authors who teach creative writing

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Language » Writing Books

The best books on creative writing, recommended by andrew cowan.

The professor of creative writing at UEA says Joseph Conrad got it right when he said that the sitting down is all. He chooses five books to help aspiring writers.

Becoming a Writer by Dorothea Brande

On Becoming a Novelist by John C. Gardner

On Writing: A Memoir of the Craft by Stephen King

The Forest for the Trees by Betsy Lerner

Worstward Ho by Samuel Beckett

1 Becoming a Writer by Dorothea Brande

2 on becoming a novelist by john c. gardner, 3 on writing: a memoir of the craft by stephen king, 4 the forest for the trees by betsy lerner, 5 worstward ho by samuel beckett.

How would you describe creative writing?

But because it is in academia there is all this paraphernalia that has to go with it. So you get credits for attending classes. You have to do supporting modules; you have to be assessed. If you are doing an undergraduate degree you have to follow a particular curriculum and only about a quarter of that will be creative writing and the rest will be in the canon of English literature . If you are doing a PhD you have to support whatever the creative element is with a critical element. So there are these ways in which academia disciplines writing and I think of that as Creative Writing with a capital C and a capital W. All of us who teach creative writing are doing it, in a sense, to support our writing, but it is also often at the expense of our writing. We give up quite a lot of time and mental energy and also, I think, imaginative and creative energy to teach.

Your first choice is Dorothea Brande’s Becoming a Writer , which for someone writing in 1934 sounds pretty forward thinking.

Because creative writing has now taken off and has become this very widespread academic discipline it is beginning to acquire its own canon of key works and key texts. This is one of the oldest of them. It’s a book that almost anyone who teaches creative writing will have read. They will probably have read it because some fundamentals are explained and I think the most important one is Brande’s sense of the creative writer being comprised of two people. One of them is the artist and the other is the critic.

Actually, Malcolm Bradbury who taught me at UEA, wrote the foreword to my edition of Becoming a Writer , and he talks about how Dorothea Brande was writing this book ‘in Freudian times’ – the 1930s in the States. And she does have this very Freudian idea of the writer as comprised of a child artist on the one hand, who is associated with spontaneity, unconscious processes, while on the other side there is the adult critic making very careful discriminations.

And did she think the adult critic hindered the child artist?

No. Her point is that the two have to work in harmony and in some way the writer has to achieve an effective balance between the two, which is often taken to mean that you allow the artist child free rein in the morning. So you just pour stuff on to the page in the morning when you are closest to the condition of sleep. The dream state for the writer is the one that is closest to the unconscious. And then in the afternoon you come back to your morning’s work with your critical head on and you consciously and objectively edit it. Lots of how-to-write books encourage writers to do it that way. It is also possible that you can just pour stuff on to the page for days on end as long as you come back to it eventually with a critical eye.

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Good! Your next book, John Gardner’s On Becoming a Novelist , is described as comfort food for the aspiring novelist.

This is another one of the classics. He was quite a successful novelist in the States, but possibly an even more successful teacher of creative writing. The short story writer and poet Raymond Carver, for instance, was one of his students. And he died young in a motorcycle accident when he was 49. There are two classic works by him. One is this book, On Becoming a Novelist , and the other is The Art of Fiction: Notes on Craft for Young Writers . They were both put together from his teaching notes after he died.

On Becoming a Novelist  is the more succinct and, I think, is the better of the two. He talks about automatic writing and the idea, just like Dorothea Brande, of the artist being comprised of two people. But his key idea is the notion of the vivid and continuous dream. He suggests that when we read a novel we submit to the logic of that novel in the same way as we might submit to the logic of a dream – we sink into it, and clearly the events that occur could not exist outside the imagination.

What makes student writing in particular go wrong is when it draws attention to itself, either through bad writing or over-elaborate writing. He suggests that these faults in the aspirant writer alert the reader to the fact that they are reading a fiction and it is a bit like giving someone who is dreaming a nudge. It jolts them out of the dream. So he proposes that the student writer should try to create a dream state in the reader that is vivid and appeals to all the senses and is continuous. What you mustn’t do is alert the reader to the fact that they are reading a fiction.

It is a very good piece of advice for writers starting out but it is ultimately very limiting. It rules out all the great works of modernism and post-modernism, anything which is linguistically experimental. It rules out anything which draws attention to the words as words on a page. It’s a piece of advice which really applies to the writing of realist fiction, but is a very good place from which to begin.

And then people can move on.

I never would have expected the master of terror Stephen King to write a book about writing. But your next choice, On Writing , is more of an autobiography .

Yes. It is a surprise to a lot of people that this book is so widely read on university campuses and so widely recommended by teachers of writing. Students love it. It’s bracing: there’s no nonsense. He says somewhere in the foreword or preface that it is a short book because most books are filled with bullshit and he is determined not to offer bullshit but to tell it like it is.

It is autobiographical. It describes his struggle to emerge from his addictions – to alcohol and drugs – and he talks about how he managed to pull himself and his family out of poverty and the dead end into which he had taken them. He comes from a very disadvantaged background and through sheer hard work and determination he becomes this worldwide bestselling author. This is partly because of his idea of the creative muse. Most people think of this as some sprite or fairy that is usually feminine and flutters about your head offering inspiration. His idea of the muse is ‘a basement guy’, as he calls him, who is grumpy and turns up smoking a cigar. You have to be down in the basement every day clocking in to do your shift if you want to meet the basement guy.

Stephen King has this attitude that if you are going to be a writer you need to keep going and accept that quite a lot of what you produce is going to be rubbish and then you are going to revise it and keep working at it.

Do you agree with him?

He sounds inspirational. Your next book, Betsy Lerner’s The Forest for the Trees , looks at things from the editor’s point of view.

Yes, she was an editor at several major American publishing houses, such as Simon & Schuster. She went on to become an agent, and also did an MFA in poetry before that, so she came through the US creative writing process and understands where many writers are coming from.

The book is divided into two halves. In the second half she describes the process that goes from the completion of the author’s manuscript to submitting it to agents and editors. She explains what goes on at the agent’s offices and the publisher’s offices. She talks about the drawing up of contracts, negotiating advances and royalties. So she takes the manuscript from the author’s hands, all the way through the publishing process to its appearance in bookshops. She describes that from an insider’s point of view, which is hugely interesting.

But the reason I like this book is for the first half of it, which is very different. Here she offers six chapters, each of which is a character sketch of a different type of author. She has met each of them and so although she doesn’t mention names you feel she is revealing something to you about authors whose books you may have read. She describes six classic personality types. She has the ambivalent writer, the natural, the wicked child, the self-promoter, the neurotic and a chapter called ‘Touching Fire’, which is about the addictive and the mentally unstable.

Your final choice is Worstward Ho by Samuel Beckett .

This is a tiny book – it is only about 40 pages and it has got these massive white margins and really large type. I haven’t counted, but I would guess it is only about two to three thousand words and it is dressed up as a novella when it is really only a short story. On the first page there is this riff: ‘Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.’

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When I read this I thought I had discovered a slogan for the classroom that I could share with my students. I want to encourage them to make mistakes and not to be perfectionists, not to feel that everything they do has to be of publishable standard. The whole point of doing a course, especially a creative writing MA and attending workshops, is that you can treat the course as a sandpit. You go in there, you try things out which otherwise you wouldn’t try, and then you submit it to the scrutiny of your classmates and you get feedback. Inevitably there will be things that don’t work and your classmates will help you to identify those so that you can take it away and redraft it – you can try again. And inevitably you are going to fail again because any artistic endeavour is doomed to failure because the achievement can never match the ambition. That’s why artists keep producing their art and writers keep writing, because the thing you did last just didn’t quite satisfy you, just wasn’t quite right. And you keep going and trying to improve on that.

