teaching a creative writing class

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How to Teach Creative Writing | 7 Steps to Get Students Wordsmithing

“I don’t have any ideas!”

“I can’t think of anything!”

While we see creative writing as a world of limitless imagination, our students often see an overwhelming desert of “no idea.”

But when you teach creative writing effectively, you’ll notice that  every  student is brimming over with ideas that just have to get out.

So what does teaching creative writing effectively look like?

We’ve outlined a  seven-step method  that will  scaffold your students through each phase of the creative process  from idea generation through to final edits.

7. Create inspiring and original prompts

Use the following formats to generate prompts that get students inspired:

• personal memories (“Write about a person who taught you an important lesson”)
• imaginative scenarios
• prompts based on a familiar mentor text (e.g. “Write an alternative ending to your favorite book”). These are especially useful for giving struggling students an easy starting point.
• lead-in sentences (“I looked in the mirror and I couldn’t believe my eyes. Somehow overnight I…”).
• fascinating or thought-provoking images with a directive (“Who do you think lives in this mountain cabin? Tell their story”).

Don’t have the time or stuck for ideas? Check out our list of 100 student writing prompts

6. unpack the prompts together.

Explicitly teach your students how to dig deeper into the prompt for engaging and original ideas.

Probing questions are an effective strategy for digging into a prompt. Take this one for example:

“I looked in the mirror and I couldn’t believe my eyes. Somehow overnight I…”

Ask “What questions need answering here?” The first thing students will want to know is:

What happened overnight?

No doubt they’ll be able to come up with plenty of zany answers to that question, but there’s another one they could ask to make things much more interesting:

Who might “I” be?

In this way, you subtly push students to go beyond the obvious and into more original and thoughtful territory. It’s even more useful with a deep prompt:

“Write a story where the main character starts to question something they’ve always believed.”

Here students could ask:

• What sorts of beliefs do people take for granted?
• What might make us question those beliefs?
• What happens when we question something we’ve always thought is true?
• How do we feel when we discover that something isn’t true?

Try splitting students into groups, having each group come up with probing questions for a prompt, and then discussing potential “answers” to these questions as a class.

The most important lesson at this point should be that good ideas take time to generate. So don’t rush this step!

5. Warm-up for writing

A quick warm-up activity will:

• allow students to see what their discussed ideas look like on paper
• help fix the “I don’t know how to start” problem
• warm up writing muscles quite literally (especially important for young learners who are still developing handwriting and fine motor skills).

Freewriting  is a particularly effective warm-up. Give students 5–10 minutes to “dump” all their ideas for a prompt onto the page for without worrying about structure, spelling, or grammar.

After about five minutes you’ll notice them starting to get into the groove, and when you call time, they’ll have a better idea of what captures their interest.

Did you know? The Story Factory in Reading Eggs allows your students to write and publish their own storybooks using an easy step-by-step guide.

4. Start planning

Now it’s time for students to piece all these raw ideas together and generate a plan. This will synthesize disjointed ideas and give them a roadmap for the writing process.

Note:  at this stage your strong writers might be more than ready to get started on a creative piece. If so, let them go for it – use planning for students who are still puzzling things out.

Here are four ideas for planning:

Graphic organisers

A graphic organiser will allow your students to plan out the overall structure of their writing. They’re also particularly useful in “chunking” the writing process, so students don’t see it as one big wall of text.

Storyboards and illustrations

These will engage your artistically-minded students and give greater depth to settings and characters. Just make sure that drawing doesn’t overshadow the writing process.

Voice recordings

If you have students who are hesitant to commit words to paper, tell them to think out loud and record it on their device. Often they’ll be surprised at how well their spoken words translate to the page.

Write a blurb

This takes a bit more explicit teaching, but it gets students to concisely summarize all their main ideas (without giving away spoilers). Look at some blurbs on the back of published books before getting them to write their own. Afterward they could test it out on a friend – based on the blurb, would they borrow it from the library?

3. Produce rough drafts

Warmed up and with a plan at the ready, your students are now ready to start wordsmithing. But before they start on a draft, remind them of what a draft is supposed to be:

• a work in progress.

Remind them that  if they wait for the perfect words to come, they’ll end up with blank pages .

Instead, it’s time to take some writing risks and get messy. Encourage this by:

• demonstrating the writing process to students yourself
• taking the focus off spelling and grammar (during the drafting stage)
• providing meaningful and in-depth feedback (using words, not ticks!).

Reading Eggs also gives you access to an ever-expanding collection of over 3,500 online books!

2. share drafts for peer feedback.

Don’t saddle yourself with 30 drafts for marking. Peer assessment is a better (and less exhausting) way to ensure everyone receives the feedback they need.

Why? Because for something as personal as creative writing, feedback often translates better when it’s in the familiar and friendly language that only a peer can produce. Looking at each other’s work will also give students more ideas about how they can improve their own.

Scaffold peer feedback to ensure it’s constructive. The following methods work well:

Student rubrics

A simple rubric allows students to deliver more in-depth feedback than “It was pretty good.” The criteria will depend on what you are ultimately looking for, but students could assess each other’s:

• use of language.

Whatever you opt for, just make sure the language you use in the rubric is student-friendly.

Two positives and a focus area

Have students identify two things their peer did well, and one area that they could focus on further, then turn this into written feedback. Model the process for creating specific comments so you get something more constructive than “It was pretty good.” It helps to use stems such as:

I really liked this character because…

I found this idea interesting because it made me think…

I was a bit confused by…

I wonder why you… Maybe you could… instead.

1. The editing stage

Now that students have a draft and feedback, here’s where we teachers often tell them to “go over it” or “give it some final touches.”

But our students don’t always know how to edit.

Scaffold the process with questions that encourage students to think critically about their writing, such as:

• Are there any parts that would be confusing if I wasn’t there to explain them?
• Are there any parts that seem irrelevant to the rest?
• Which parts am I most uncertain about?
• Does the whole thing flow together, or are there parts that seem out of place?
• Are there places where I could have used a better word?
• Are there any grammatical or spelling errors I notice?

Key to this process is getting students to  read their creative writing from start to finish .

Important note:  if your students are using a word processor, show them where the spell-check is and how to use it. Sounds obvious, but in the age of autocorrect, many students simply don’t know.

A final word on teaching creative writing

Remember that the best writers write regularly.

Incorporate them into your lessons as often as possible, and soon enough, you’ll have just as much fun  marking  your students’ creative writing as they do producing it.

Need more help supporting your students’ writing?

Read up on  how to get reluctant writers writing , strategies for  supporting struggling secondary writers , or check out our huge list of writing prompts for kids .

Watch your students get excited about writing and publishing their own storybooks in the Story Factory

You might like....

• How to write a story
• How to write a novel
• How to write poetry
• Dramatic writing
• How to write a memoir
• How to write a mystery
• Creative journaling
• Publishing advice
• Story starters
• Poetry prompts
• For teachers

How to Teach Writing

Welcome, fellow writing teachers! Here, you'll find ideas for how to teach writing, including topics, worksheets and lesson plans for fiction and poetry classes. If you're teaching adults and want to incorporate a workshop component in your classroom, you can find suggestions for how to run a critique here.

Join our email group for creative writing teachers.

Topics for Teaching Fiction Writing

• Reading fiction
• Character development
• Conflict and plot structure
• Narrative point of view
• Showing versus telling
• Summary versus scene
• Descriptive detail
• Story beginnings
• Story middles
• Story endings
• Types of stories and genres
• Setting and world-building
• Revising fiction

Click here for activity ideas.

Topics for Teaching Poetry Writing

• Reading poetry
• Subject and theme
• Specificity
• Sensory details
• Figurative language
• Lines and stanzas
• Meter and scansion
• Rhyme and rhyme schemes
• Fixed forms
• Voice and tone
• Patterns and repetition
• Visual aspects of poetry
• Revising poetry

Poetry Class Activities

Haiku Students write a haiku, a short unrhymed poem with five syllables in the first line, seven in the second line, and five in the third line. Read more

Found poem Students write a poem using language borrowed from non-poetic sources. Read more

Fairy-tale poem Students write a poem inspired by a fairy tale or folk tale. 

Animal Poem Students write a poem about an animal. Click here for examples and ideas

Epistolary Poem Students write a poem in the form of a letter or email to someone real or imaginary.

Prose Poem Click here to get our Prose Poetry Kit.

Persona poem Students write a poem in the voice of someone else, such as a fictional character, historical figure, or animal.

Blank verse Students write a poem in unrhymed iambic pentameter. Read more

Sonnet Click here for instructions and prompts.

Music Poem You can play music in the classroom and ask students to write poetry inspired by the sounds they hear and the imagery it brings to mind.

Golden shovel poem Students take a line from a poem they admire and use each word from that line as the end word of a line in their new poem. Read more  

Cut-up poem Students write a poem by cutting up a piece of text and rearranging the words or phrases to form something new.

Sestina Click here for instructions, examples, and ideas.

Ekphrastic Poem Students write a poem inspired by a piece of visual art.

Five Senses Poem Students write a poem that describes its subject using details from all five senses.

Anaphora Poem Students write a poem that uses the repetition of a word or phrase at the beginning of each line or stanza for emphasis. Read more

Acrostic Students write a poem where the first letter of each line spells out a word or message vertically. Read more

Concrete Poem Students write a poem where the arrangement of the words on the page forms a visual image related to the poem's theme. Click here to get a worksheet with examples.

Nature walk poem Students take a walk, paying attention to sights, sounds, smells, and other sensations. Then they write a poem inspired by their observations.

Pantoum Click here to get our Pantoum Poetry Kit.

Limerick Click here for instructions, examples, and ideas.

Poetic translation Students can use AI tools and online translators to explore the meaning of a poem written in a foreign language. Then, they use their poetic skills to craft a translation that reads as a successful poem in English.

Riddle poem Students write a poem that describes something without naming it. Example here  

Erasure Poem: Students write a poem by erasing words from an existing text and leaving behind words that form a new poem. Here's an example created from the Miranda Warning.

Lesson Plans for Teaching Fiction Writing

Character development - teaching ideas.

• Character Development
• How to Show Your Character's Thoughts

Group activity:

Create a character as a class using a picture of a person as a starting point. First, have the students suggest a name for the character. Then, discuss and decide on the character's age and occupation. Continue to develop the character by answering the questions in this character profile questionnaire . To start students thinking about how character profiles can lead to story ideas, ask them the following questions: What problems does this character face? What does this character want more than anything What obstacles could get in the way of the character's desires? In what situation would this character react in an interesting way?

Invent a character with two conflicting personality traits or desires. For example, the character might be exceedingly disorganized yet a perfectionist, or a pacifist with a quick temper, or a rebel who craves parental approval. Imagine a situation where these contradictory aspects come into direct conflict. Write the story.

Worksheets:

• Character Profile Questionnaire
• 160 Characters for Your Stories

Conflict and Plot Structure - Teaching Ideas

• Story Conflict
• Plot Structure
• Story Climax

Present students with one of the following situations:

• Maria goes on vacation to Hawaii.
• David's about to get married.
• Sandra just moved into a new house.

Ask students to suggest ideas for adding conflict to the situation you've presented. What could go wrong for the character?

Choose one of the conflict ideas and ask students to discuss what actions the character might take to try to overcome the story problem. What might happen as a result of the character's actions? How might the character react to that ?

You can use this exercise as an introduction to conflict and the way it moves a story forward.

Write about a job interview, family dinner, celebration, or vacation where something goes terribly wrong. Your character attempts to fix the situation, but their initial efforts only make things worse...

• Plot Templates

Narrators and Narrative Point of View - Teaching Ideas

• Types of Narrators and How to Choose

1) Give students this ten-minute writing task: Write about a first date from the perspective of a character who perceives the date as a disaster. 2) Pair up the students and give them ten minutes to rewrite their partners' scenes from the viewpoint of the other character on the date. This character should view the date as a great success.

Rewrite a fairy tale from the point of view of a character other than the traditional hero. Ideas: "Cinderella" from the point of view of one of the stepsisters, "Little Red Riding Hood" from the point of view of the wolf.

More exercises here

Dialogue - Teaching Ideas

• How to Write Dialogue

Discussion:

Have students read and discuss Hemingway's “ Hills Like White Elephants ” as an example of dialogue where neither character is speaking sincerely. This is a story about a man trying to convince a woman to have an abortion. The man is insincere because he's trying to persuade the woman, and the woman is insincere because she's afraid of losing the man if she refuses to do what he wants. Students can discuss:

• How they know the characters are talking about an abortion, even though abortion is never mentioned specifically.
• How they can tell what each character is feeling, even though it doesn't match what the characters say.

