Can Aristotle's Rhetoric Teach Us Something About Writing Fiction?

By Toyin Adeyemi

ALCG Books

February 3, 2025

In the canon of Western philosophy, Aristotle (384 BC - 322 BC) is widely known as the ancient Greek philosopher and polymath who studied under Plato and taught Alexander the Great. He is one of the most influential thinkers in the study of rhetoric, which he defined as the art of persuasion. Most notably, Aristotle conceived of persuasion as consisting of three main parts in a persuasive presentation or speech: ethos, which he defined as persuasion through character; pathos, persuasion through emotions; and logos, persuasion through logical reasoning.

In 2025, why turn to an ancient Greek philosopher for insights into creative writing? The question is worth asking, especially in an era when Critical Race Theory—a field rooted in legal scholarship of the 1970s that examines how race and power intersect in law and society—has become a flashpoint in contemporary debates. Some groups, eager to weaponize the classics, have misrepresented their origins by distorting ancient Greece into a racialized symbol intellectual supremacy. But the Greeks themselves were never considered "white" in antiquity; their traditions were shaped by a confluence of African, Middle Eastern, and Mediterranean influences (Lefkowitz, Not Out of Africa).

Going back to Aristotle, his insights into persuasion are, in some important ways, relevant across disciplines. His work speaks to how we argue, and also to how we connect, convince, and tell stories—including the stories we create as fiction writers. Like writers Annie Abrams and Roosevelt Montás, I believe that in the realm of the arts, all insightful works, regardless of their cultural affiliation or origin, should be mined for their wisdom and inspiration -- not reduced to tools on an ideological battleground. That does not mean we should avoid critiquing ideologically questionable parts of these works. For example, Aristotle's views on personhood, gender, and cultural superiority promote inequality and hierarchy that conflict with modern ideals of human rights and equality. Engaging thoughtfully with such works requires some discernment: we can start by acknowledging their unique and specific value while addressing their faults.

Can Aristotle’s rhetoric teach us anything about writing fiction? The answer appears to be yes. Fiction, at its heart, is an art of persuasion. Though we may not think of novels, short stories, or plays as persuasive arguments, they constantly work to convince readers to invest in characters, believe in the fictional worlds being presented, and feel emotionally involved in the narrative’s outcomes.

Let’s take a closer look at Aristotle’s three appeals—ethos, pathos, and logos—to explore how these principles can guide and enhance fiction writing.

Writing Fiction with Ethos

In rhetoric, ethos refers to the credibility of the speaker. Aristotle argued that a speaker’s character, values, and trustworthiness are crucial to persuasion.

In fiction, ethos can be considered in two ways: the reliability of the writer and the believability of the characters. For the writer, ethos manifests in their ability to create a consistent and authentic narrative voice. Readers must trust the storyteller—whether it’s an omniscient narrator, a first-person protagonist, or even an unreliable narrator—to deliver a compelling and cohesive narrative. For example, in Kazuo Ishiguro’s The Remains of the Day, the narrator Stevens’s ethos is established through his meticulous, formal tone, which reflects his identity as a butler. Even though Stevens’s self-delusions become apparent, his voice is so consistent that readers remain engaged with his perspective.

In terms of fictional characters, ethos involves creating characters who feel real and whose motivations make sense. Readers need to believe in a character’s internal logic, even if they disagree with their choices. A well-crafted character, like Toni Morrison’s Sethe in Beloved, persuades readers to empathize with their struggles, no matter how extreme or morally complex their actions may be.

Pathos: Emotional Connection

If ethos builds credibility, pathos stirs the heart. Aristotle recognized that humans are deeply influenced by emotions, and writers of fiction excel at using pathos to draw readers into their storyworlds. Fiction thrives on its ability to make readers feel something—grief, joy, fear, love, or even a release -- a catharsis.

Consider how Jhumpa Lahiri’s short story “A Temporary Matter” uses pathos to explore a grieving couple’s emotional distance following the loss of their child. Through small, poignant details—a shared meal, a burned-out light bulb, an awkward silence—Lahiri evokes a sense of longing and heartbreak that resonates deeply with readers. The story’s emotional core persuades us to care about the characters and their fractured relationship.

Writers can use pathos to engage readers, but also to create tension and drive conflict. A well-placed moment of emotional vulnerability can make a character’s triumph feel all the more satisfying, or their downfall all the more devastating.

In fiction, as in rhetoric, pathos is a tool for creating connection and engagement.

Logos: Logical Reasoning in Fiction

While we often associate logos with academic arguments or debates, logic also plays a vital role in storytelling. In fiction, logos manifests as narrative coherence and internal consistency. A story must follow its own rules, whether it’s grounded in realism or set in a fantastical universe.

For example, in George R.R. Martin’s A Song of Ice and Fire series, the complex political alliances and betrayals operate within a logical framework. Even in the midst of dragons and magic, the world-building is so carefully constructed that readers find the narrative plausible. The characters’ decisions, shaped by their motivations and circumstances, follow a logical progression, making the twists and turns of the plot all the more impactful.

Similarly, fiction writers use logos to structure their stories. A well-constructed plot, like the intricate cause-and-effect sequence in Gillian Flynn’s Gone Girl, persuades readers by making each twist feel retrospectively inevitable. Even when the resolution surprises us, it satisfies us because it sticks to the story’s internal logic.

Aristotle’s Rhetoric as a Resource for Fiction

Aristotle’s rhetoric offers fiction writers a useful framework for writing compelling stories that persuade us to care. By building ethos through authentic voices and believable characters, evoking pathos to create emotional depth, and using logos to ensure narrative coherence, writers can persuade readers to immerse themselves fully in their fictional worlds.

Whether through character, emotion, or structure, Aristotle’s ideas remind us that storytelling, like rhetoric, is fundamentally about connection. Even now, these ancient principles remain valuable for writers seeking to engage, move, and persuade their audiences through fiction.

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