But why, when so much of it is about failing – failing to get published, failing to be satisfied, failing to be inspired – do writers carry on?

I have a really good quote from Joseph Conrad in which he says the sitting down is all. He spends eight hours at his desk, trying to write, failing to write, foaming at the mouth, and in the end wanting to hit his head on the wall but refraining from that for fear of alarming his wife!

It’s a familiar situation; lots of writers will have been there. For me it is a kind of obsessive-compulsive disorder. It is something I have to keep returning to. I have to keep going back to the sentences, trying to get them right. Trying to line them up correctly. I can’t let them go. It is endlessly frustrating because they are never quite right.

You have published four books. Are you happy with them?

Reasonably happy. Once they are done and gone I can relax and feel a little bit proud of them. But at the time I just experience agonies. It takes me ages. It takes me four or five years to finish a novel partly because I always find distractions – like working in academia – something that will keep me away from the writing, which is equally as unrewarding as it is rewarding!

September 27, 2012

Five Books aims to keep its book recommendations and interviews up to date. If you are the interviewee and would like to update your choice of books (or even just what you say about them) please email us at [email protected]

Andrew Cowan

Andrew Cowan is Professor of Creative Writing and Director of the Creative Writing programme at UEA. His first novel, Pig , won the Sunday Times Young Writer of the Year Award, the Betty Trask Award, the Ruth Hadden Memorial Prize, the Author’s Club First Novel Award and a Scottish Council Book Award. He is also the author of the novels Common Ground , Crustaceans ,  What I Know  and  Worthless Men . His own creative writing guidebook is  The  Art  of  Writing  Fiction .

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The Classes 25 Famous Writers Teach

They're not always what you'd expect.

Plenty of writers teach. Even famous ones. This is a known fact of the universe. After all, academy jobs are notoriously cushy; what you give up in writing time you get back in the form of a steady salary, summers off, and the nebulous reward of eager minds to mold. As for how exactly they might be molded, well, that’s up to the writer in question.

Last week, I started looking through college catalogs to see what interesting literature courses I might read along with this fall, and in the process I stumbled across more than a few descriptions for classes taught by famous writers—and some of them surprised me. Who knew, for instance, that Jonathan Lethem loved animals enough to build a course around them? Or that in addition to writing workshops, Jim Shepard likes to teach horror movies at Williams? On the other hand, I’m not at all surprised to find that Claudia Rankine teaches classes that seek to unpack the nature of whiteness, but I’m thrilled to have come across her meticulous reading list for last year’s course.

Below, I’ve collected course descriptions for classes taught by 25 well-known writers at both the graduate and undergraduate levels. Most of these are from the current school year, but a few have been culled from recent semesters. Though plenty of writers teach straight workshops (whether poetry, fiction, or non-fiction), I’ve omitted those here, since we all pretty much know what a workshop consists of. Instead, I’ve picked out the more interesting options, whether themed workshops or literature classes, which give a little more insight into the writer’s interests, academic or otherwise. It’s enough to make any reader envious of the youth today—and to that end, if you’re lucky enough to be at one of these schools right now, I suggest that you don’t miss taking one of these classes with a literary legend.

Lorrie Moore:

Special Topics in Creative Writing : “What’s So Funny?: An Investigation” (Engl. 3891.01), Vanderbilt University, Spring 2017

Course Description : A look at literary texts from Shakespeare to Toni Cade Bambara to discover how literary humor is used in writing. What are the mechanics of making it occur? What are its various attributes and categories and sub-species? What are the underlying theories in practice? This is not a lecture course but an intensive reading and discussion course—class presentations and quizzes required but only a little writing.

Jonathan Lethem:

Topics in Contemporary Fiction : Animals (ENGL055B PO), Pomona College; Spring 2015

Course Description : Readings in stories, novels, and essays in which the subject of the lives of animals invites consideration of topics of empathy, suffering and the body, in contemporary writing and thought generally. We’ll also take more than a sidelong glance at the function and uses of literary strategies of allegory, parable and fable. Letter grade only.

Impossible Novels : The Man Without Qualities (ENGL055A PO), Pomona College; Spring 2016

Course Description : In the poet Randall Jarrell’s definition, “a novel is a prose narrative of a certain length with something wrong with it.” The Austrian Modernist Robert Musil’s The Man Without Qualities , an unfinished novel of 1700 pages in its most comprehensive edition, is an exemplary case of the above. Musil is often classed with Proust and Joyce in the 20th Century pantheon; he’s also rarely read. In this seminar we’ll tackle this vast book directly and by using a number of historical and critical sources, as well as Musil’s diaries, to surround and inform it with useful context. The result will be a reading expedition to an unknown shore. Letter grade only.

Viet Thanh Nguyen:

Writing Narrative (ENGL 302), USC, Fall 2016

Course Description : This course takes as its premise that art and politics can co-exist. e writers that we will read grapple with what it means to be an “other” and how to write about it. Frequently this involves dealing with the history that has produced one’s otherness; with the task of translation that often falls on the other; with the burden of representing the marginalized community from which one comes; with crossing borders of all kinds — linguistic, sexual, geographical, generic. All the writers we will read are hard to classify, because they rebel against classi cation itself, which seeks to pin the other down into a manageable category (race, class, gender, sexuality, nationality, religion, etc.). As writers, students will have the chance to experiment with narrative, to disregard generic boundaries, to take on di cult subjects, to be critical in their creative writing, or to be creative in their critical writing. e form of what will be written is secondary to the story that needs narration.

Introduction to Literary and Cultural Criticism and Theory (ENGL 501), USC, Fall 2015

Course Description : As the title indicates, this course is an introduction. It requires no advance knowledge of literary and cultural criticism and theory. We will read excerpts from the N orton Anthology of Theory and Criticism on the major theorists and philosophers who have shaped contemporary criticism (in no particular order: Jacques Derrida, Michel Foucault, Judith Butler, Edward Said, Gayatri Spivak, Sigmund Freud, Jacques Lacan, Stuart Hall, Fredric Jameson, and others). In addition, given that half of the seminar will be composed of creative writers and the other half of literary critics (although perhaps some may cross the line and do both), we will also look at some figures who do both creative and critical work, such as Roland Barthes, Susan Sontag, Claudia Rankine, Gloria Anzaldúa, and Trinh T. Minh-ha, in an effort to see how criticism can inform creative work, and vice versa. Figuring out what terms like structuralism, poststructuralism, postcolonialism, psychoanalysis, feminism, Marxism, and others, do in literary and cultural theory will also be on the agenda. Be prepared to lead the seminar in discussion, to participate in the conversation both in seminar and online, and to write a research paper or an essay.

Junot Díaz:

Apocalyptic Storytelling (CMS.848), MIT, Fall 2017

Course Description : Focuses on the critical making of apocalyptic, post-apocalyptic and dystopian stories across various narrative media. Considers the long history of Western apocalypticism as well as the uses and abuses of apocalypticism across time. Examines a wide variety of influential texts in order to enhance students’ creative and theoretical repertoires. Students create their own apocalyptic stories and present on selected texts. Investigates conventions such as plague, zombies, nuclear destruction, robot uprising, alien invasion, environmental collapse, and supernatural calamities. Considers questions of race, gender, sexuality, colonialism, trauma, memory, witness, and genocide. Intended for students with prior creative writing experience. Students taking graduate version complete additional assignments. Limited to 15.

Critical Worldbuilding (CMS.307), MIT, Fall 2017

Course Description : Studies the design and analysis of invented (or constructed) worlds for narrative media, such as television, films, comics, and literary texts. Provides the practical, historical and critical tools with which to understand the function and structure of imagined worlds. Examines world-building strategies in the various media and genres in order to develop a critical and creative repertoire. Participants create their own invented worlds. Students taking graduate version complete additional assignments. Limited to 13.