1) The story takes place on a long bus ride between two cities. Two strangers are sharing a seat. Each one secretly hopes to get something from the other. For example, one of them wants a job, money, or a place to stay in the city where they're headed. The other one wants love or a one-night stand. Neither of them mentions directly what they want. They pretend to make casual small talk, but each one is actually trying to manipulate the conversation to achieve their secret goal. Write the conversation. 2) This story takes place at a restaurant. Three acquaintances have gone out to dinner together. Person A has just left their spouse and family. Person B supports this decision. Person C thinks this was criminally irresponsible. Write the conversation. (Suggestion: try giving each character the voice of a different person you actually know. For example, Person A might talk like one of your coworkers, and Person B might talk like your brother or sister. Choose people who are very different from each other. Then try to express each one's unique voice so clearly that you don't need to tell the reader which character said which sentence; the reader can "hear" the difference between who says what.)

Showing Versus Telling, and Summary Versus Scene - Teaching Ideas

• The Truth About "Show, Don't Tell"

Present students with "telling" statements, such as:

•  Julie's angry at Tim.
• Lorena is shy.
• The house is creepy.

Ask students to suggest ways of showing these things instead. Use this to start a discussion the difference between showing and telling, and when it might be better to do one or the other.

1) Your character and their spouse are looking at a house they're thinking of buying. Write a scene which shows (without telling) the following:

• The character doesn't really want to buy a house.
• The character's spouse desperately wants to buy a house.
• The real estate agent is trying to hide something about the house.

2) Two old friends get together for dinner after a long time apart. One of them is secretly in love with the other one. Show this, don't tell it.

Descriptive Detail - Teaching Ideas

• Descriptive details

Group activities:

For an in-person class: if possible, take students somewhere outdoors.

• First, have them take notes on visual details they observe.
• Next, have them spend a few minutes paying attention to, and taking notes on, what they hear.
• Then, have them take notes on smells.
• After that, have them take notes on temperature, textures, and tactile sensations.
• Finally, have students compare notes to discover additional details they might not have noticed.

For an online class, you can conduct a similar activity. Ask students to take notes on their surroundings, starting with visual details, then moving on to sounds, smells, and tactile sensations. Afterwards, have students describe their surroundings to the class.

1) Have students keep a journal, where they take notes on sights, sounds, smells, tastes, and sensations they observe or experience. 2) Prompt: Your character has to leave their hotel in the middle of the night (you decide why; e.g., to catch an early flight, for a clandestine meeting, to avoid paying for the room, etc.). Right when your character is opening the door of their room, all of the lights in the building go out. Your character is determined to leave anyway, even though they can't see a thing. At some point, your character realizes they've lost their way and are in a part of the building they never intended to go. Write the scene, using descriptive details from senses other than sight; i.e., sound, touch, etc.

Story Beginnings - Teaching Ideas

• Great Story Beginnings

Give the students some story beginnings to read, and discuss:

• What expectations are set by each one?
• Which beginnings make them want to read more, and why?

Take a story you've previously written and see if you can improve the beginning.

Try beginning later in the story to see if that works better. Experiment with starting the story in different places.

Experiment with beginning with dialogue, action or something that will provoke the reader's curiosity.

Revision Techniques - Teaching Ideas

• Novel Revision Checklist

For an adult creative writing class, you could offer students the chance to workshop their pieces. It's important to manage the workshops to maintain a positive tone and prevent students from getting discouraged, especially if you are teaching beginning writers.

1) Pretend you're a reader coming to your story for the first time. Read the story from beginning to end. What are your overall impressions?

2) Go through this checklist and see if it gives you ideas for anything you might improve.

3) Experiment with revising or changing different aspects of your story to see if you can make it better. Keep a copy of your original version so that you always have the option to go back to it. That way you can revise without fear, knowing that none of your experiments need to be permanent.

4) Once you have a version you're happy with, go through it again and look for everything you can cut—unnecessary scenes, paragraphs, sentences, or words.

5) Read through your manuscript out loud to look for places where you can smooth or polish the language.

How to Run a Writing Workshop

In most workshops, students read an author's piece ahead of time to prepare for classroom discussion. It's important to keep the discussion encouraging and respectful. Here are two possible workshop formats. Workshop for an advanced class:

• The author should try not to talk during the critique except to ask clarifying questions.
• First, students discuss what they think the piece is about and what it is trying to achieve. At this stage, they are not judging the piece or offering suggestions. This discussion helps the author understand how well the group has grasped the piece.
• Second, students talk about what they think works well in the piece and what caught their interest. Starting with positive feedback makes it easier for the author to listen to criticism later without becoming defensive or discouraged.
• Third, students give constructive criticism. Ensure that criticism is respectful and delivered in a way that helps the author make specific improvements. Keep comments as specific as possible and clearly focused on the piece, rather than on the author.

Workshop for other groups: What is most helpful for beginning writers is often experimentation and practice. The first priority is to help these writers build their confidence and stay motivated. I have found "positive feedback only" workshops to be useful both for beginners and more advanced writers. In these workshops, the authors share their work, and group discussion is limited to the following question:

"What caught your attention about this piece, or what did you think was working well?"

How to Teach Writing - Next Steps

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Inspiring Ink: Expert Tips on How to Teach Creative Writing

The world of creative writing is as vast as it is rewarding. It’s a form of expression that allows the writer to explore different worlds, characters, and narratives – all within the power of their pen.

But what exactly is creative writing and why is it important? Let’s explore the value of creative writing and how to inspire young (or old!) minds to embark on the curious and exciting journey of writing creatively – it’s easier than you think!

What is Creative Writing?

Creative writing, in its simplest form, is writing that goes beyond the bounds of normal professional, journalistic, academic, or technical forms of literature.

It’s characterized by its emphasis on:

• narrative craft
• character development
• the use of literary devices

From poetry to plays, scripts to sonnets, creative writing covers a wide range of genres . It’s about painting pictures with words, invoking emotions, and bringing ideas to life . It’s about crafting stories that are compelling, engaging, and thought-provoking.

Whether you’re penning a novel or jotting down a journal entry, creative writing encourages you to unleash your imagination and express your thoughts in a unique, artistic way. For a deeper dive into the realm of creative writing, you can visit our article on what is creative writing .

Benefits of Developing Creative Writing Skills

The benefits of creative writing extend beyond the page.

It’s not just about creating captivating stories or crafting beautiful prose. The skills developed through creative writing are invaluable in many aspects of life and work.

1. Creative writing fosters creativity and imagination. 

It encourages you to think outside the box, broaden your perspective, and explore new ideas. It also enhances your ability to communicate effectively, as it involves conveying thoughts, emotions, and narratives in a clear and compelling manner.

2. Creative writing aids in improving critical thinking skills.

It prompts you to analyze characters, plotlines, and themes, and make connections between different ideas. This process activates different parts of the mind, drawing on personal experiences, the imagination, logical plot development, and emotional intelligence.

3. Creative writing is also a valuable tool for self-expression and personal growth.

It allows you to explore your feelings, experiences, and observations, providing an outlet for self-reflection and introspection. By both reading and writing about different characters in different situations, readers develop empathy in a gentle but effective way.

4. Creative writing skills can open up a host of career opportunities.

From authors and editors to content creators and copywriters, the demand for creative writers is vast and varied. You can learn more about potential career paths in our article on creative writing jobs and what you can do with a creative writing degree .

In essence, creative writing is more than just an art—it’s a skill, a craft, and a powerful tool for communication and self-expression. Whether you’re teaching creative writing or learning it, understanding its value is the first step towards mastering the art.

The 3 Roles of a Creative Writing Teacher

Amongst the many facets of a creative writing teacher’s role, three vital aspects stand out: inspiring creativity , nurturing talent , and providing constructive criticism . These elements play a significant role in shaping budding writers and fostering their passion for the craft.

1. Inspiring Creativity

The primary function of a creative writing teacher is to inspire creativity.

They must foster an environment that encourages students to think outside the box and explore new possibilities . This includes presenting students with creative writing prompts that challenge their thinking, promoting lively discussions around various topics, and providing opportunities for students to engage in creative writing activities for kids .

Teachers should also expose students to a range of literary genres , styles, and techniques to broaden their understanding and appreciation of the craft. This exposure not only enhances their knowledge but also stimulates their creativity, encouraging them to experiment with different writing styles .

2. Nurturing Talent

Nurturing talent involves recognizing the unique abilities of each student and providing the necessary support and guidance to help them develop these skills. A creative writing teacher needs to identify the strengths and weaknesses of each student and tailor their approach accordingly.

This means:

• offering personalized feedback
• setting realistic yet challenging goals
• providing opportunities for students to showcase their work

Encouraging students to participate in writing competitions or to publish their work can give them a confidence boost and motivate them to improve. Furthermore, teachers should educate students about various creative writing jobs and what you can do with a creative writing degree . This knowledge can inspire students to pursue their passion for writing and explore career opportunities in the field.

3. Providing Constructive Criticism

Providing constructive criticism is a critical aspect of teaching creative writing. It involves assessing students’ work objectively and providing feedback that helps them improve .

Teachers should:

• highlight the strengths of the work
• address the areas that need improvement
• suggest ways to make the piece better

Constructive criticism should be specific, actionable, and encouraging . It’s important to remember that the goal is to help the student improve, not to discourage them. Therefore, teachers need to communicate their feedback in a respectful and supportive manner.

In essence, a teacher’s role in teaching creative writing extends beyond mere instruction. They are mentors who inspire, nurture, and shape the minds of budding writers. By fostering a supportive and stimulating environment, they can help students unlock their creative potential and develop a lifelong love for writing.

3 Techniques for Teaching Creative Writing

When it comes to understanding how to teach creative writing, there are several effective techniques that can help inspire students and foster their writing skills.

1. Encouraging Free Writing Exercises

Free writing is a technique that encourages students to write continuously for a set amount of time without worrying about grammar, punctuation, or topic. This type of exercise can help unleash creativity, as it allows students to freely express their thoughts and ideas without judgment or constraint.

As a teacher, you can set a specific theme or provide creative writing prompts to guide the writing session. Alternatively, you can allow students to write about any topic that comes to mind. The key is to create an environment that encourages creative exploration and expression.

2. Exploring Different Genres

Another effective technique is to expose students to a wide range of writing genres. This can include fiction, non-fiction, poetry, drama, fantasy, mystery, and more. By exploring different genres, students can discover their unique writing styles and interests. This variety also offers the chance to expand their writing skills and apply them to various writing formats.

To facilitate this exploration, you can assign writing projects in different genres, conduct genre-specific writing workshops, or invite guest speakers who specialize in different genres. You can also encourage students to critically analyze how different authors approach their work.

3. Analyzing Published Works

Analyzing published works is a powerful way to teach creative writing. This technique allows students to learn from established authors by studying their:

• writing styles
• narrative structures
• use of language.

It also provides a practical context for understanding writing concepts and techniques.

As a teacher, you can select diverse pieces of literature for analysis , ranging from classic novels to contemporary short stories. Encourage students to identify elements they admire in these works and discuss how they can incorporate similar techniques into their own writing.

These techniques for teaching creative writing are effective ways to inspire creativity, encourage self-expression, and develop writing skills. As a teacher, your role is crucial in guiding students through their creative journey and helping them realize their potential as writers.

Creative Writing Workshops and Exercises

One effective method on how to teach creative writing is through the use of targeted workshops and exercises. These interactive sessions can stimulate creativity, foster character development , and help in understanding story structures .

Idea Generation Workshops

Idea generation is a crucial aspect of creative writing. It is the starting point that provides a springboard for writers to explore and develop their narratives. Idea generation workshops can be an interactive and fun way to help writers come up with fresh ideas.

Workshops can include brainstorming sessions , where writers are encouraged to think freely and note down all ideas, no matter how unconventional they may seem. Another method is the use of writing prompts , which can serve as a creative spark.

A prompt could be:

• even an image

Editor’s Note : Encourage children to create a big scribble on a scrap piece of paper and then look for an image in it (like looking for pictures in the clouds). This can be a great creative writing prompt and students will love sharing their writing with each other! Expect lots of giggles and fun!

Character Development Exercises

Characters are the heart of any story. They drive the narrative and engage the readers. Character development exercises can help writers create well-rounded and relatable characters.

Such exercises can include character questionnaires , where writers answer a series of questions about their characters to gain a deeper understanding of their personalities, backgrounds, and motivations. Role-playing activities can also be useful, allowing writers to step into their characters’ shoes and explore their reactions in different scenarios.

Story Structure Workshops

Understanding story structure is vital for creating a compelling narrative. Story structure workshops can guide writers on how to effectively structure their stories to engage readers from start to finish .

These workshops can cover essential elements of story structures like:

• rising action
• falling action

In addition to understanding the basics, writers should be encouraged to experiment with different story structures to find what works best for their narrative style. An understanding of story structure can also help in analyzing and learning from published works .

Providing writers with the right tools and techniques, through workshops and exercises, can significantly improve their creative writing skills. It’s important to remember that creativity flourishes with practice and patience .

As a teacher, nurturing this process is one of the most rewarding aspects of teaching creative writing. For more insights and tips on teaching creative writing, continue exploring our articles on creative writing .

Tips to Enhance Creative Writing Skills

The process of teaching creative writing is as much about honing one’s own skills as it is about imparting knowledge to others. Here are some key strategies that can help in enhancing your creative writing abilities and make your teaching methods more effective.

