestigious Stegner Fellowship at Stanford University. Previous generations of alumni have achieved similar accolades.

The M.F.A. program’s small size has contributed to its success. The program admits only six students—three poets and three fiction writers—a year, which allows the faculty of award-winning writers to provide extensive support. Michener’s legacy lives on through the James Michener Fellowships and Teaching Assistantships, which provide students with tuition waivers and stipends, allowing them to focus fully on their writing and teaching.

“We get to know their work and we get to know them as artists in three dimensions and not just as someone you meet one semester and never see again,” Acevedo said. “A real community forms here, and it’s a very supportive one.”

Alumni of the M.F.A. program, and anyone who is interested in attending the Books & Books event, can find more information about the upcoming festivities on the 30th anniversary webpage .

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