Alexander Chee:

Imaginary Countries (ENGL 87.04), Dartmouth College, Fall 2017

Course Description : This course introduces the techniques used in speculative fiction—literary novels and stories using either science fiction, magical realism, or myth, or a mix of these, so the author can reinvent a country’s history, the country itself—even the world. We will read for technique, and discuss the effects these fictions achieve with their structures and the narrative and aesthetic strategies deployed. Students will write and workshop two stories. Readings may include: Virginia Woolf’s Orlando, Andrew Sean Greer’s “Darkness”, Kazuo Ishiguro’s Never Let Me Go, Chris Adrian’s “Every Night For A Thousand Years”, Anne Carson’s Autobiography of Red, Yiyun Li’s “Immortality”, Jan Morris’ Hav, Toni Morrison’s Sula, and Carmen Machado’s “The Husband Stitch.”

Jeffery Renard Allen:

Shadow Narration (ENG8510), University of Virginia; Fall 2017

Course Description : In this course we will look at experimentation in prose narrative over the last one hundred years or so, using Marcel Proust’s 1913 novel Swann’s Way as a frame for this examination. Given that this is a course primarily designed for writers, we will engage in close readings of a number of exemplary texts as way to think through an understanding of certain key narrative concerns and techniques that define modernist and postmodernist prose. Texts include book-length works of fiction and nonfiction by Mavis Gallant, Ishmael Reed, Micheline Aharonian Marcom, Clarice Lispector, Italo Calvino, Jorge Luis Borges, Michael Ondaatje, Edouard Leve, John Edgar Wideman, and Marlene van Niekerk. As we will see, shadow narration represents an extensive tradition of experimentation that stretches back to the origins of both spoken and written narrative. At the same time, it represents a range of narrative gestures and strategies that allow for the layering of subtext. Indeed, one might best think of subtext as shadow narration, as the totality of meaning and implication that accompanies the narrative as written on the page.

The Fantastic (ENLP4550), University of Virginia, Fall 2017

Course Description : The course will look at the fantastic as a narrative in fiction and film. We will read some representative texts, both classic and contemporary, and from here and abroad. Assignments will include short response pieces to the assigned readings and films, as well as creative exercises based on the readings and screenings. Texts will include short stories, novels, graphic novels, and films by Helen Oyeyemi, Stephen Graham Jones, Neil Gaiman, Angela Carter, Julio Cortazar, Silvina Ocampo, David Cronenberg, Anais Nin, Larry Cohen, Juan Rulfo, Leonara Carrington, Hideo Nakata, J.G. Ballard, Anais Nin, Rene’ Depestre, Philip K. Dick, Souleymane Cisse, and Colson Whitehead. Genres will include the undead (zombies, vampires, and ghosts), shapeshifters, speculative fiction, surrealism, expressionism, magical realism, and Afro-Futurism, among others. From time to time over the course of the semester, we will draw a few critical texts to inform our discussion, including Tzevtan Todorov’s important study The Supernatural .

Lisa Russ Spaar:

The Poetics of Ecstasy (ENG8520), University of Virginia; Fall 2017

Course Description : The Greek word  ekstasis  signifies displacement, trance—literally, “standing elsewhere.” In this seminar class, serious makers and readers of poems will explore the poetics of fervor—erotic, visionary, psychosomatic, negative, religious, mystical.  When the precincts of poetry and rapture intersect, what transpires? What is possible? What is at stake and why does it matter? We will read widely and deeply across cultures and time, including work by Dickinson, Whitman, Carson, Hopkins, Sappho, Keats, Juan de la Cruz, Rilke, Mirabai, Rumi, Ginsberg, Rimbaud, Teare, Young, and other ancient, modern, and contemporary writers who have explored the experience of being beside one’s self in the transport of ecstasy.  Key critical texts include readings from Anne Carson’s  Eros the Bittersweet , Michel de Certeau’s  The Mystic Fable , Georges Bataille’s  Erotism:    Death and Sensuality , and Roland Barthes’s  A Lover’s Discourse.

Forms: Poetry, Memoir, & Nonfiction (ENG 650-3), Syracuse University, Fall 2017

Course Description : We’ll read and discuss eleven memoirs, plus excerpts of a few others. Work for the semester will consist of reading and being engaged with the books. Assignments will include: small creative projects and in-class writing sprinkled through the semester; a presentation on one of the writers; and a final paper, memoir, or 10 poems. Readings may include (a) poems by Roger Fanning, Louise Gluck, Robert Hass, Terrance Hayes, Seamus Heaney, Yusef Komunyaaka, William Matthews, Heather McHugh, Pablo Neruda, Craig Raine, Charles Simic, and Dean Young; (b) fiction by George Saunders; (c) essays by James Wood, and (d) a memoir by Elif Batuman.

Kaitlyn Greenidge:

Forms: Ghost Stories (ENG 650-9), Syracuse University, Fall 2017

Course Description : In this class, we will explore the use of ghosts and ghost stories in literature. We will begin by establishing the elements in classic ghost stories of the nineteenth century and move on to modern interpretations in contemporary fiction. We will also explore ghosts in folklore. During this class, we will explore the symbolism of ghosts in literature and attempt to uncover why this genre of storytelling remains popular. Students will be required to write creative and/or critical response papers, make oral presentations, and produce either a final 10-page ghost story of their own or a critical essay, subject to the instructor’s approval.

Justin Torres:

Adaptation, Inspiration, and Reinvention: Queer Lit and Film (English 118C), UCLA, Fall 2017

Course Description : This course will ask what are the costs, and what are the compensations, of adaptation both in art and in life? We will look at a wide range of literary works with queer themes and their cinematic adaptations: Billy Budd / Beau Travail, The Color Purple, The Haunting of Hill House, and Kiss of the Spider Woman are just some examples. How have filmmakers like Almodovar, Campion, Jarman, and Fassbinder, approached literary adaptation? What, if anything, is queer about adaptation?

Anne Fadiman:

Writing About Oneself (ENGL 455), Yale University, Spring 2018

Course Description : This is a reading and writing class—part lecture, part seminar, part workshop—in which students explore a series of themes (including love, loss, family, and identity) both by writing about their own lives and by reading British and American memoirs, autobiographies, letters, and personal essays.

First-person writing is a peculiar blend of candor, catharsis, narcissism, and indiscretion. The purpose of this class is to harness these elements with sufficient rigor and imagination that self-portraiture becomes interesting to others as well as to oneself. Each week, we will read two works on a particular theme, one “old” (ranging from four decades to more than two centuries ago) and one “new” (mostly from the last two decades) —a coupling designed to erode the traditional academic boundaries between eras and between “ought” and “want” reading. (For instance, when we consider the theme of love, we will read excerpts from H. G. Wells’s On Loves and the Lover-Shadow and Joyce Maynard’s At Home in the World , and write personal essays on an aspect of love, not necessarily romantic.) Readings will include works by James Baldwin, Samuel Taylor Coleridge, Joan Didion, Lucy Grealy, Maxine Hong Kingston, Mary McCarthy, James Thurber, and Virginia Woolf, among others. Our connections to the readings will be reinforced by several author visits. By writing a thousand-word first-person essay every other week, students will face the same problems the authors in our syllabus have faced, though they may come up with very different solutions. Students will critique each other’s work in class and by e-mail. Each student will have at least five individual conferences with me, most of them an hour long, in which we’ll edit your work together.

Claudia Rankine:

Constructions of Whiteness (ENGL 233), Yale University, Spring 2018

Course Description : An interdisciplinary approach to the understanding of whiteness. Discussion of whiteness as a culturally constructed and economic incorporated entity, which touches upon and assigns value to nearly every aspect of American life and culture.