Regular Practice

Like any other skill, creative writing requires regular practice . Foster the habit of writing daily, even if it’s just a few lines. This will help you stay in touch with your creative side and continually improve your writing skills. Encourage your students to do the same.

Introduce them to various creative writing prompts to stimulate their imagination and make their writing practice more engaging.

Reading Widely

Reading is an essential part of becoming a better writer. By reading widely, you expose yourself to a variety of styles, tones, and genres . This not only broadens your literary horizons but also provides a wealth of ideas for your own writing.

Encourage your students to read extensively as well. Analyzing and discussing different works can be an excellent learning exercise and can spark creative ideas .

Exploring Various Writing Styles

The beauty of creative writing lies in its diversity. From poetic verses to gripping narratives, there’s a wide range of styles to explore. Encourage your students to try their hand at different forms of writing. This not only enhances their versatility but also helps them discover their unique voice as a writer.

To help them get started, you can introduce a variety of creative writing activities for kids . These tasks can be tailored to suit different age groups and proficiency levels. Remember, the goal is to foster a love for writing, so keep the activities fun and engaging .

Have Fun Teaching Creative Writing!

Enhancing creative writing skills is a continuous journey. It requires persistence, curiosity, and a willingness to step out of your comfort zone. As a teacher, your role is to guide your students on this journey, providing them with the tools and encouragement they need to flourish as writers – and most of all – enjoy the process!

For more insights on creative writing, be sure to explore our articles on what is creative writing and creative writing jobs and what you can do with a creative writing degree .

Brooks Manley

Creative Primer  is a resource on all things journaling, creativity, and productivity. We’ll help you produce better ideas, get more done, and live a more effective life.

My name is Brooks. I do a ton of journaling, like to think I’m a creative (jury’s out), and spend a lot of time thinking about productivity. I hope these resources and product recommendations serve you well. Reach out if you ever want to chat or let me know about a journal I need to check out!

Here’s my favorite journal for 2024: 

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Creativity and Innovation in the Writing Classroom

Learn more about how to teach creativity and innovation along with, and as an important part of, traditional writing and research skills.

“You can’t use up creativity. The more you use, the more you have.” —Maya Angelou

Creativity is fundamental to the teaching of writing. Although WR 153 focuses specifically on creativity and innovation, all WR courses ask students to approach their reading, viewing, writing, and research in creative ways. One important approach to creativity is “design thinking,” which emphasizes that creativity is a non-linear, iterative process. Design thinking is based on two foundational assumptions:

• Everyone can be creative.
• Creativity can be taught.

The principles of design thinking can be used in any WR course to teach students that creativity is a process of asking questions, using multiple strategies and approaches in answering those questions, taking risks in conceiving and executing original work, developing and refining ideas in response to feedback, and learning from productive failure. The metacognitive aspects of design thinking invite students to think about their own creative processes and identify factors that promote creativity.

Although WR 153 is structured by the steps of the design process (understand, empathize, define, ideate, prototype, test, assess/reflect), all WR courses can benefit from incorporating elements of design thinking and an emphasis on creativity and innovation. Approaching writing instruction in this way can:

• Increase student engagement by focusing on creative responses to problems that students care about;
• Give students a sense of agency as a result of greater choice in what to write and how to write about it;
• Encourage taking intellectual risks and reward productive failure as a means of learning;
• Help students develop skills that are transferrable to other academic situations and their professional lives; and
• Enhance students’ personal lives by allowing them to learn about themselves and their own creative potential.

Principles of Design Thinking

Design thinking is a non-linear, iterative approach to creativity that involves between three and seven steps. Although it is based on theories of design practice that go back to the early twentieth century, it has most recently been popularized by the design firm IDEO and the Hasso Plattner Institute of Design at Stanford, commonly known as the d.school. The process involves understanding the issues involved in a design project, empathizing with the audience for an end product, defining the scope of the project, generating ideas for and creating prototypes of the product, testing and assessing those ideas and prototypes, and revisiting the steps of the design process until a final product is created.

The complete set of seven steps can be applied to the writing process in a WR course:

Understand: Students develop a foundation for their work by exploring issues and approaches relevant to the course topic, as well as previous work in the field.

Empathize: Students practice empathy by demonstrating their awareness and understanding of the audience for whom they write or create.

Define: Based on their observations and insights, students articulate a problem or question that will motivate their work over the course of the semester.

Ideate: Students generate new ideas and possible solutions by challenging assumptions and engaging in a variety of creative activities.

Prototype: Students start to create solutions and implement their ideas into written, digital or other forms in order to capture ideas, but also redefine choices.

Test: Students share drafts with others in order to gain feedback and insight into improving final versions.

Assess/Reflect: Students reflect on and evaluate their peers’ and their own processes and final outcomes.

The steps of the design thinking process are not meant to be followed in a rigid way. They should be flexible and customizable to the particular project: students may need to define, ideate, and prototype multiple times and in various modes/genres before they are ready to create a final draft. The skills students gain in going though these steps should be transferrable to other projects and courses.

Learn more about design thinking:

• “What is Design Thinking and Why Is It So Popular?” by Rikke Friis Dam and Teo Yu Siang provides an overview of design thinking.
• David Kelly of IDEO explains the history of design thinking in “How to Design Breakthrough Inventions,” an interview with 60 Minutes .
• “How to Solve Problems Like a Designer,” which includes an interview with Tim Brown of IDEO, explains the basic principles of design thinking.

Understand and Empathize

The first step of the design process asks students to understand not only the course material, but also the resources necessary for their particular project. Since this usually involves additional reading/viewing, the “understand” step is part of the research and information literacy component of WR15X. Assignments that focus on this step may include conducting library or online research, categorizing research material using BEAM/BEAT, and creating annotated bibliographies.

Define, Ideate, and Prototype

Before they begin the process of generating ideas, it is often useful for students to define, at least in a preliminary way, what question or problem their paper/project is addressing. Assignments that help students define their projects may include questionnaires that ask students to state what they intend to work on and why, as well as more formal paper/project proposals.

In the IDEO design process, the goal of ideation is to generate a multitude of ideas without rejecting those that may seem impractical or even silly. Ideas can be rejected later, after a sufficient number of ideas have been generated. The most common ideation assignment involves various forms of brainstorming, often in teams. Ideas should be written down in some way, such as on sticky notes or index cards. To encourage divergent thinking in the brainstorming process, consider posting some fundamental principles in the classroom, such as these from IDEO:

• Defer judgment.
• Encourage wild ideas.
• Stay focused on the topic.
• Build on the ideas of others .

In the IDEO design process, prototypes are models that can be easily revised and even discarded if necessary. Prototypes for writing courses might include outlines, storyboards, slide decks, oral or video presentations, and preliminary drafts. Prototypes should be tested and assessed in some way that allows for reconsideration and revision before students turn in their final products.

Learn more about brainstorming and prototyping:

• “What is Brainstorming?” by Rikke Friis Dam and Teo Yu Siang provides helpful information and ideas for the ideation step of the design process.
• This example of “Brainstorming at IDEO” shows one popular way of brainstorming with sticky notes.

Test and Assess/Reflect

The final steps of the design process, testing and assessing/reflecting, are not meant to be the final steps in completing a student’s paper/project. After testing and assessing a prototype, students will likely need to reconsider and revise their papers/projects, which will take them back to earlier steps—they may need to conduct further research, generate additional ideas, or refine their prototypes. The design process is meant to be iterative, with students returning to steps in the process as needed until they have completed a final draft.  

Just as designers test their prototypes, students should test drafts of their papers/projects by sharing them with others. Assignments that focus on this step usually involve workshopping with one or more peers, but testing may also include making an oral or video presentation to the class, meeting with the professor or a writing tutor, or sharing the student’s work with any other reader/viewer capable of providing feedback. Students may also test their papers/projects using techniques such as reverse outlining to assess the strength and clarity of their arguments.

The final step in the design process, assessing the student’s work, may lead back to any earlier step as students come to understand what they still need to work on to complete their papers/projects. This step may also involve the broader metacognitive task of reflecting on the student’s creative process. Assignments that focus on this step may include a variety of reflective exercises, including a final reflection for the course.

A Note on Assessment

“Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.” —Samuel Beckett

Because WR 153 courses can include such a wide range of papers and project, contract grading is recommended. Other WR courses that incorporate creativity and innovation may also wish to use contract grading, either for specific assignments or the course as a whole. More information on contract grading can be found here .

An important component of creativity and innovation is productive failure. We learn to create new things or develop new skills by failing and trying again until we succeed. Productive failure is failure that leads to new knowledge, insight, or innovation. Courses that focus on creativity can encourage productive failure by requiring prototypes that will be reconsidered and revised extensively, asking students to share examples of failure as valuable learning experiences, and assigning reflective work on how students have grown through failure over the course of the semester.

Learn more about productive failure:

Both readings below argue for the importance of productive failure. The Burger article contains specific examples of how to validate and reward productive failure in the classroom.

• “Next Time, Fail Better” by Paula M. Krebs, The Chronicle of Higher Education , May 11, 2012.

Further Reading

The quickest and easiest way to understand design thinking is to start with videos that explain the concept, where it originated, and how it can be used to address a variety of problems.

• In “How to Design Breakthrough Inventions,” David Kelly of IDEO and the Stanford d.school talks about design thinking in an interview on 60 Minutes and CBS This Morning .
• In “How to Solve Problems Like a Designer,” Vox provides a general overview of design thinking, featuring IDEO CEO Tim Brown.

If you would like to deepen your understanding of design thinking, there are a number of websites that address the concept in greater detail.

IDEO is a design and consulting firm that popularized the concept of design thinking. According to IDEO’s website, “Thinking like a designer can transform the way organizations develop products, services, processes, and strategy. This approach, which is known as design thinking, brings together what is desirable from a human point of view with what is technologically feasible and economically viable. It also allows people who aren’t trained as designers to use creative tools to address a vast range of challenges.” The IDEO website has a number of useful resources on design thinking:

• A definition of design thinking .
• A brief history of design thinking .

IDEO U, the educational arm of IDEO, has a separate website that contain more information on design thinking as well as additional resources.

• What is design thinking?
• Resources related to design thinking .
• An overview of brainstorming .
• Resources related to innovation .

The Interactive Design Foundation provides useful information on design thinking on its website. According to “What is Design Thinking and Why Is It So Popular?” by Rikke Friis Dam and Teo Yu Siang, “Design Thinking is an iterative process in which we seek to understand the user, challenge assumptions, and redefine problems in an attempt to identify alternative strategies and solutions that might not be instantly apparent with our initial level of understanding. At the same time, Design Thinking provides a solution-based approach to solving problems. It is a way of thinking and working as well as a collection of hands-on methods.” This article describes the basic concept of design thinking and five basic steps: empathize, define, ideate, prototype, test.

Books on design thinking are generally aimed toward a popular audience. They draw on anecdotal evidence rather than research to support their claims, but they can be valuable resources for understanding how design thinking is applied in a variety of settings, including both corporations and the educational sector. To provide a sense of how design thinking developed over time, these books are listed chronologically:

• The Art of Innovation by Tom Kelly, Doubleday, 2001.
• Change by Design: How Design Thinking Transforms Organizations and Inspires Innovation by Tim Brown, HarperCollins, 2009, revised and updated 2019.
• Design Thinking: Understanding How Designers Think and Work by Nigel Cross, Bloomsbury, 2011.
• Design Thinking: A Guide to Creative Problem Solving for Everyone by Andrew Pressman, Routledge, 2018.
• The Design Thinking Toolbox: A Guide to Mastering the Most Popular and Valuable Innovation Methods by Michael Lewrick, Patrick Link, and Larry Leifer, Wiley, 2020.