Class and Gender (ENGL 504), USC, Fall 2016

Course Description : This course will consider the construction of whiteness in contemporary America.

Historical Overview 1. The History of White People , by Nell Irvin Painter (W. W. Norton) 2. Look, A White!: Philosophical Essays on Whiteness , by George Yancy (Temple University Press) 3. The Invention of the White Race, Volume 1: Racial Oppression and Social Control , by Theodore W. Allen and Jeffrey B. Perry 4. The Invention of the White Race, Volume 2: The Origin of Racial Oppression in Anglo- America , by  Theodore W. Allen and Jeffrey B. Perry 5. Dear White America , by Tim Wise (City Lights Open Media) 6. Working Towards Whiteness: How America’s Immigrants Became White: The Strange Journey from Ellis Island to the Suburbs , David R. Roediger 7. Crabgrass Frontier: The Suburbanization of the United States , by Kenneth T. Jackson (Oxford University Press)

Entertainment & Media 1. White: Essays on Race and Culture by Richard Dyer (Oxford) 2. White Girls , by Hilton Als (McSweeney’s) 3. The Devil Finds Work , by James Baldwin (Vintage)

White Activism (And Failures) 1. Good White People: The Problem with Middle-Class White Anti-Racism , by Shannon Sullivan (State University of New York Press) 2. Revealing Whiteness: The Unconscious Habits of Racial Privilege , by Shannon Sullivan (Indiana University Press) 3. Between Barack and a Hard Place , by Tim Wise (Soft Skull Press)

Confronting Whiteness: Systemic Racism, Economic Inequality, Prison Complex, Housing Discrimination 1. The Origins of the Urban Crisis: Race and Inequality in Postwar Detroit , by Thomas J. Sugrue (Princeton University Press) 2. The New Jim Crow: Mass Incarceration in the Age of Colorblindness , by Michelle Alexander (The New Press) 3. Race Matters , by Cornell West (Vintage) 4. “The Condition of Black Life is One of Mourning,” by Claudia Rankine, (New York Times Op-Ed)

Literary Criticism 1. Reading Race: White American Poets and the Racial Discourse in the Twentieth Century , by Aldon Lynn Nielsen (University of Georgia Press) 2. Playing in the Dark: Whiteness and the Literary Imagination , by Toni Morrison (Vintage)

Memoirs & Personal Narratives 1. White Like Me: Reflections on Race from a Privileged Son , by Tim Wise 2. Detroit: An American Autopsy , by Charlie LeDuff (Penguin) 3. Between the World and Me , by Ta-Nehisi Coates (Spiegel & Grau) 4. Times Square Red, Times Square Blue , by Samuel R. Delany (New York University Press)

Poetry 1. Delusions of Whiteness in the Avant-Garde , by Cathy Park Hong (Lana Turner onine) 2. White Papers , by Martha Collins (Pitt Poetry Series) 3. The Forage House , by Tess Taylor (Red Hen Press) 4. The Cloud Corporation , by Timothy Donnelly (Wave Books) 5. Metropole , by Geoffrey G. O’Brien (University of California Press)

The Situation of Writing (ENG 392), Northwestern University, Fall 2015

Course Description : Writers are the inheritors, perpetuators, and innovators of literary culture. In this class we will explore the contemporary landscape of creative writing, with a particular emphasis on the role of small presses and small journals and magazines. We will explore how venues for writing, including online publications, shape contemporary literature. We will discuss the distinct missions and personalities of a number of presses, while exploring the relationship between press and practitioner. This course is designed especially for students who hope to forge careers as writers, and it will challenge all participants to think creatively about the place of literature in our society.

Stuart Dybek:

Advanced Creative Writing: Fabulous Fictions (ENG 307), Northwestern University, Winter 2018

Course Description : Fabulous Fictions focuses on writing that departs from realism. Often the subject matter of such writing explores states of mind that are referred to as non-ordinary reality. A wide variety of genres and subgenres fall under this heading: fabulism, myth, fairy tales, fantasy, science ction, speculative ction, horror, the grotesque, the supernatural, surrealism, etc. Obviously, in a mere quarter we could not hope to study each of these categories in the kind of detail that might be found in a literature class. The aim in 307 is to discern and employ writing techniques that overarch these various genres, to study the subject through doing—by writing your own fabulist stories. We will read examples of fabulism as writers read: to understand how these ctions are made—studying them from the inside out, so to speak. Many of these genres overlap. For instance, they are all rooted in the tale, a kind of story that goes back to primitive sources. They all speculate: they ask the question, What If? They all are stories that demand invention, which, along with the word transformation, will be a key term in the course. The invention might be a monster, a method of time travel, an alien world, etc., but with rare exceptions the story will demand an invention and that invention will often also be the central image of the story. So, in discussing how these stories work we will also be learning some of the most basic, primitive moves in storytelling. To get you going I will be bringing in exercises that employ fabulist techniques and hopefully will promote stories. These time-tested techniques will be your entrances—your rabbit holes and magic doorways—into the gurative. You will be asked to keep a dream journal, which will serve as basis for one of the exercises. Besides the exercises, two full-length stories will be required, as well as written critiques of one another’s work. Because we all serve to make up an audience for the writer, attendance is mandatory.

Vievee Francis:

Engaging Hybridity: Race, Gender, Genre (ENGL 87.10), Dartmouth College, Fall 2017

Course Description : In this course, from the graphic novel written by poets to the narrative collage to the imagined tweets of Anne Sexton, all of the contemporary readings and visual materials dare take on social, political and cultural engagement with this anxious moment in history. The stakes are high. We will consider the diverse and provocative creative work of Mat Johnson ( Incognegro ), Maggie Nelson ( Bluets ), Sebastian Matthews ( Beginner’s Guide to A Head On Collision ), Claudia Rankine ( Citizen ), Tyehimba Jess ( Olio ), Kwame Dawes ( Duppy Conqueror ), A. Van Jordan ( The Cineaste ) and Dee Matthews ( Simulacra ), among others, to explore hybrid genres (such as the prose poem) and other sites of artistic production met through intersection, exchange, conflict, inhabitance, resistance, and cultural address. These writers and artists may work as well in more than one distinct genre and or take on hybridity of forms and approaches within a particular genre. We will respond to the readings (and visual material) by creating our own. Further, this class will encourage topical discussion and readings will include author interviews, commentaries, and critical analyses of their process and production, as we ask what kind of parameters, if any, art, particularly literature, truly requires? Are they porous enough? Is there a skein where a wall is necessary? What role does identity play in the choice to cross such borders?

Kevin Young:

Special Topics in Creative Writing: The Lyric (ENGCW379W-01P), Emory University, Fall 2016

Course Description : The Lyric will explore recent adventures in the ancient form of the lyric, that primal mode of song and sustenance. In this advanced course, students will study and write in a range of forms, from the manifesto to the three-line novel, from sonnets to erasures, the prose poem and the lyrical essay, in order to discover new paths in reading and writing. They will emerge with their own work and their own sense of the English-language tradition, the avant-garde, and the counterculture.

We will also explore primary materials, discovering many of these works in their original form in the Stuart A. Rose Manuscript, Archives, and Rare Book Library (the Rose Library) and its Raymond Danowski Poetry Library, where I serve as curator. The course reflects the broad scope of the Danowski Poetry Library itself, which, despite its name, also includes prose, counterculture, the roots of the lyric essay, and artists’ books.

Besides weekly reading and writing assignments, students also will be monitoring new media, including Twitter, where much of this new lyricism might be found. The result would also involve a possible web presence as students familiarize themselves with the latest in digital scholarship. The course concludes with students curating a final project. All these innovations are meant to help students understand the widespread place of the lyric in culture. In its fresh mix of digital and dust jackets, new media and material culture, The Lyric Essay’s investigations and instigations will help us discover the lyric mode in the modern world, and ourselves.

Natasha Trethewey:

Poetry and the Muse of History (ENGCW190-000), Emory University, Fall 2016

Course Description : A freshman-only workshop for students who have had little or no experience in creative writing. Not a prerequisite for other courses in the program. The course will take an in-depth look at poems that seek to engage and document our stories—those histories both public and private, real and imagined. We will discuss the ways that some poets have used personal and public history in their work, define some strategies for using information gathered from our research, and begin writing some poems that engage those histories to which we have some connection. In all of this, we will focus on cultivating the craft of poetry with particular emphasis on what makes a poem work—metaphor, image, musicality, voice, etc. We will work to develop the critical language necessary for discussing each other’s work and for critically approaching our own poems during the important process of revision.

Vikram Chandra:

The Short Story (English 180H), University of California, Berkeley, Fall 2017

Course Description :

The lyf so short, the crafte so longe to lerne. . . —Chaucer

This course will investigate how authors craft stories, so that both non-writers and writers may gain a new perspective on reading stories. In thinking of short stories as artefacts produced by humans, we will consider—without any assertions of certainty—how those people may have experienced themselves and their world, and how history and culture may have participated in the making of these stories. So, in this course we will explore the making, purposes, and pleasures of the short story form. We will read—widely, actively and carefully—many published stories from various countries in order to begin to understand the conventions of the form, and how this form may function in diverse cultures. Students will write a short story and revise it; engaging with a short story as a writer will aid them in their investigations as readers and critics. Students will also write two analytical papers about stories we read in class. Attendance is mandatory.

Lyn Hejinian:

Slow Seeing / Slow Reading (English 190), University of California, Berkeley, Fall 2016

Course Description : This is a seminar in the poetics of reading poems and seeing paintings. Over the course of the semester, students will undertake prolonged, exploratory, multi-contextual readings of a selection of recent and contemporary “difficult” poems. Each student will also undertake a similar engagement with a 20th/21st century painting of his or her choice from the permanent collection of the Berkeley Art Museum. Poems by W. B. Yeats, Claude McKay, Rae Armantrout, Elizabeth Bishop, Ed Roberson, Marianne Moore, Juliana Spahr, and Susan Howe are among the poems that will be considered. Paintings by Philip Guston, Hans Hoffman, Willem de Kooning, and Helen Frankenthaler are among the paintings that will be available for repeated viewing. The individual poems and paintings will be read/seen against the backdrop of their historical moment and contextual purport and in conjunction with assigned critical texts, but students will be expected to conduct their own research, using primary and secondary sources in the process of coming to relevant, meaningful readings/seeings of the works. Students will be asked to maintain a reading/seeing journal and to write two critical papers.

“English 190: Slow Seeing / Slow Reading” is an experiment, and is offered as a collaboration between Lyn Hejinian, of the English Department, and Apsara DiQuinzio, of the Berkeley Art Museum and Pacific Film Archive. Among the outcomes of the course will be an exhibition at BAMPFA that will be part of a new exhibition series at the museum titled Cal Conversations; the materials for the “Slow Seeing / Slow Reading” exhibition will be determined by the seminar’s students and include some of their course writings.

21st-Century American Writing (English 134), University of California, Berkeley, Fall 2016

Course Description : In this course we will take seriously the notion of “the contemporary” as that which coexists with us and is relevant to our times—or our spaces. All the works on the syllabus have been published in the past ten years, most within the past three. They offer examples of current literature’s attempts to dwell in the present while thinking both about that temporal situation (“the present”) and that activity (“dwelling”). Not all the works are readily categorizable as to genre; the syllabus is weighted toward prose, but some of the prose works are, arguably, poetry. In many, communication, and even humanness, appear to be in question. Or, perhaps, they are evolving into new forms. But, as many of the books on the course reading list suggest, one thing that is not vanishing is the centrality of desire in the experiencing of lived life.

The first two books on the syllabus are Open City , by Teju Cole, and SPRAWL , by Danielle Dutton. It is suggested that at least the first, and preferably both, be purchased in advance, so that the course can proceed without anyone’s falling behind.

Book List: Brown, Brandon: Top 40 ; Clevidence, Cody-Rose: Beast Feast ; Coates, Ta-Nehisi: Between the World and Me ; Cole, Teju: Open City ; Dutton, Danielle: Sprawl ; Díaz, Junot: The Brief Wondrous Life of Oscar Wao ; Gladman, Renee: Event Factory ; Lerner, Ben: 10:04 ; Moten, Fred: The Service Porch ; Notley, Alice: Certain Magical Acts ; Rankine, Claudea: Citizen: An American Lyric ; Robertson, Lisa: Nilling ; Spahr, Juliana and Buuck, David: The Army of Lovers

Geoff Dyer:

Reporting and Literature (ENGL 620), USC, Spring 2017

Course Description : At what point does reporting become literature? How does the obligation to record facts or document events sit alongside the artistic urge to shape and embellish? To what extent can a highly individual personal style conflict with reliability? These are some of the questions to be raised in a survey of landmark books by—among others—Gay Talese, Janet Malcolm, Rebecca West, Dexter Filkins, Norman Mailer and Ryszard Kapuscinski. We will also consider some photographic books, especially collaborations between writers and photographers such as A Fortunate Man by John Berger and Jean Mohr and Let Us Now Praise Famous Men by James Agee and Walker Evans. It was Evans, after all, who expressed the crux of the matter most concisely by making a distinction between documentary and what he insisted on calling “documentary style.”

Jim Shepard:

Motherhood and Horror: The Movie (ENGL 380), Williams College, Spring 2018

Course Description : Horror might be the most durable of film genres as well as the genre that’s done the most work in terms of transforming the medium as a whole, and its transgressive nature has insured it attention, giving its most famous texts enormous cultural reach when it comes to ongoing conversations as to what defines evil, what constitutes normality, or what comprises the taboo. A look at the particular anxieties the genre has—especially recently—mobilized through its portraits of mothers and motherhood. The course will also touch on other genres that suggest an unspeakable invisible beneath the maternal quotidian. Films to be studied will include Alfred Hitchcock’s Psycho , Roman Polanski’s Rosemary’s Baby , Jee-Woo Kim’s A Tale of Two Sisters , Juan Antonio Bayona’s The Orphanage, Jennifer Kent’s The Babadook, James Cameron’s Aliens, Michael Curtiz’s Mildred Pierce, Mike Nichols’ Who’s Afraid of Virginia Woolf?, Juan Carlos Fresnadillo’s 28 Weeks Later, and Veronika Franz’s and Severin Fiala’s Goodnight Mommy.

Hollywood Film (ENGL 204), Williams College, Fall 2017

Course Description : For almost a century, Hollywood films have been the world’s most influential art form, shaping how we dress and talk, how we think about sex, race, and power, and what it means to be American. We’ll examine both the characteristic pleasures provided by Hollywood’s dominant genres—including action films, horror films, thrillers and romantic comedies—and the complex, sometimes unsavory fantasies they mobilize. We will do this by looking carefully at a dozen or so iconic films, probably including Psycho ; Casablanca ; The Godfather ; Schindler’s List ; Bridesmaids ; Groundhog Day , and 12 Years a Slave . In addition to the assigned reading, students will be required to attend free screenings of course films on Sunday evenings at Images Cinema.