Resources on design thinking in writing pedagogy:

If you would like to focus specifically on how the design thinking process relates to writing pedagogy, there are number of academic articles that address design thinking in the writing classroom as well as the larger issue of creativity as it relates to composition. To provide a sense of how the scholarship on creativity and design thinking in writing pedagogy developed over time, these articles are listed chronologically:

• “The Cognition of Discovery: Defining a Rhetorical Problem” by Linda Flower and John R. Hayes, College Composition and Communication 31.1 (1980), 21-32.
• “Process Paradigms in Design and Composition: Affinities and Directions” by Charles Kostelnick, College Composition and Communication 40.3 (1989), 267-81.
• “Wicked Problems in Design Thinking” by Richard Buchanan, Design Issues 8.2 (1992), 5-21.
• “Design and the New Rhetoric: Productive Arts in the Philosophy of Culture” by Richard Buchanan. Philosophy & Rhetoric 34 (2001), 183-206.
• “From Analysis to Design: Visual Communication in the Teaching of Writing” by Diana George, College Composition and Communication 54.1 (2002), 11-39.
• “Embracing Wicked Problems: The Turn to Design in Composition Studies” by Richard Marback, College Composition and Communication 61.2 (2009), 397-419.
• “Design as a Unifying Principle: English Departments in a New Media World” by Maureen Goldman, Design Principles and Practices: An International Journal 5.3 (2011), 249-257.
• “Sustainability as a Design Principle for Composition: Situational Creativity as a Habit of Mind” by Matthew Newcomb, College Composition and Communication 63.4 (2012), 593-615.
• “Design Thinking: Past, Present, and Possible Futures” by Ulla Johansson-Sköldberg et al., Creativity and Innovation Management 22.2 (2013), 121-146.
• “Writing in Design Thinking: Deconstructing the Question of Being” by Tassoula Hadjiyanni and Stephanie Zollinger, International Journal of Architectural Research 7.1 (2013), 116-127.
• Design Thinking and the Wicked Problem of Teaching Writing by Carrie S. Leverenz, Computers and Composition 33 (2014), 1-12.
• “What Can Design Thinking Offer Writing Studies?” by James P. Purdy, College Composition and Communication 65.4 (2014), 612-641.
• “Wicked Problems in Technical Communication” by Chad Wickman, Journal of Technical Communication 44 (2014), 23-42.
• “The UnEssay: Making Room for Creativity in the Composition Classroom” by Patrick Sullivan, College Composition and Communication 67.1 (2015), 6-34.
• “Design Thinking Via Experiential Learning: Thinking Like an Entrepreneur in Technical Communication Courses” by Jennifer Bay et al . , Programmatic Perspectives 10.1 (2018), 172-200.
• “Dissensus, Resistance, and Ideology: Design Thinking as a Rhetorical Methodology” by April Greenwood et al., Journal of Business and Technical Communication 33.4 (2019), 400-424.
• “Using Design Thinking to Teach Creative Problem Solving in Writing Courses” by Scott Wible, College Composition and Communication 71.3 (2020), 399-425.

General resources on creativity:

If you are interested in resources that focus on the larger issue of creativity, one place to start is with videos that define what creativity is and how it can be cultivated, including in an academic setting.

• Ken Robinson’s “What is Creativity” addresses the general issue of how we can both define and encourage creativity.
• Elizabeth Gilbert’s “Your Elusive Creative Genius” offers one way to think about creativity and deal with fear of failure.
• David Kelly’s “How to Build Your Creative Confidence” discusses how we can be more confident in our creativity and build creative confidence in others.

There are a number of books that focus more generally on creativity. Some of these books are theoretical, while some focus practically on how we can become more creative in work and life. The books by Tom and David Kelly, and by Sarah Stein Greenberg, approach creativity from the design thinking paradigm used at the Stanford d.school.

• Creativity: The Psychology of Discovery and Invention by Mihaly Csikszentmihaly, HarperPerennial, 1996.
• The Cambridge Handbook of Creativity , edited by James C. Kaufman and Robert J. Sternberg, Cambridge University Press, 2003, revised and updated 2019.
• The International Handbook of Creativity , edited by James C. Kaufman and Robert J. Sternberg Cambridge University Press, 2006.
• Developing Creativity in Higher Education: An Imaginative Curriculum , edited by Norman Jackson, Martin Oliver, Malcolm Shaw, and James Wisdom, Routledge, 2006.
• Creative Confidence: Unleashing the Creative Potential Within Us All by Tom Kelly and David Kelly, HarperCollins, 2013.
• Habits of the Creative Mind: A Guide to Reading, Writing, and Thinking , by Richard E. Miller and Ann Jurecic, Macmillan, 2015, revised and updated 2020.
• Creative Acts for Curious People: How to Think, Create, and Lead in Unconventional Ways by Sarah Stein Greenberg, Ten Speed Press, 2021.

The following books are listed separately because they reflect creative practices in specific fields, such as creative writing, the visual arts, and dance. They contain ideas and exercises that are transferrable to writing classes and may be helpful in designing WR courses.

• The Artist’s Way: A Spiritual Path to Higher Creativity by Julia Cameron, Tarcher/Putnam, 1992, reissued 2002.
• Bird by Bird: Some Instructions on Writing and Life by Anne Lamott, Anchor Books, 1994.
• The Creative Habit: Learn It and Use It for Life by Twyla Tharp, Simon & Schuster, 2003.
• Steal Like an Artist: 10 Things Nobody Told You About Being Creative by Austin Kleon, Workman Publishing Company, 2012.
• Big Magic: Creative Living Beyond Fear by Elizabeth Gilbert, Riverhead Books, 2015.
• You Are an Artist: Assignments to Spark Creation by Sarah Urist Green, Penguin, 2020.

Unleashing Creativity: A Guide to Teaching Creative Writing

Thu Apr 18, 2024

Introduction: Creative writing is more than just putting words on paper; it's an exploration of imagination, a journey through the depths of the human experience, and a means of expression unlike any other. Teaching creative writing isn't about simply imparting rules and techniques; it's about nurturing the innate creativity within each individual and providing them with the tools and guidance to unleash their imagination. In this blog post, we'll delve into the art of teaching creative writing and explore strategies to inspire and empower budding writers.

Understanding the Fundamentals: Before diving into the creative process, it's essential to establish a solid foundation of the fundamentals of writing. This includes grammar, sentence structure, punctuation, and vocabulary. While creativity knows no bounds, having a grasp of these basics provides writers with the necessary framework to effectively convey their ideas.

Encouraging Exploration: Creativity flourishes when writers are encouraged to explore different genres, styles, and perspectives. As an instructor, provide opportunities for students to experiment with various forms of writing, whether it's poetry, fiction, non-fiction, or even hybrid forms. Encourage them to step out of their comfort zones and embrace the unknown.

Creating a Supportive Environment: Building a supportive and nurturing environment is crucial for fostering creativity. Encourage open dialogue and constructive feedback among peers. Establishing a community where writers feel safe to share their work without fear of judgment promotes growth and collaboration.

Embracing the Writing Process: The writing process is unique to each individual, but it often involves stages such as brainstorming, drafting, revising, and editing. Teach students to embrace each stage and emphasize that writing is a journey rather than a destination. Encourage them to embrace uncertainty and to see challenges as opportunities for growth.

Igniting Inspiration: Inspiration can be found everywhere, from everyday experiences to dreams and fantasies. Encourage students to keep a journal to capture fleeting ideas and observations. Encourage them to draw inspiration from art, music, nature, and personal experiences. Sparking creativity often involves encouraging writers to see the world through a different lens.

Exercises and Prompts: Engage students with writing exercises and prompts designed to stimulate their creativity. These could include visual prompts, word prompts, writing sprints, or even collaborative storytelling exercises. By challenging students to think outside the box, you'll help them tap into their creative potential.

Cultivating a Growth Mindset: Instill in students the belief that creativity is not fixed but can be developed and nurtured over time. Encourage a growth mindset where setbacks are seen as opportunities for learning and improvement. Celebrate progress and effort rather than focusing solely on outcomes.

Celebrating Diversity: Encourage writers to embrace their unique voices and perspectives. Celebrate diversity in storytelling and highlight the importance of representation in literature. By valuing and amplifying diverse voices, you'll create a richer and more inclusive creative community.

Conclusion: Teaching creative writing is an art in itself, requiring patience, passion, and a deep appreciation for the creative process. By fostering a supportive environment, embracing exploration, and igniting inspiration, you can empower budding writers to unleash their creativity and embark on a lifelong journey of self-expression. As an instructor, your role is not only to teach the craft of writing but to nurture the creative spirit within each student, guiding them as they discover the power of their own voice.

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4 strategies for teaching creative writing

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Tip 1: Crossing out

Tip 2: explicitly teach sentence stems, tip 3: build a planning routine, tip 4: go big or go home.

A blank page can be a fearful thing. As I sit typing this (cocooned in the corner of a bustling coffee shop), it seems a fearful thing to me, too. One by one, words tentatively appear, and yet the whiteness of the page dominates and suffocates the lettered blackness.

It can be an especially fearful thing for our students. Surrounded by the silence of an examination hall, pens scratching cold paper, they sit and stare at the mountainous alps of their booklet. The summit stretches out a great distance away, with so little time to plot and navigate their way.

This is often most keenly felt in creative writing. Being creative on demand is no easy task. The blankness of the paper is only compounded by the apparent blankness of ideas. And still, the clock ticks. In this article, I’ll share four top tips for helping students get better at creative writing, ensuring they always have something ready to fill the whiteness of the page.

One of the biggest conceptual shifts I’ve made in my teaching of creative writing is to focus on crossing out . When we—or our students— cross something out in their writing, what does it imply? It invariably implies a moment of thought and consideration. Is this the best word the gesture suggests, or should I use a different one?

Encouraging students to adopt a crossing-out mentality can be hugely powerful. As we write, I’ll often remind students to look for any words they could cross out, modelling this in my own writing. As I write, I cross out, always being sure to narrate why I’ve crossed something out and what is replacing it .

Of course, in and of itself, crossing out does not guarantee progress. It is a proxy, but a helpful one. Crossing out becomes a concrete and easily understood analogy for the kind of deliberate, sustained crafting that so often characterises the best writing. We don’t just want students to fill up their blank pages; we want them to fill them up with excellent writing .

In order to cross out, students need something to cross out in the first place. This is where repeatable and recyclable sentence stems come into their own. They provide students with snippets of excellent writing they can drag and drop into their response, adapting as necessary.

Students often complain—rightly so—that creative writing can be bereft of content to revise. Sentence stems give them something tangible to rehearse. Teach them in advance, show students how to manipulate them, and get students to experiment on their own.

If the sentence occupies the micro, then students also need a sharp and cohesive macro structure in order to succeed. This is where planning becomes essential.

To help students with this, I explicitly teach and model a particular planning routine that can be adapted and adopted at the start of an examination. This helps students make sure they’re asking the best questions as well as get them into the zone.

This routine always looks the same, sketched out on a single side of A4, and goes like this:

• POV: Students decide the narrative point of view they wish to adopt, which is especially valuable if responding to an image, like many questions require.
• Happy or sad: Students now consider if their point of view is happy or sad. I purposely keep this question very broad, but they may wish to be a little more nuanced in their emotional choice. The key is that they’re thinking about an emotional groove for their piece.
• Why? Now, students can reflect on why their point of view is happy or sad, beginning to build some kind of backstory or narrative thrust to their writing.

At this point, and with some basics covered, students can sketch out an overall structure for their response. At the most basic level possible, I like: First, Next, Next, And Then . What happens first, and then next, and then next, and then how does it end?

Finally, I ask students to consider a big idea they would like to convey within their writing.

With all of this mapped out, students can now begin to write.

Let’s pause for a moment on this idea of a ‘big idea’. It is easy to imagine what this means when teaching a literature text, and we probably spend a lot of time considering it with our classes.

What is Shakespeare trying to accomplish in Macbeth, we might explore? Interwoven with our discussion of the play, we consider Shakespeare’s depiction of power and the way it corrupts, as well as his depiction of kingship or femininity. These are some of the play’s big ideas.

A consideration of the ‘big’ is just as important for a student’s own writing as it is for the literature they study. What is it that they wish to show or explore in their writing? What do they want to do? Helping students to appreciate they can have something to say within their own writing can be truly empowering and liberating.

In my own modelling, I like to return to the concept of time . This unlocks so many interesting directions: transience, time passing, memory, recapturing youth. But it also provides a wealth of imagery for students to leverage. Wrinkled hands, a faded wedding ring, a scratched and crumpled photograph, an item of clothing lovingly stored away at the back of a wardrobe, gathering dust.

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A blank page can be a fearful thing, it’s true. But one filled with scribbled writing, well, that can be joyful.

These four strategies will hopefully help your students make sure they turn their blank pages into a piece of writing they can be truly proud of.

Andrew Atherton

Andrew Atherton is an English teacher at a school in Berkshire. He runs the popular blog site Codexterous , which includes a wealth of posts outlining strategies for teaching English Literature and English Language as well as lots of resources.

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How to Teach Creative Writing

Last Updated: March 13, 2024 References

This article was co-authored by Christopher Taylor, PhD . Christopher Taylor is an Adjunct Assistant Professor of English at Austin Community College in Texas. He received his PhD in English Literature and Medieval Studies from the University of Texas at Austin in 2014. There are 13 references cited in this article, which can be found at the bottom of the page. This article has been viewed 118,457 times.

Creative writing is one of the most enjoyable types of writing for students. Not only does it allow students to explore their imaginations, but it helps them to structure their ideas and produce writing that they can be proud of. However, creative writing is a relatively difficult type of writing to teach and offers challenges to both new and seasoned teachers alike. Fortunately, though, with some work of their own, teachers can better develop their own abilities to teach creative writing.