Karen Shepard:

Imagination and Authority (ENGL 154), Williams College, Fall 2017

Course Description : A course on the subject of who gets to write about what when it comes to fiction. Among the questions we’ll be taking up: What are the outer boundaries of those imaginative acts that should be attempted? The central goal of this course is to teach you how to write a well-argued and interesting analytical paper. We will spend most of our class time actively engaged in a variety of techniques to improve your critical reasoning and analytical skills, both written and oral. Though the skills you learn will be applicable to other disciplines, this is also a literature class, designed as well to prepare you for upper level courses in the English Department.

Frank Bidart:

Great Works of Poetry (English 115), Wellesley College, Spring 2018

Course Description : We live in a culture that has lost any collective agreement or wisdom about what a poem is, or why we read poetry. Yet many of the greatest things ever written are poems. How can we read poems so that we experience them as brilliantly made things, as powerful, seductive works of art? This course will look at great poems from the whole history of poetry in English (and at some poems in translation). Why read poetry? This course attempts to tackle that question head-on, with an emphasis on the pleasure and insight great art brings.

Contemporary American Poetry (English 253), Wellesley College, Fall 2017

Course Description : A survey of the great poems and poets of the last 75 years, a period of immense invention and brilliant creation. Our poets articulate the inside story of what being an American person feels like in an age of mounting visual spectacle, and in an environment where identities are suddenly, often thrillingly, sometimes distressingly, in question. Without repudiating the great heritage of Modernism, how have the poets that followed added to it? Poets include: Robert Lowell, Elizabeth Bishop, Allen Ginsberg, Sylvia Plath, the poets of “The New York School” (John Ashbery, Frank O’Hara), Adrienne Rich, Louise Glück, Robert Pinsky, Anne Carson, Yusef Komunyakaa, Rita Dove, Dan Chiasson, and others.

Tiphanie Yanique:

Girls: Character Development Across Genres (ENGL 312), Wesleyan University, Fall 2017

Course Description : In this special topics course we will study the craft of character building. We will focus on how novelists, short story writers, film makers, poets and essayists over the 20th and the beginning of 21st century have crafted the female child in literature to have a broad but challenging conversation about narration, voice, subjectivity, and agency. We will use the course materials and discussions as impetus to write characters that challenge easy tropes while also contributing to ongoing conversations about literature and writing.

Possible texts include : Girls dir by Lena Dunham Lolita by Vladimir Nabokov Pippi Longstocking by Astrid Lindgren The Woman Warrior by Maxine Hong Kingston How the Garcia Girls Lost Their Accents by Julia Alvarez The Bluest Eye by Toni Morrison White Teeth by Zadie Smith Of Love and Other Demons by Gabriel Garcia Marquez Cowboys and East Indians by Nina McConigley

Living Room: Place and Structure in the Novel and Short Story (ENGL 318), Wesleyan University, Spring 2018

Course Description : In this special topics course we will study the craft of structure and setting. We will focus on how novelists and short story writers have made use of architecture and the environment as a means to shape story, reveal character, and direct plot. We will apply our learning to our own fiction by writing work that reveals a sophisticated awareness of the relationship between content and form.

Possible texts include : The Book of Unknown Americans by Cristina Henriquez Blindness by Jose Saramago A House for Mr. Biswas by VS Naipaul The Turner House by Angela Flournoy

Hisham Matar:

Estrangement and Exile in Global Novels (ENGL BC3192), Barnard College, Fall 2017

Course Description : “I would never be part of anything. I would never really belong anywhere, and I knew it, and all my life would be the same, trying to belong, and failing. Always something would go wrong. I am a stranger and I always will be, and after all I didn’t really care.” —Jean Rhys.

This course examines the experiential life of the novelist as both artist and citizen. Through the study of the work of two towering figures in 20th century literature, we will look at the seemingly contradictory condition of the novelist as both outsider and integral to society, as both observer and expresser of time’s yearnings and passions. In different ways and with different repercussions, Jean Rhys and Albert Camus were born into realities shaped by colonialism. They lived across borders, identities and allegiances. Rhys was neither black-Caribbean nor white-English. Albert Camus could be said to have been both French and Algerian, both the occupier and the occupied, and, perhaps, neither. We will look at how their work reflects the contradictions into which they were born. We will trace, through close reading and open discussion, the ways in which their art continues to have lasting power and remain, in light of the complexities of our own time, vivid, true and alive. The objective is to pinpoint connections between novelistic form and historical time. The uniqueness of the texts we will read lies not just in their use of narrative, ideas and myths, but also in their resistance to generalization. We will examine how our novelists’ existential position, as both witnesses and participants, creates an opportunity for fiction to reveal more than the author intends and, on the other hand, more than power desires.

Listen: Claudia Rankine talks to Paul Holdengräber about objectifying the moment, investigating a subject, and accidental stalking.

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The 19 best online writing classes led by famous authors, including Malcolm Gladwell, Neil Gaiman, and Judy Blume

When you buy through our links, Business Insider may earn an affiliate commission. Learn more

• Strong communication and writing skills will help you succeed in any profession.
• Online classes are an affordable way to learn writing tips and receive feedback on your work.
• All the classes on this list are taught by award-winning writers with decades of experience.

Good writing skills can take you far (just take it from a business major who wormed her way into an editorial career). Strong written communication skills can help you land a job or move up in your career , but good writing doesn't come easily or instinctively to everyone. As with any skill, you won't get any better at writing simply by reading books or watching videos about it.

Online classes from e-learning platforms like MasterClass and Skillshare are affordable, flexible ways to not only learn the proper strategies but also practice and receive feedback on your writing. And who better to learn from than actual published authors, writers, and editors?

The following classes are all taught by accomplished, award-winning writers who have decades of experience in communicating ideas, telling stories, and captivating audiences. Some specialize in fiction, while others employ storytelling tricks to make even the driest facts shine.

If you see the word "creative" in the title, don't immediately dismiss the class. All the courses have valuable lessons to learn for making your writing more effective, whether you're in a creative industry or not.

19 writing classes taught by experienced authors, writers, and editors:

Neil gaiman's masterclass on the art of storytelling.

The teacher: Award-winning writer Neil Gaiman (" The Sandman ," " Coraline ," " American Gods ") has dabbled in everything from novels and comic books to film and audio theatre. The course: Gaiman covers the fundamentals of storytelling, from finding your voice to fleshing out your characters. The price: $180 ($15 per month) for an annual MasterClass membership.

Joyce Carol Oats' MasterClass on the Art of the Short Story

The teacher: Joyce Carol Oates is the author of over 58 novels (" We Were the Mulvaneys ," " Blonde ," " The Accursed "), as well as countless short stories, essays, and articles. She is also a former professor of creative writing at Princeton University .

The course: Oates' class helps students finetune their storytelling instincts for short story writing, from learning how to observe the world around them to nailing down structure and form.

The price: $180 ($15 per month) for an annual MasterClass membership.

Judy Blume's MasterClass on Writing

The teacher: Judy Blume's beloved children's books (" Are You There God? It's Me, Margaret ," " Superfudge ") have sold millions of copies, and Blume has written over 25 novels. She's also the recipient of the 2004 National Book Foundation medal for distinguished contribution to American letters, as well as numerous other awards.

The course: With a focus on writing for young readers, Blume's course dives into developing ideas, creating plot structure, and even pitching book ideas to editors, and even dealing with issues like rejection or censorship. The price: $180 ($15 per month) for an annual MasterClass membership.

N.K. Jemisin's MasterClass on Fantasy and Science Fiction Writing

The teacher: NK Jemisin, a Hugo Award winner for three consecutive years for her " Broken Earth " trilogy, is an an acclaimed science fiction and fantasy author. The course: Jemisin's course, geared towards sci-fi/fantasy writing, teaches students how to build a believable world from scratch (including macro and micro details), create characters that truly feel relatable even in fantastical settings, and find a literary agent. The price: $180 ($15 per month) for an annual MasterClass membership.