Providing Students with the Fundamentals

• Theme. The theme of a story is its message or the main idea behind it.
• Setting. The setting of a story is the location or time it takes place in.
• Plot. The plot is the overall story, narrative, or sequence of events.
• Characterization. Characterization is how a character or person in a story is explained or presented to the reader.
• Conflict and dramatic action. Conflict and dramatic action are the main events of focus in the story. These events are often tense or exciting and are used to lure the reader in. [1] X Research source

• Explain how your students, as writers, can appeal to the humanity of their readers. One great way to do this is to ask them to explore character development. By developing the characters in their story, readers will become invested in the story.
• Discuss the triggers that engage readers in an effective story. Most great stories start with a problem, which is solved with the resolution, or conclusion of the story. Encourage students to create an engaging problem that will hook the readers in the first few pages of a short story or novel. [2] X Research source

• By setting the tone and atmosphere of a story, the author will establish his or her attitude to the subject and the feel of the story.
• Tone can be positive, neutral, or negative. [3] X Research source
• Atmosphere can be dark, happy, or neither.
• Descriptive words like “darkness” or “sunshine” can help set both the tone and atmosphere. [4] X Research source

• Active verbs are used to show action in the story.
• Active verbs are very often a better alternative to passive voice, as it keeps your writing clear and concise for your readers. [5] X Research source
• For example, instead of writing “The cat was chased by the dog” your student can write “The dog chased the cat.”

Guiding Students through the Process

• Tell your students to brainstorm about ideas they are truly interested in.
• If you must restrict the general topic, make sure that your students have a good amount of wiggle room within the broad topic of the assignment.
• Never assign specific topics and force students to write. This will undermine the entire process. [6] X Research source

• Letting your students know that the outline is non-binding. They don’t have to follow it in later steps of the writing process.
• Telling your students that the parts of their outline should be written very generally.
• Recommending that your students create several outlines, or outlines that go in different directions (in terms of plot and other elements of storytelling). The more avenues your students explore, the better. [7] X Research source

• Tell students that there is no “right” way to write a story.
• Let students know that their imaginations should guide their way.
• Show students examples of famous writing that breaks normal patterns, like the works of E.E. Cummings, William Faulkner, Charles Dickens, and William Shakespeare.
• Ask students to forget about any expectations they think you have for how a story should be written. [8] X Research source

• Gather the first drafts and comment on the student's work. For first drafts, you want to check on the overall structure of the draft, proper word use, punctuation, spelling, and overall cohesion of the piece. [9] X Research source
• Remind them that great writers usually wrote several drafts before they were happy with their stories.
• Avoid grading drafts for anything other than completion.

• Let students pair off to edit each others' papers.
• Have your students join groups of 3 or 4 and ask them to go edit and provide feedback on each member’s story.
• Provide guidance so students contribute constructively to the group discussion. [10] X Research source

• Reward your students if they are innovative or do something unique and truly creative.
• Avoid evaluating your students based on a formula.
• Assess and review your own standards as often as you can. Remember that the point is to encourage your students' creativity. [11] X Research source

Spurring Creativity

• Teach your students about a variety of writers and genres.
• Have your students read examples of different genres.
• Promote a discussion within your class of the importance of studying literature.
• Ask students to consider the many ways literature improves the world and asks individuals to think about their own lives. [12] X Research source

• Make sure your room is stocked with a wide variety of fiction stories.
• Make sure your room is stocked with plenty of paper for your students to write on.
• Line up other writing teachers or bring in writers from the community to talk to and encourage your students.

• Cut out pictures and photographs from magazines, comic books, and newspapers.
• Have your students cut out photographs and pictures and contribute them to your bank.
• Consider having your students randomly draw a given number of photos and pictures and writing a short story based on what they draw.
• This technique can help students overcome writer's block and inspire students who think that they're "not creative." [13] X Research source

• Pair your students with students from another grade in your school.
• Allow your students to write stories that younger students in your school would like to read.
• Pair your students with another student in the class and have them evaluate each others' work. [14] X Research source

• If you just have a typical classroom to work with, make sure to put inspirational posters or other pictures on the walls.
• Open any curtains so students can see outside.
• If you have the luxury of having an extra classroom or subdividing your own classroom, create a comfortable space with a lot of inspirational visuals.
• Writing spaces can help break writer's block and inspire students who think that they're "not creative." [15] X Research source

• Involve students in the printing process.
• Publication does not have to be expensive or glossy.
• Copies can be made in the school workroom if possible or each student might provide a copy for the others in the group.
• A collection of the stories can be bound with a simple stapler or brads.
• Seek out other opportunities for your students to publish their stories.

Expert Q&A

You Might Also Like

• ↑ https://www.writersonlineworkshops.com/courses/creative-writing-101
• ↑ https://kobowritinglife.com/2012/10/14/six-tips-for-engaging-readers-within-two-seconds-the-hook-in-fiction-and-memoir/
• ↑ https://www.dailywritingtips.com/in-writing-tone-is-the-author%E2%80%99s-attitude/
• ↑ http://ourenglishclass.net/class-notes/writing/the-writing-process/craft/tone-and-mood/
• ↑ https://owl.english.purdue.edu/owl/resource/539/02/
• ↑ http://www.alfiekohn.org/article/choices-children/
• ↑ https://www.writersdigest.com/write-better-fiction/7-steps-to-creating-a-flexible-outline-for-any-story
• ↑ http://thewritepractice.com/the-formula-to-write-a-novel/
• ↑ https://student.unsw.edu.au/editing-your-essay
• ↑ http://orelt.col.org/module/unit/5-promoting-creative-writing
• ↑ http://education.seattlepi.com/grade-creative-writing-paper-3698.html
• ↑ http://www.theatlantic.com/education/archive/2016/04/educating-teenagers-emotions-through-literature/476790/
• ↑ http://www.wrightingwords.com/for-teachers/5-tips-for-teaching-creative-writing/

About This Article

To teach creative writing, start by introducing your students to the core elements of storytelling, like theme, setting, and plot, while reminding them that there’s no formula for combining these elements to create a story. Additionally, explain how important it is to use tone and atmosphere, along with active verbs, to write compelling stories that come alive. When your students have chosen their topics, have them create story outlines before they begin writing. Then, read their rough drafts and provide feedback to keep them on the right path to storytelling success. For tips from our English reviewer on how to spur creativity in your students, read on! Did this summary help you? Yes No

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Postgraduate Certificate in Teaching Creative Writing

This course is not open for online applications. If you would like to enquire about this course please do so using the 'Ask a question' button.

Calling writers who teach, teachers who write, and those interested in applying creative writing (or its theory) within their professional field!

The Postgraduate Certificate in Teaching Creative Writing is structured around 3 modules that are designed with a focus on a different area of teaching creative writing. By the end of the course you will have an enhanced knowledge of relevant existing pedagogical theory, acquired new practical skills for teaching, assessment and planning and you will have developed reflective awareness and innovation in your own teaching practice. 

We will be running a Postgraduate Certificate in Teaching Creative Writing Information Session on 15th February at 18:30 GMT as part of our Postgraduate Open Day 2024. Book now .

Watch the recording from our Open Morning on 10 February 2023.

Who is the course designed for ?

The course is aimed at:

• published writers who wish to teach or offer writing workshops;
• existing creative writing tutors who want to improve or develop a more cohesive and defined pedagogy;
• graduates of postgraduate level Creative Writing programmes who wish to become teachers of creative writing;.
• Healthcare or industry professionals who wish to offer creative writing classes;
• professional development for qualified teachers interested in exploring the theory of teaching creative writing or who include creative exercises as part of their teaching of core subjects (eg. History or English).

Aims of the programme 

The programme aims to enable participants to: 

•  develop their skills as a teacher of creative writing and strategies for their intended teaching contexts;

• develop and or extend their knowledge of the theories and practices of the teaching of creative writing;

• develop their repertoire of teaching, course design and assessment methods appropriate to creative writing in their context;

• develop a reflexive and critical awareness of their own teaching practice and to transmit what they have learned from their own experience of being a writer into a classroom setting.

Teaching and Learning

The course is taught over three modules, each of which students must attend. A Virtual Learning Environment (VLE) offers learning support to students while they are on the programme, including learning resources and peer-to-peer and student-to-tutor discussion between modules to build a virtual community of practice.

Module 1: The Philosophy and Context of Teaching Creative Writing

04 - 06 October 2024

This module will introduce students to the Postgraduate Certificate and will address:

• the background and history of teaching creative writing;
• the concept of ‘creativity’ and the arguments surrounding whether or not creative writing can be taught;
• the methodologies surrounding teaching creative writing;
• how teaching creative writing may vary within different settings such as schools, higher education and prisons.

Module 2: Designing a Creative Writing Course

17 - 19 January 2025

This module will address:

• different models of creative writing courses and the advantages and challenges of each;
• the pedagogical theories behind different types of courses;
• the use of close reading in different settings and what makes a good extract;
• the quality assurance aspects of designing a creative writing course;
• the emotional and psychological impact of teaching creative writing for tutors and students.

Module 3: Assessment and Feedback in a Creative Writing Course

04 - 06 April 2025

• different ways of providing feedback in different contexts;
• the pedagogical theories behind different types of feedback;
• the challenges of providing written feedback to a range of students;
• the historical roots of the workshop and its appropriateness in different settings. 

You will be awarded a course grade on the basis of a portfolio of three summative assignments totalling 10,000 words. 

Please note that this course does not lead to a formal teaching qualification.

Find out more

If you have any questions about this course, would like an informal discussion on academic matters before making your application, or would like to know more about the admissions process, please complete this enquiry form with your questions .

Applicants should hold a good undergraduate degree (good 2.1 or overseas equivalent) and would need to be competent in the English language. There is provision to accept non-standard applicants who do not satisfy the standard academic criterion. Such applicants must produce evidence of relevant and equivalent experience and their suitability for the course.

Language requirement

• IELTS Academic: Overall band score of 7.5 (with a minimum of 7.0 in each individual component)
• CAE: Grade A or B (with at least 193 in each individual element) plus a language centre assessment
• CPE: Grade A, B, or C (with at least 200 in each individual element)
• TOEFL iBT: Overall score of at least 110 with no element below 25

Applicants might come from an existing teaching environment, (primary, secondary or tertiary), be practising writers or postgraduate students who wish to develop the skills to lead workshops, those looking to improve or develop a more cohesive or defined creative writing pedagogy, or professionals in other industries who would like to explore using creative writing as a development tool within their field.

International Students : If you are not a UK resident please visit our international students' page to read about visas for part-time students. Please make sure you have investigated your visa requirements in advance of booking as we cannot offer a refund if you find you are unable to take up the place due to visa constraints after you have booked your place on the course.

The fee will be £4,750.00 for Home and for EU/Overseas students the fee is £8,240.00. Students will be expected to cover the application fee (£50 online), accommodation whilst in Cambridge and any costs of travel to Cambridge. 

You can pay in one of two ways:

• In full on enrolment (by cheque payable to the University of Cambridge or by credit or debit card)
• in four instalments (credit/debit card only)

ICE fees and refunds policy

First story - Institute of Continuing Education Tuition Fee Bursary Scheme

The University of Cambridge Institute of Continuing Education (ICE) and the creative writing charity First Story have collaborated to provide four partial tuition fee bursaries for this course. The First Story - Institute of Continuing Education Tuition Fee Bursary Scheme will enable teachers, librarians or other literary professionals working in deprived and/or disadvantaged settings to enrol on the part-time University of Cambridge Postgraduate Certificate in Teaching Creative Writing .

These bursaries, which will cover up to £2000 of the course fee, are intended to support applicants who work in state funded settings such as state schools, public libraries, local authorities, the NHS or HM Prisons Service and will be interested in using creative writing as a development tool within their field. We will also consider applicants from third-sector organisations and not-for-profit organisations. (If you are awarded a bursary you would be responsible for paying the remaining tuition fee.).

How to apply for a bursary

Step one: Apply for a place on the course. Applicants can only apply for a bursary after making an application for the Postgraduate Certificate in Teaching Creative Writing course through the online application portal.

Step two: Complete this online Bursary Application Form . You will be required to provide your course application payment reference number, a personal statement about how you will benefit from the course and bursary, and a copy of your CV.

First Story - Institute of Continuing Education Tuition Fee Bursary Scheme Terms and Conditions .

The deadline for bursary applications is 20 June 2024.

Other sources of funding

Sources of government funding and financial support  - including Professional and Career Development Loans.

This course will require a minimum number of students in order to run. Applicants for this course will be notified by September 2024 if the course is not going to be running at which point students will be offered a refund of the fees they have paid so far (please see our Cancellation policy) . 

Applications close on the 20th June 2024  and interviews for shortlisted candidates will be held in July. Interviews will take place either in person or by remote software if candidates are unable to attend in person.  Candidates will be contacted to arrange convenient times during the previous week.”

Applicants will be required to apply online and will need to provide a CV and a personal statement of around 500 words in addition to:

• Copies of relevant qualification certificates and transcripts
• Language proficiency if required
• Contact details of two referees who will be contacted on your behalf

We welcome learners of all backgrounds and abilities at the Institute of Continuing Education (ICE), and for this reason we have robust learning support in place for any student who needs it.

The Accessibility & Disability Resource Centre (ADRC) provides advice, guidance, and resources to disabled students on ICE award-bearing undergraduate and postgraduate courses.

If you have a disability or medical condition including a mental health condition, then please indicate this on your application form so we can work with you on supporting your studies. If you would like to access support from the ADRC please complete their online Student Information Form as soon as possible. If you are able to, please upload your evidence (written in English) within the Student Information Form where prompted. The following links to guidance on medical evidence or diagnostic evidence will help to answer any questions you may have. 

 If you have any questions concerning disability support then please contact the ADRC NMS team via [email protected] or view their website via https://www.disability.admin.cam.ac.uk/non-matriculated-students

You can also disclose a disability at any time during your course by contacting either the ADRC NMS team, or ICE’s Student Support team via [email protected]

Student wellbeing is a key priority at ICE, and we have a dedicated Student Support team who can provide wellbeing support and guidance. Please contact the team via [email protected]

How often does the Postgraduate Certificate run? The Postgraduate Certificate in Teaching Creative Writing course currently has an annual intake.

Is the course taught online, or is it possible to complete the course by distance-learning? This is not a distance-learning course. You will be required to attend teaching sessions in Cambridge.

Are there any sources of funding available? Please view the "Fees and Funding" tab for further details. 

How many references are required? We require two references. References need to be submitted from professional e-mail addresses, so please ensure that you enter the relevant details into the online application form.

What kind of references should I provide? We prefer academic references from people who, if at all possible, are able to comment on your writing skills and experience, and your ability to study at Master’s level. 

What happens if I am not able to provide academic references? We can accept professional references.

Can I nominate an ICE tutor as my referee? Yes, you may nominate an ICE tutor to act as your referee. 

How long should the Personal Statement be? As a guide, we suggest that the Personal Statement is about 500 words in length.

Course dates

Course duration.

Academic Directors, Course Directors and Tutors are subject to change, when necessary.

Qualifications / Credits

Course code.

Institute of Continuing Education Madingley Hall Madingley Cambridge CB23 8AQ

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Teaching Creative Writing with High School Students

Teaching creative writing will stretch you as a person and as a teacher. If you’re looking for h ow to teach a creative writing class, I hope my refection process benefits you. 

This past semester, I was tasked with teaching creative writing for the first time. Before I dive into the second semester, I want to reflect on my experiences. This sort of class is one that I will never teach the same way twice because my writers will always have different needs. Still, I need to process what approaches worked and did not work.

If these ideas help another teacher, great! Below is what I learned from teaching creative writing with high school students. As I consider h ow to teach creative writing, I realize that much of the process includes diverse learning tools and encouragement from me to students. 

Also! I have a freebie in this post that you can hand students tomorrow! Sign up for Language Arts Classroom’s library to receive the handout and other freebies:

Now, here are my ideas for h ow to teach creative writing with high school students. 

Encourage peer collaboration and feedback.

High school students don’t always value interaction, brainstorming, and creating with peers. Such collaboration is important in any class; in creative writing, it is vital. When I began collaboration with students, I didn’t always see the results I wanted. As I continue to t each creative writing, I realized the importance of providing a model. 

Even though I work with older students, I still need to model the collaborative process. I often did this by writing a sample, verbalizing what I liked and disliked, and asking for student approval. Plus, I never let questionable feedback offend me; I would instead articulate what the student said about my work.

The next time that I teach creative writing, I need to be more intentional with designing feedback. Sure, older students understand that collaboration is important and that kindness moves their messages forward. Still, I should provide exact examples for them to model their feedback.

Creative writing improves with feedback.

Because imaginations dominate the writing, it is easy for students to lose track of transitions and explanations. The story might be interesting, but a fresh reader might be confused. Part of the fun of creative writing includes breaking grammar rules. But! The subtraction of rules can’t include adding confusion. Creative writing assignments for high school must include discussions of structure, organization, and clarity. 

Remind students that at the end of a book, the author thanks a list of people who provided feedback and encouragement. The list of readers is long . Professional writers gladly accept feedback. Train students to think of feedback as part of the process. Show students what authors think of their process.

Students might understand that they should provide feedback, but they should also understand that receiving feedback is important too.

Use images to spur creativity.

Creative writing assignments for high school should include images! Pictures are a perfect scaffolding tool for teaching creative writing. 

This brainstorming technique worked multiple times when students found a wall. Grab some pictures from the Internet and compile them into a presentation like I did for this character activity . You can also head outside or ask students to contribute pictures. I have many Pinterest boards that inspire my own writing. Encourage students to develop a process that inspires them as writers.

Now that you have pictures, try brainstorming. What colors, depths, and shadows do students see in these images? How can those descriptions better their writing?

Another opportunity for images is to head outside with your writers. You might focus students by providing certain images for them to analyze.

Review dialogue rules.

Dialogue confused my students, and I’m not sure I have a solid reason as to why. I’m guessing that the rules differ from citations in formal writing, and that is their typical writing assignment. I had my students bookmark this page . We reviewed and practiced dialogue frequently.

Practicing punctuation, reviewing grammar rules, and breaking grammar rules can be great addition to teach creative writing.

Implement literary devices.

All those literary devices students find in literature? Now it is their turn to implement them! Some, like similes and direct characterization, come naturally. Students automatically include many literary devices. Don’t be afraid to read literature as you teach creative writing. Inspiration and examples help young writers, especially concerning literary devices.

Trickier literary devices? My class and I really worked with indirect characterization, conflicts , and setting . Students had too much telling and not enough showing. I’ve found that using pictures is a great scaffolding technique as I teach creative writing. Pictures inspire students to see angles they normally wouldn’t by simply imagining their story. Pictures provide a step for students as they implement literary devices in their creative writing activities.

As I teach creative writing, I realize the importance of pulling examples from literature. Students read creative writing! Emphasize that point with them. 

Develop characters.

Whatever your creative writing activities for high school students, you should include character development. Students really bloom when they craft characters. Sometimes students need prompting, so I created a brainstorming list for students, and you may download it for free .

Why did I do this? Creating and developing characters is hard! Students know interesting characters; in fact, I spent time brainstorming memorable ones with students. Then, we discussed why those characters stayed in their memories.

From our discussions, students realized that these characters have multiple levels. They have quirks and unlikable traits. No human is perfect; a realistic character isn’t either. We gave our characters mild obsessions (chewing nails), memorable habits (eating cheesy waffles for breakfast), and a unique style (red jean jacket). To do this, I asked characters to brainstorm more information for their character than they would ever include in their story. Creative writing assignments for high school can be analytical: Older students have years of viewing and reading characters!

Why? Well, students then had an image of the character which flowed into the development. The ideas were easier to weave into the story when students had this background information. Finally, students had a unique character they invested in before they began writing a story.

Teaching creative writing was rewarding in many ways. Students expressed their concerns and fears, joys and triumphs. When I took over this class, I wondered what the outcome would be. This was my first experience teaching creative writing, and I was nervous. Now as I prepare for the new semester, I’m excited to see what students develop and what I can create to help them.

You are welcome to download the characterization brainstorming sheet for free! Sign-up for Language Art Classroom’s library to download it and other freebies.

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How to Prepare to Teach Creative Writing

Last Updated: November 3, 2022

wikiHow is a “wiki,” similar to Wikipedia, which means that many of our articles are co-written by multiple authors. To create this article, 16 people, some anonymous, worked to edit and improve it over time. This article has been viewed 13,795 times.

Preparing to teach creative writing requires a mixture of formal instruction in teaching methods as well as an inborn appreciation of the craft of writing honed by instruction and practice. If you wish to teach others how to write, here are steps to take and things to consider in building a career as a creative writing teacher.

Academic and Writing Preparation

• Required courses for a bachelor's in English include classes in language and literature as well as in writing. English majors may be required to take classes in technical as well as creative writing. Students preparing for a bachelor of science in education with a concentration in English also take classes in the nature of language and how to teach an English class to others. Some programs may also require a certain number of hours in foreign language classes.

• Most MFA programs require a 2- to 3-year commitment, which culminates in preparing a thesis, consisting of some form of creative writing, such as a novel or anthology of short stories or poetry. Programs consist of a mixture of writing opportunities and coursework, which may either be conducted on-campus or online. Some programs offer stipends to fund students' writing projects, while others offer teaching assistant positions to pay students' expenses and may even offer graduate students the opportunity to design their own courses.

• PhD programs in creative writing are structured similarly to MFA programs, but over a longer period of time (8 years on average), with a greater amount of independent study and the requirement to create a doctoral dissertation. It is possible to engage in a more research-oriented PhD program, although some colleges may consider this a detriment instead of an advantage for candidates applying for teaching positions.

• While being published by a college or university press still has more cachet than a mainstream publisher or small press, the rise of print-on-demand publishers has raised the status of non-university presses. You still need to provide your best-quality writing samples when applying for a college position.

• Other activities you can take part in include reading submissions to literary magazines or raising funds for them.

Applying for a College Writing Teacher Position

• One candidate used his prior experience to learn the names of his interviewers and what works they had published. On many of his interviews, he was complimented for being the only candidate to have an interest in his interviewers' work.

• Letter of application: A 2-page summary of your credentials, written in a clear, captivating style and tailored to the position you're applying for. If you're already teaching writing somewhere, you can use the letterhead of the institution you're presently teaching at.
• Curriculum vitae (CV/resume): Your CV should list your education, teaching experience, list of publications, service, list of references with contact information, and availability of letters of recommendation. Although you don't have to list every last publication, your CV should be comprehensive. (Unlike a business resume, which is typically 1 to 2 pages in length, a CV can be whatever length it needs to be to cover everything significant you've done.)
• Writing sample: Choose your best writing sample that is most appropriate to the institution you're applying to, preferably a book if you have one and can afford to send a copy to each institution you're applying to.
• Recommendations: You should have 4 to 8 letters of recommendation from professors and other writers who know your work and are familiar with your teaching style. The letters should be written as close to the time you start applying for positions as possible; allow 6 weeks' time for your recommender to draft the letter. Letters should be sent to the career center of your current institution or to the dossier service run by the Association of Writers and Writing Programs (AWP) if you're applying for your first position.
• Transcript: Not always required, but many institutions require a transcript as a quick means to verify that you actually earned the degrees you claim to hold. Photocopies are acceptable.

• Interviews may be held either on-campus or at the Modern Language Association (MLA) convention, held either December or January in a major city. Your travel expenses to a college campus are usually covered by the institution, but you'll have to pay your own way to the MLA convention.

Community Q&A

• You may find it helpful to have writing experience outside the field or genre for which you plan to apply. Skills in journalism and grant writing can be particularly beneficial. Thanks Helpful 0 Not Helpful 0
• Competition for tenure-track creative writing teaching positions can be fierce, due to the number of MFA and PhD programs in creative writing and the number of graduates from those programs who have published their work. It's helpful to prepare as fully as possible, while also considering other options for using your degree, such as advertising or working for a publishing house. Thanks Helpful 1 Not Helpful 0

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English - Creative Writing Emphasis

Focus on the craft of writing with the support and instruction of an array of well-published, award-winning faculty.

Tell Your Story

This growing major is an excellent choice for those who love to read and write, and are passionate about expressing themselves through language. Classes include multi-genre writing workshops, as well as those that focus on specific types of writing such as playwriting, novel writing and creation of essays, short stories, and poetry. Through unique projects and class discussions, you'll foster creativity, insight and empathy — skills that are highly sought after by writers. A variety of electives and course topics throughout the emphasis allow you to study the areas that interest you and best align with your career goals.

While pursuing your degree, you'll experience the incredible benefits of small class sizes. Our courses allow for personalized learning, individualized mentoring, and the formation of meaningful, lasting connections. Your professors and classmates will know you by name and do all they can to help you achieve your personal and professional goals.

Graduates of the program leave with the knowledge and skills to create original and effective poetry, fiction, and creative nonfiction works.

Whether you dream of publishing a novel, sharing your poetry, crafting blogs or writing a play, a bachelor's degree in creative writing from UW-Eau Claire can help make anything possible. 

Program Details

As a creative writing major or minor, you'll have the unique opportunity to work as an academic apprentice. Facilitate class discussions, assist teams with group work, answer questions, provide input for class activities, and assignments and teach part of a class session. Or tutor other students outside of the English department by becoming a Center for Writing Excellence writing assistant. These experiences provide a chance for you to build skills in leadership, interpersonal communication, and problem-solving, while also enhancing your writing abilities.

Endless undergraduate research opportunities are available to students at UWEC. Some of the exciting projects taken on by students and faculty in English involve conducting research and interviewing research subjects. Your work could lead to presentations at local and national research conferences, providing you with even more learning and networking opportunities.

Joining a student organization at UWEC builds your skill set — and your resume. You may mentor current and potential students, organize events, or give back to the community. You'll also meet students who, like you, are interested in English and all that it offers. A popular student org for creative writing majors is NOTA, or None of the Above, which is a campus literary magazine — entirely student-run — that publishes a biannual collection of the top student submissions in the categories of art, poetry, and prose.