Creative Nonfiction: Write Truth with Style

The teacher: Susan Orlean has been a staff writer at The New Yorker since 1992 and is the author of eight books, including New York Times bestseller " Rin Tin Tin " and " The Orchid Thief ," which was later adapted into Spike Jonze's "Adaptation," (in which Meryl Streep portrayed Orlean). The course:  The best nonfiction makes facts compelling and interesting to read, but it's not easy to do this. This course takes students through Susan Orlean's writing process, from finding a topic to making final edits, and helps them polish their own creative processes. The class project is a 1,000-word profile on someone you find mysterious.  The price: Free with 14-day Skillshare trial; $8.25 per month or $19 per month after trial ends.

Malcolm Gladwell's MasterClass on Writing

The teacher:  Malcolm Gladwell has written for "The New Yorker" since 1996. His fascinating books, which include " The Tipping Point ," " Blink ," and " Outliers " reveal the most unexpected insights into our world. "The Tipping Point" was named as one of the best books of the decade by Amazon customers, The A.V. Club, and The Guardian, and was Barnes & Noble's 5th bestselling nonfiction book of the decade. 

The course: In 24 lessons, you'll learn how to find, research, and write stories that capture big ideas. This is Gladwell's first-ever online class, where he analyzes his own works to reveal his unique creative process. He also answers select student questions during virtual office hours. 

Roxane Gay's MasterClass on Writing for Social Change and Creative Writing: Crafting Personal Essays with Impact

The teacher: On top of writing bestselling memoirs like " Bad Feminist " and " Hunger: A Memoir of (My) Body ," Roxane Gay is a professor and New York Times columnist , making her as experienced an author as she is an educator. The course: If you want to see change in the world, strong storytelling skills can help you get there. Gay's MasterClass teaches you how to tap into your identity, figure out your voice, and write about emotionally hard subjects with care, so that you can get people on board with the broader visions you have for improving the world.

Roxane Gay also teaches a short Skillshare class on crafting impactful personal essays from start to finish. You can read a review of it here .

The price: $180 ($15 per month) for an annual MasterClass membership. Free with 14-day Skillshare trial; $8.25 per month or $19 per month after trial ends.

Daniel José Older's Storytelling 101: Character, Conflict, Context, Craft

The teacher:  Daniel José Older is the bestselling author of the " Bone Street Rumba " urban fantasy series and the YA novel " Shadowshaper ." "Shadowshaper" was a "New York Times" Notable Book of 2015 and named one of Esquire's "80 Books Every Person Should Read." Older's short stories and essays have appeared in the Guardian, NPR, and a number of other sites.  The course:  This short 40-minute class breaks down the fundamentals of narrative storytelling and what makes a story different from a mere anecdote. Learn the "4 C's" of storytelling and see them in action in one of the teacher's own short stories. The fun final project is to write a short story about something that happened on a single block in your hometown over the course of one hour.

The price: Free with 14-day Skillshare trial; $8.25 per month or $19 per month after trial ends

Steven Heller's The Designer's Guide to Writing and Research

The teacher:  Steven Heller writes the Visuals column for the "New York Times Book Review" and is the editor of the AIGA Journal of Graphic Design. A former "New York Times" art director , he is the author, co-author, or editor of over 170 books on design and popular culture , and also regularly contributes to design publications.  The course:  Geared towards designers, this course illuminates the parallels between writing and design. You'll learn about the professional importance of research and writing to designers today, best practices for developing your voice, and creative ways to communicate. The final project is a 500-word essay on an object in your wallet, bag, or pocket. 

David Sedaris’s MasterClass on Storytelling and Humor

The teacher: If you want to inject your writing with a dash of comedy, David Sedaris — "The New Yorker" essayist and author of " Me Talk Pretty One Day ," " Calypso ," and " The Best of Me " — is one of the best people to teach you how to do it.

The course: Beyond covering tips and tricks for writing eye-grabbing openings and endings with huge payoffs, Sedaris also gives his advice on finding humor in the darkest moments of our lives.

Amy Tan's MasterClass on Fiction, Memory, and Imagination

The teacher: Most known for her bestselling novel " The Joy Luck Club " (which spent 40 weeks on the "New York Times" bestseller list), Amy Tan is an inspiration to anyone who's started exploring their writing voice later in life — she started at age 33 and published her famed debut novel a mere few years later. Tan went on to write many other books, including " The Bonesetter's Daughter " and " The Kitchen God's Wife: A Novel ." The course: With a focus on utilizing your most powerful memories, this course teaches you how to find your voice as well as sharpen your story with compelling beginnings and endings. The price: $180 ($15 per month) for an annual MasterClass membership.

Shani Raja's Writing With Flair: How To Become An Exceptional Writer

The teacher: Shani Raja  is a former Wall Street Journal editor who has written for The Economist, Financial Times, and Bloomberg News. He has also taught advanced writing skills to professionals and edited for leading global companies like Microsoft, IBM, and PwC. The course:  Another bestseller from Shani Raja, this course promises to "dramatically improve the quality of your writing in as little as days or weeks" through a few key principles. Both new students and experienced writers have benefitted from the course, which teaches you how to sharpen your words and command the reader's attention.

Raja also has a Udemy course on the four levels of writing mastery .

The price: Both of Raja's Udemy courses are $109.99 each.

Margaret Atwood's MasterClass on Creative Writing

The teacher: Of " The Handmaid's Tale " fame, Margaret Atwood has been titled the "Prophet of Dystopia" for works such as " Oryx and Crake " and the "Handmaid's Tale" sequel, " The Testaments: A Novel ." The course: Atwood's MasterClass "covers the general points of interest for writers — how to get started, handle the middle of a story, develop characters, craft dialogue, and address writers' block — as well as more specific queries, like research and maintaining historical accuracy," according to Insider senior reporter Mara Leighton. You can read her full review of the course here . The price: $180 ($15 per month) for an annual MasterClass membership.

Simon Van Booy's The Writer's Toolkit: 6 Steps to a Successful Writing Habit

The teacher:  Simon Van Booy's short story collection " Love Begins in Winter " won the 2009 Frank O'Connor International Short Story Award. He has written two other short story collections as well as three anthologies of philosophy, and his work has been translated into over a dozen languages throughout the world. In 2013, he founded Writers for Children, a project that helps young people build confidence in their storytelling abilities through annual awards. The course:  Writing should be approachable and fun, not torturous. By optimizing your space for your writing style, creating a daily writing routine, and acting on inspiration, you can build a long-term writing process to rely on for years to come. This short video course teaches you how.

Jennifer Keishin Armstrong's Finding Your Writing Voice: How to Express Your Unique Self in Your Work

The teacher:  Jennifer Keishin Armstrong is a former Entertainment Weekly writer and current TV columnist for BBC Culture who has also written for The New York Times Book Review, Fast Company, New York's Vulture, and The Verge. She wrote the New York Times bestseller " Seinfeldia: The Secret World of the Show About Nothing that Changed Everything ." The course: You don't have to lose your unique personality when you write; in fact, it's what will make your writing stand out in the crowd. Using pop culture icons like Beyoncé and Britney Spears, the class discusses different voices and explores ways to take chances with your writing. 

The price: Free with 14-day Skillshare trial; $8.25 per month or $19 per month after trial ends.

Salman Rushdie’s MasterClass on Storytelling and Writing

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The course: Rushdie provides tips on creating fleshed-out characters, believable surrealist worlds, and an air-tight plot. This is a great course for those who have lots of fantastical ideas but struggle to ground them into a cohesive story.