Writing in a new and different environment can lead to some pretty incredible work. Find inspiration while studying abroad in places like England, France, Italy, Spain, Costa Rica, Germany, Ireland, Scotland, South Korea, South Africa, or Japan. Or join faculty on a cultural immersion program to renowned places right here in the U.S. These enriching academic experiences are exactly the kind of high-impact practices that set UW-Eau Claire apart from other institutions, making UWEC an excellent place to pursue your creative writing degree. 

Blugold Stories

Some people might stay away from English classes because they think they're bad writers. I would say no one is a bad writer. Writing, like art, is very subjective, and I promise you there is someone out there who will share your story and see the light in your writing. If you're interested in expressing yourself or just have feelings you need to work through, creative writing is something that you should try.

I had no idea how much I would be welcomed and how much all of my professors genuinely care about me. They are so willing to just have a chat or I can come to their office hours. It's just something that is so nice and I didn't know I was going to have that.

Just the facts

100% Employed or Continuing Education Every 2022-2023 graduate from this major is currently employed or continuing their education.

5 Majors, 4 Minors, 3 Certificates Our personalized curriculum builds your skillset and talent for the future you want.

Where can the english - creative writing emphasis program lead me after graduation?

Graduates of UW-Eau Claire's English - creative writing emphasis degree leave with the knowledge, tools, skills, and passion to become successful, published authors. 

Example Careers

• Content manager
• Content writer
• Technical writer
• Social media director
• Freelance writer

The English - creative writing emphasis bachelor's degree includes countless opportunities to create and evaluate forms of verbal art, including poetry, fiction and nonfiction. Coursework throughout the program will help you to become a better reader and writer of imaginative literature. Pair your studies with a minor or another major in areas like history, marketing, journalism, public relations, communication studies, political science or graphic design for even more career opportunities. 

Here are a few courses in English - Creative Writing Emphasis at UW-Eau Claire.

Introduction to Creative Writing

Introduction to creative writing with opportunities for the student to create and evaluate several forms of verbal art (poetry, fiction and/or nonfiction).

Creative Writing Workshop - Fiction

Special emphasis on class discussion and personal conferences for advanced writers of fiction.

Creative and Narrative Nonfiction

Survey of nonfiction works (reportage, autobiography, travel, and nature writing) which combines factual reporting with literary techniques to reveal American society.

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Related Programs

Thinking about studying english - creative writing emphasis? You might also be interested in exploring these related programs.

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University of Wisconsin-Eau Claire

105 Garfield Avenue  P.O. Box 4004  Eau Claire, WI 54702-4004 

715-836-4636

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Creative Writing Skills: 6 Lessons You Need To Teach Today

So, you’re going to teach Creative Writing. Congratulations! Now comes the hard part–what exactly does that mean? What should you be teaching? What skills should your students be learning? In this post, I’m going to share some essential Creative Writing skills you should be teaching in your high school Creative Writing class. 

If you’re looking for more tips to teach Creative Writing, check out this post . And if you need help planning the Creative Writing semester, this post should help . 

(Looking to skip the planning entirely? Grab all of my Creative Writing skills lessons right here! )

Creative Writing Skills #1: Show. Don’t Tell.

The advice to “show, don’t tell” is some of the oldest and most consistent advice given to young writers. And it’s for a good reason–they really struggle with it!

About half of my students come into Creative Writing with these big elaborate stories they want to tell. But when they actually get into writing, their stories feel more like a list of events that happened. 

I’ve seen months of plot happen in just a paragraph of my students’ writing. Students need to learn to slow down and create an experience for their readers. It’s how a story unfolds, after all, that makes it worthwhile–not the events themselves. 

Tips for Teaching “Show. Don’t Tell”

Like all creative writing skills, you’ll want to show your students some really good mentor texts first . Find some excerpts from books with really juicy descriptions. Share these with your students. 

After they have some examples, give students time to try “telling” an event, description, or emotion instead of “showing” it. 

I do this by giving each student a “telling sentence” and asking them to turn it into a “showing” paragraph. A student might get a sentence that says something like, “Billy felt angry.” Then, they’ll have to write a whole paragraph that implies Billy is angry without actually saying it bluntly. 

If you want to save yourself some time (and the mental anguish of brainstorming a bunch of bland sentences), you can get my “Show. Don’t Tell” Mini-Lesson right here. It includes a slideshow, student worksheets, and those telling sentences.  

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Creative Writing Skills #2: Precise and Concise Language Choice

Now that your students are learning to slow down and offer descriptions in their writing, it’s time to help them focus on their word choice. 

Diction is immensely important to a writer–especially when storytelling gets more advanced. A lot of our students want to write down the first words that come to their minds and then “be done.” 

But we know great writing doesn’t happen like that. We have to teach our students to find the best word, not the first word–without abusing a thesaurus. 

Tips for Teaching Better Word Choice

First, you’ll want to show your students some examples of really great concise and precise word choice. You’ll also want to show some not-so-great examples. The comparison should be eye-opening for your students. 

Now, the best way to become more precise in your diction is to improve your vocabulary. We probably can’t make great strides in improving our students’ vocabulary in just a quarter or semester of Creative Writing. 

But we can show them how to improve some of the most commonly used vague language . One great example of this is the word “got.” 

It’s pretty rare that “got” is the best verb for a situation, but we–and our students–use it all the time. If we can teach students that “got” is a red flag for vague language, that’s a huge step!

We can also teach our students to avoid filler words. 

If you need help putting this all together in a lesson, I have a no-prep Precise and Concise Langauge Mini-Lesson right here for you . Included is a slideshow, students worksheets, and a reference handout for students they can use every day. 

Creative Writing Skills #3: Dialogue

Your students are starting to put words on a page and–hey–they’re not bad!

But at some point, your students are going to have their characters talk to each other. And this can be when stories get really, really bad. 

Early on in your Creative Writing class, encourage your students to start listening to the way others speak. Where do they pause? What slang do they use? When do they use complete sentences and when don’t they? You can even ask students to jot down conversations they overhear.

A great writer has an ear for dialogue, and this skill begins when students become aware of speech around them. Encouraging them to eavesdrop will help them write realistic dialogue later.  Just remind them to be respectful. Eavesdropping in the cafeteria is one thing. Listening outside someone’s bedroom door is another.

Our students not only struggle with mimicking real, authentic speech, but they also struggle with punctuating it. Depending on the skill level of your students, you may have to pick your battles here. Cheesy speech might be worth ignoring if there’s no quotation mark in sight. 

Tips for Teaching Dialogue Writing

First, and foremost, I like to cover punctuating dialogue first. For one reason, it’s because punctuating dialogue is either right or wrong. It’s easier to learn something that is objective. 

For another reason, I, personally, can’t stand reading poorly punctuated dialogue. My English teacher’s eyes just can’t see past it. 

Only once the quotation marks, commas, and periods are at least close to the right spot do I focus on trying to improve the content of students’ dialogue. 

Students’ dialogue writing is only going to get better through practice and observing real-life speech. However, you can give them some tips for writing dialogue better. 

For example, remind your students not to have characters talk too much . I’ve seen stories with pages and pages of dialogue. Each character’s every little “hi,” “‘sup?” and “‘nothin’ much” gets recorded. Let your students know they can skip anything that doesn’t add value to the story. 

If you need help planning this lesson, I have a done-for-you Dialogue Mini-lesson right here. It includes a slideshow lesson, worksheets for focusing on both punctuation and craft, and a writing exercise. Get it here. 

Creative Writing Skills #4: Mood

If you can only teach your students the above Creative Writing skills, you will no doubt improve their writing tremendously. But if you want to take your students’ writing up a notch, encourage them to think about the mood in their poetry and stories.  

Students will no doubt have heard this literary term from their regular English classes, but it’s always worth reviewing first. Plus, they’ve probably read for mood, but creating it is a totally different game. 

Tips for Teaching Mood

There are so many ways you can teach your students to create mood. It’s a pretty fun topic!

You might want to begin with some brainstorming. Like, what kind of mood might a horror story have? A comedy? You want students to understand why, as a writer, mastering mood is important to them. 

Then, like always, you’ll want to share some solid mentor texts. I love horror stories for showcasing well-written mood, but love poems are also good for this. 

Whenever possible in Creative Writing, I like to mix up the media, so I have students first analyze the mood of various classic paintings. As an English teacher, it tickles me to show students that these literary terms apply to art of all kind. Film clips would work really well, too. 

Then, challenge students to write a scene and evoke a specific mood. You could randomly assign the mood or let students pick. 

In my Mood Mini-Lesson , I have students analyze the mood in painting first. Then, I have them choose a card. Each card has a different mood written on it. Then, students must describe a setting that evokes that mood. You can get this mood lesson for yourself here.  

Creative Writing Skills #5: Tone

Well, if you’re going to teach mood, then tone is the likely next skill, right?

Teaching tone and mood is important because their differences are subtle, but important. Until students study tone, they might mistake it for mood and mix the two together. 

I never expect my students to master tone. It’s difficult and something that even professional writers polish over the course of many drafts. But it doesn’t hurt to get students thinking about the impact of their word choice. 

Don’t forget to remind students of the importance of choosing those precise and concise words. With tone, it’s truly what makes a difference. 

Tips for Teaching Tone

After defining tone and showing great examples of it to your students, give them some space to practice identifying it.  

I like to cover informal and formal tones–not just emotional tones. Identifying whether a piece of writing is formal or informal is a great first step for students. It’s a little easier but an important skill and might give your students a bit of confidence in their tone-identifying skills. 

Once they know what tone looks like, they can try to create it themselves.  

The activity I do involves having students write a short scene.

I randomly give my students a tone to use. I also randomly give them a situation. So, a student may have to describe “eating lunch in the cafeteria” with a “romantic” tone. The results can be pretty entertaining!

If that sounds like a lesson you’d like, you can get my Tone Mini-Lesson right here . Includes are a slideshow, students worksheets, and the slips for tones and situations.

And, if you’re teaching mood and tone, I have a FREE Mood and Tone Handout right here!

Creative Writing Skills #6: Voice

I put voice last in this blog post, but it could just as easily have been first. Voice is difficult to define for students, but it’s something they should be working on crafting throughout your whole Creative Writing class. 

Even if your students never quite master their literary voice (who does?), it’s a good skill to discuss with them. If students understand the concept of literary voice, it will make them better writers and more analytical readers. 

Tips for Teaching Literary Voice

You’ll first have to define voice for your students. This can be challenging. It might be easier to focus on a few aspects of voice–like diction or syntax–in order to explain the concept. 

Discuss with students their favorite authors. What does their “voice” sound like? What about the authors you’ve read and studied together?

Give students examples of strong voice to examine (the stronger the better). Have them discuss the techniques and style of each mentor text. 

To drive this home, I do a fun activity with my students. I take three very different poems by authors with very different voices. Then, I cut them up, line by line, and mix the three poems together. My students are then tasked with putting the poems back together!

To do this successfully, they’ll have to look for styles that match. Rhyming may be part of one author’s voice, but not another. One author may create a dark mood while another uses humor consistently. It’s a great way to drive home how voice can be an author’s calling card. 

This activity and some additional practice are included in my Voice Mini-lesson . Also included is a slideshow to introduce the concept. You can save yourself some time and get the lesson here. 

These are some skills that I think are essential for any Creative Writing class. There’s no one right way to teach any of these skills, and teaching from multiple angles is best. 

Whenever possible, I like to make my Creative Writing lessons hands-on. Even the most die-hard students get sick of writing every minute of every class. 

If you, too, would like some hands-on lessons and short activities that cover these essential skills, check out my Creative Writing Workshops Bundle . Each lesson includes everything you need to teach, model, and help your students master these skills one at a time. 

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English and Creative Writing

The Franklin College Department of English and Creative Writing is committed to the careful study of the individual expression and cultural values found in English, American, and world literature.

The department is one of Franklin College’s most exciting intellectual communities. Our faculty of dedicated teacher-scholars share with students their expertise in, and enthusiasm for, literature from a variety of genres, periods, and cultures—works drawn from the traditional canon to the works of emerging artists, from Greek tragedy to graphic novels, from Shakespearean sonnets to postmodern poetry. Small class sizes mean professors get to know their students and can engage with them in intense debates and deep analyses of literary works that continue outside the classroom.

Our dedicated faculty of practicing writers and scholars guide students in small classes and workshops that cover a variety of genres, as well as provide students with frequent out-of-class opportunities to exercise and hone their craft. Creative writing students can expect a rigorous yet collegial environment that allows for engaged learning, collaboration and experimentation.

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• Why English and Creative Writing?
• Major Handouts & Course Catalog
• Writers' Series

Meet Our People

Why english and creative writing at franklin college.

Dynamic classroom experiences.

Our professors use a variety of approaches that focus on how language and literary forms recreate both individual experiences and the large, impersonal forces that shape cultures and historical periods. In so doing, we seek in our classes to understand the many varieties of the human condition. In addition to taking courses with our award-winning faculty, our creative writing students benefit from the creative writing program’s reading series, which brings talented poets, fiction writers, memoirists, and playwrights to teach and study with them each year.

Experiences beyond the classroom.

Not only do English and creative writing majors learn a great deal in the classroom, they also take part in activities related to the disciplines. Such activities regularly include working on the editorial board of the college literary journal, the   Apogee  (founded in 1961); attending performances and creative-writing readings; and participating in other events in and around Franklin, Indianapolis, Bloomington, Louisville, and elsewhere in the region.

Global engagement.

With opportunities to study abroad during entire semesters, during the college’s four-week Immersive Term, or over the summer, English majors have recently taken courses in England, France, Spain, Costa Rica, Germany, Uganda, Japan, and elsewhere.

Interdisciplinary commitment.

In keeping with the college’s strong interdisciplinary character, English and Creative Writing majors frequently choose to pursue a second major or a minor in disciplines such as  elementary education ,  French ,  history ,  multimedia journalism ,  political science ,  philosophy ,  psychology ,  religious studies,  or  Spanish . Recent English courses have been cross-listed in  theatre  and the liberal arts program, and students may count an upper-level course in  French  or  Spanish  literature toward their English degree.

Connecting passion with work.

Our faculty advisers are committed to helping students find careers in fields that excite them. Recent graduates have used their English degrees to pursue rewarding careers in teaching, publishing, health care, marketing, business, the performing and creative arts, communications, technical writing, and non-profit management. Others have gone on to graduate programs in English, law, divinity, library science, and counseling.

Spark your imagination.

Program handouts.

• English Major Handout
• Creative Writing Major Handout

Courses of Study

Students who choose to study english and creative writing at franklin college can pursue two different majors — english and creative writing. both are also available as a minor. in addition, we offer an additional minor in professional writing..

Immerse yourself in literature, history and the human condition as a Franklin College English major.

Experiment with language and style, developing a unique voice.

Creative Writing

Carlson-stauffer visiting writers’ series.

The English and Creative Writing department is proud to sponsor the Carlson-Stauffer Visiting Writers’ Series, which brings nationally recognized authors to campus. All events are free and open to the public.

Series Background

The series is named for two beloved professors emerita, Kathy Carlson and Emily Stauffer, both of whom retired in spring 2015. Together, their combined service at Franklin College spanned close to 70 years. The series began in 2015 and has allowed the department to host dozens of writers from across the country. Writers hold a publicly open reading. Typically, they also interact with creative writing students at a meal, visit creative writing classes to conduct a masterclass in their genre, and/or offer feedback on students’ writing.

Participating Writers

Visiting writers have been poets, fiction writers, YA authors, writers of non-fiction, and multi-genre writers. Some notable names include:

• Marcus Wicker, 2015
• Maggie Messitt, 2016
• Jamaal May, 2017
• David Tomas Martinez, 2018
• Terrance Hayes, 2019
• Nafissa Thompson-Spires, 2019
• Ross Gay, 2019
• Adrian Matejka, 2020 (and 2023)
• Brooke Lauren Davis (’15) — YA novelist and alumna
• Samantha Fain (’20) — poet and alumna
• Eugene Gloria, 2021
• Dan Chaon, 2022
• Saundra Mitchell, 2023
• Angela Jackson-Brown, 2023
• Matthew Minnicucci, 2023
• Brittany Means, 2024
• Monica McClure, 2024

This fall (2024), the department will welcome back Samantha Fain (’20) to celebrate the release of her latest poetry collection,  Are You There .

On Nov. 28, 2023, the department welcomed poet Matthew Minicucci for his second visit in our series. Matthew read from his fourth poetry collection, Dual, which was released by Acre Books. The event was held at 7 p.m. Tuesday, Nov. 28, 2023 in the B.F. Hamilton Auditorium. A book signing followed the reading.

“I believe that you get a sense of belonging and that you matter. Personally, I enjoy the conversations with professors and other faculty members and getting to know them.”

Emmarae Arensdorff ’22

Express your creativity through apogee, our annual literary journal., apogee is franklin college’s student-run literary magazine that accepts previously unpublished work in poetry, fiction, creative nonfiction, drama, and visual art. apogee is an annual publication published in late spring. submissions are open during the summer and fall..

Questions about  Apogee ? Contact our Faculty Advisor.

Learn more about English and Creative Writing at Franklin College

Our mission.

By honing a diverse set of reading and writing skills, the English and creative writing department’s majors and minors recognize the artistic achievements, insights, and possibilities inherent in literature to create their own meaningful work as they prepare for professional positions, graduate study, and civic engagement.

Student Learning Outcomes

Students in English and Creative Writing will be able to:

•     Read and communicate effectively through creative and expository writing.
•     Make arguments about texts using literary terms, techniques, history and movements.
•     Access, analyze and synthesize complex information, using diverse perspectives.
•     Solve unstructured problems individually as well as collaboratively.

Our Faculty

In addition to their commitment to the classroom, faculty in the English and creative writing department maintain active scholarly agendas, publishing their research and presenting at major national and international conferences on a wide variety of topics, including the intersections of narrative theory and gender theory; the limitations of humanity in Shakespeare’s  Richard II ; modernist irony as a response to colonial exhibitions; flipped classroom pedagogy; landscape and medieval gender roles; feminist readings of global modernism; and deforestation in contemporary Anglophone Caribbean literature. In addition, our creative writing faculty have won awards and national attention for their work.

Requirements

Introductory courses provide students with an understanding of different creative genres, as well as the fundamentals of creative writing processes, literary citizenship and the contemporary literary landscape. Students learn to read like writers, engaging in literary analysis to appreciate the nuances of text construction. In later courses, students perform genre-specific studies, closely studying, deploying and sharpening particular writing techniques, and engaging in significant revision and experimentation as they hone their unique voices and join ongoing literary conversations.

As creative writers, we untangle texts and cultural contexts to discover new strategies for reading and writing, with students interrogating both the worlds of the texts they read and write, and their own world, understanding how texts communicate, shape and move all of us. Through guided practice, students gain confidence, empathy, and practical critical writing and thinking skills that allow them to make powerful contributions to the world.

Meet the talented professionals who will help guide you on your creative journey.

Emily Banks, MFA, Ph.D.

Katie Burpo, M.F.A.

Susan Crisafulli, Ph.D.

Richard Erable, Ph.D.

Anna James, Ph.D.

George Phillips, Ph.D.

Department of english and creative writing.

101 Branigin Blvd. Franklin, IN 46131 Johnson Center for Fine Arts

317.738.8271

Monday - Thursday, 8 a.m. to 5 p.m. Fridfay, 8 a.m. to 4 p.m.

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Teach Writing With The New York Times: Our 2024-25 Curriculum

Our nine writing units are based on real-world features like reviews, photo essays, narratives, podcasts and more.

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Writing (ma) (2021 entry).

• How to apply
• Get a prospectus
• Course Code
• Full-time: P-Q3P7
• Part-time: P-Q3P7P
• Course Type
• Postgraduate Taught
• Qualification
• Full-time: 1 year
• Part-time: 2 years
• Department of Study
• School of Creative Arts, Performance and Visual Cultures
• Location of Study
• University of Warwick

Writing is a profession and a passion; it is also an act of community. Warwick’s MA in Writing introduces you to the real world of writing, surrounded and supported by writing staff and students who share your ambition. It will show you how to make your way in the world as a writer.

Course Overview

Attracting students from around the world, our flexible MA in writing offers two possible pathways:

Route A (Taught): Five modules (Research for Writing, an Optional Core in writing, plus three others), in which a wide range of written work is produced. Part-time students on Route A will normally take two taught modules (one per term) plus Research for Writing in Year 1 and two taught modules (one per term) in Year 2.

Route B (Long Project): Three modules (Research for Writing, an Optional Core in writing, plus one other module), plus a long written project in any genre which the Programme is able to supervise. Permission to follow the Long Project route depends on an assessment of your prior experience of writing and of a proposal submitted before the course begins, as well as on the availability of a qualified supervisor(s), who will supervise you during the spring and summer terms. Part-time students on Route B will normally take two taught modules (one per term) plus Research for Writing in Year 1 and work on their Long Project in Year 2.

Warwick Writing Programme

The acclaimed Warwick Writing Programme is the largest and most comprehensive of its kind in Europe. We are title partner for The Sunday Times/University of Warwick Young Writer of the Year Award , whose previous winners have included Raymond Antrobus and Sally Rooney. You will be working alongside practising, award-winning novelists, poets and literary translators. Our teaching staff includes: A.L. Kennedy, Tim Leach, Michael Hulse, David Vann, Maureen Freely (Chair of the International Booker Prize 2019), Gonzalo C. Garcia, David Morley (winner of the Ted Hughes Award 2015), Ian Sansom and Chantal Wright.

Further information about the MA in Writing is avaliable on the Warwick Writing Programme website.

Core Modules

There are no fixed core modules for this programme, but all students take an Optional Core module in writing, either Fiction Workshop 1 or another writing module. A short course in 'Research for Writing' is compulsory but not for credit.

Optional Core Modules

Previously, a selection of the following optional cores have been offered:

• Warwick Fiction Workshop
• Writing Poetry
• Writing about Human Rights and Injustice
• Historical Fictions, Fictional Histories
• The Practice of Literary Translation
• Non-Fiction Writing Workshop
• Brave New Worlds: Writing Science Fiction and Fantasy

Teaching and Assessment

We teach in writing workshops, seminars and one-to-one supervisions. Most modules are assessed by portfolios of writing in the relevant genre, sometimes with an accompanying essay. Space for reading, thinking and writing matters almost as much as teaching. Our campus is a good place for writers, with a wide range of creative spaces and events open throughout the year.

An annual anthology

Each year, the MA group produce an anthology of new writing derived from work done during their time at Warwick.The latest volume, Between the Lines, was launched in June 2020. You will get the chance to be involved in the production, editing, writing, and promotion of a new anthology, seeing your work in print and gaining some invaluable hands-on experience along the way.

Entry Requirements

Minimum requirements 2:i undergraduate degree (or equivalent) in a related subject

In addition to the usual application materials, candidates will be selected on the basis of a personal statement and a portfolio of their written work. The portfolio should be a maximum of 20 pages of poetry or 5,000 words of fiction/non-fiction, or a combination of the two. You must upload this with your online application form.

English language requirements Band C IELTS overall score of 7.5, minimum component scores of two at 6.5/7.0 and the rest at 7.5 or above

International Students We welcome applications from students with other internationally recognised qualifications. For more information please visit the international entry requirements page .

Fees, Funding and Scholarships

For up-to-date information concerning fees, funding and scholarships for Home, EU and Overseas students please visit Warwick's Fees and Funding webpage .

A career in writing

Our staff have excellent links not only with other writers but also with publishing houses, literary journals and agencies, with national and regional organizations such as the Arts Council, PEN and the Royal Literary Fund, and with other creative writing programmes both in Britain and in the USA.

Many of our alumni have forged highly successful writing careers and picked up major national and international prizes: recent examples include Sophie Mackintosh's novel The Water Cure , Katy Whitehead winning the 2017 Fitzcarraldo Essay Prize, and Sohini Basak's debut collection We Live in the Newness of Small Differences winning the 2016 Beverly Series.

At Warwick Thursdays, our weekly literary and cultural salon, you will encounter creative practitioners (typically including writers, filmmakers, literary translators, visual artists) and indsutry guests (typically including publishers, agents, journalists), gaining an insight into a range of possible careers in the creative industries.

There are a number of different ways to visit the University of Warwick throughout the year. We host bespoke PG visits, where you can talk directly with your chosen department and explore our campus through a personalised tour. Some departments also host their own events and open days, where you can learn more about your department or course of study. To find out more about all of these opportunities, visit our Postgraduate Visits page.

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Literary Translation Studies (MA)

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KS2 Descriptive Writing Paragraph Model - Volcano! Word Doc

Subject: English

Age range: 7-11

Resource type: Worksheet/Activity

Last updated

7 August 2024

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KS2 Descriptive Writing Paragraph -Volcano Eruption

Creative/descriptive writing example.

Key Features:

Modelling creative language choices/figurative language; kS2 grammatical features such as varied sentence starters and structures; fronted adverbials; expanded noun phrases; varied punctuation.

Used when working with small groups of Year 6 pupils tasked with writing their own short narrative paragraph(s).

Suitable for KS2.

This resource is also available as a Powerpoint: https://www.tes.com/teaching-resource/resource-12984370

Further descriptive paragraphs can be found at following:

https://www.tes.com/teaching-resource/resource-12959414 (word doc) https://www.tes.com/teaching-resource/resource-12959437 (ppwerpoint)

KS2 Descriptive Writing Paragraph – Abandoned House in Forest: https://www.tes.com/teaching-resource/resource-12960501 Same paragraph as a powerpoint https://www.tes.com/teaching-resource/resource-12978017

Also, a resource with ideas of how to make descriptive/creative writing more exciting using figurative language: https://www.tes.com/teaching-resource/resource-12986538

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