Clare Lynch's Writing With Confidence: Writing Beginner To Writing Pro

The teacher: Dr. Clare Lynch is a former Financial Times journalist who teaches academic writing and professional communication at the University of Cambridge. She has written for organizations like Deutsche Bank, Microsoft, and UBS and is the author of the business-writing blog Good Copy, Bad Copy .  The course: Learn powerful principles that can be applied to all types of writing, including emails, speeches, news writeups, and even presentations. The course takes you through fundamentals from techniques to beat writer's block to lessons on getting readers hooked and creating a clear, persuasive angle. 

The price: $109.99.

Joyce Maynard's Writing Your Story

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The course: Focusing on memoir writing, Maynard explains the difference between simply retelling events that happened to you and exploring your journey as a protagonist. She also covers some of the biggest questions that come up when writing about yourself, from what to cut to dealing with fears of judgment so that you can present a narrative that's authentic to readers.

The price: $89 for the course, or $11 per month for a CreativeLive membership.

Wesleyan University's Creative Writing Specialization

The teachers :   Salvatore Scibona was named one of "The New Yorker's" "20 under 40: Fiction Writers to Watch" and is the author of 2008 National Book Award finalist " The End ," the research for which he conducted while on a Fulbright Fellowship. 

Amy Bloom , author of two "New York Times" bestsellers and three collections of short stories, has written for "The New Yorker," "The New York Times Magazine," and "Vogue," among many other publications, and has won a National Magazine Award for Fiction. Her work has been translated into fifteen languages.

Brando Skyhorse is an Associate Professor of English at Indiana University in Bloomington who won the 2011 PEN/Hemingway Award and the 2011 Sue Kaufman Prize for First Fiction for his debut novel " The Madonnas of Echo Park ." 

Amity Gaige is the author of three novels, " O My Darling ," " Sea Wife ," and " Schroder ," which was shortlisted for The Folio Prize in 2014. To date, "Schroder" has been published in eighteen countries.

The course:  This specialization created by Wesleyan University consists of four courses (each taught by a teacher listed above) and covers elements of three major creative writing genres: short story, narrative essay, and memoir. It culminates in a challenging capstone project in which you'll draft, rewrite, and complete a substantial original story in the genre of your choosing.  The price: Free with 7-day Coursera trial; $49 per month to keep learning after trial ends.

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Teaching Creative Writing: The Essential Guide

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• ISBN-10 1350276480
• ISBN-13 978-1350276482
• Publisher Bloomsbury Academic
• Publication date February 8, 2024
• Language English
• Dimensions 5.5 x 0.64 x 8.5 inches
• Print length 198 pages
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About the author, product details.

• Publisher ‏ : ‎ Bloomsbury Academic (February 8, 2024)
• Language ‏ : ‎ English
• Hardcover ‏ : ‎ 198 pages
• ISBN-10 ‏ : ‎ 1350276480
• ISBN-13 ‏ : ‎ 978-1350276482
• Item Weight ‏ : ‎ 13.4 ounces
• Dimensions ‏ : ‎ 5.5 x 0.64 x 8.5 inches

About the author

Stephanie vanderslice.

Stephanie Vanderslice's was born in Queens, NY in 1967 and grew up there and in the suburbs of Albany. Her essays have appeared in Mothers in All But Name, Knowing Pains: Women on Love, Sex and Work in their 40's and many others. In addition to The Geek's Guide to the Writing Life, she has also published Can Creative Writing Really Be Taught? 10th Anniversary edition (co-edited with Rebecca Manery) with Bloomsbury. Other books include Rethinking Creative Writing and Teaching Creative Writing to Undergraduates (with Kelly Ritter). Professor of Creative Writing and Director of the Arkansas Writer's MFA Workshop at the University of Central Arkansas, she also writes novels and has published creative nonfiction, fiction, and creative criticism in such venues as Ploughshares Online, Easy Street and others. Her column, The Geek's Guide to the Writing Life appears regularly in the Huffington Post.

Recommended reads include Simon Van Booy's Father's Day, Nicole Krauss's Great House, Jhumpa Lahiri's Unaccustomed Earth, and Jesse Lee Kercheval's The Museum of Happiness (all time favorite). Stephanie lives in Conway, Arkansas with her husband, writer John Vanderslice (no, not the indie songster) and two sons. She can also make a mean loaf of french bread.

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• 8 Creative Writing Tips from Famous Authors and How to Incorporate Them Into Your Own Work

You should also read…

• A Guide to Britain’s Most Famous Writers Through History
• 9 Famous Opening Lines of Novels – and Why We Love Them

And many writers simply love giving interviews where they throw out pithy and quotable lines about the nature of their genius. Think of Ernest Hemingway’s “There is nothing to writing. All you do is just sit at a typewriter and bleed.” It would look great on a mug or a t-shirt. But does this actually give you any insight into how to become a better or more successful writer? Probably not, unless you want to study its construction when working on your epigrams. Still more writers provide advice that works beautifully for their own particular style of writing (such as Kurt Vonnegut’s stern words against semicolons, or Stephen King’s against adverbs) but may not be as generally applicable as they think it is. As a result, we’ve compiled this list of 8 popular and pithy quotes from famous writers – and looked at what you can actually learn from them for use in your own writing.

1. “I took a master class with Billy Wilder once and he said that in the first act of a story you put your character up in a tree and the second act you set the tree on fire and then in the third you get him down.” – Gary Kurtz, producer of Star Wars Episode IV and V.

Has a more elegant summary of the three-act structure ever been produced? These are the principles at the heart of most storytelling, whether it’s around a campfire or on a cinema screen. You get your protagonist into trouble – then the trouble gets worse – then it gets resolved. Note that this structure doesn’t demand a happy ending. Your character could depart the tree in as unpleasant a manner as you like; what this structure requires is plot progression followed by resolution, as well as tying you into a storyline that, at heart, can be summarised in a couple of sentences. Even if you’re writing a madly complicated epic fantasy series, it can be a good maxim to come back to. Which event constitutes putting the character up a tree? Are you just letting him hang around there, or are you keeping the tension going by setting the tree on fire? Do you just leave him up there getting toasty, or have you been sure to take him down?

2. “Substitute “damn” every time you’re inclined to write “very”; your editor will delete it and the writing will be just as it should be.” – Mark Twain, author of Tom Sawyer and Huckleberry Finn

Authors being critical of particular words or even types of word (we return to Stephen King and his adverbs) is a commonplace of writing advice. Often, they simply represent the writing fashion of their own time; Stephen King’s crisp, clear writing style (“She was a grown up now, and she discovered that being a grown up was not quite what she had suspected it would be when she was a child”) would sound as wrong in the 18th century as the more adverb-laden style of two or three hundred years ago does now. Mark Twain’s advice still stands over a hundred years later – writing littered with the word ‘very’ is seldom any good – even though this is perhaps not a trap into which that many novelists fall, and few editors would systematically delete the word ‘damn’ any more either. The best message to take from this is to keep an eye on words you overuse, particularly if they are as weak as ‘very’, and delete them whenever they appear.

3. “If you have other things in your life – family, friends, good productive day work – these can interact with your writing and the sum will be all the richer.” – David Brin, Hugo-award winning author

An important message that many writers forget, this quotation from David Brin reminds us that locking yourself away in a garret isn’t a great move unless you want to write the twenty-first century’s Great Garret Novel. It reminds us that the greatest source of inspiration isn’t usually spending time navel-gazing, but going out and interacting with the world, and then seeing how easily an overheard conversation slides into your novel and becomes a plot point, or spotting a woman at the bus stop who looks exactly like the villain you couldn’t quite picture. This doesn’t just apply to realist fiction; David Brin is a science fiction author, and still takes inspiration from everyday human interactions and brings that into his work.

4. “My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying.” – Anton Chekhov, playwright and author

This is the kind of zippy quote that Waterstone’s like to put on their bags, but what exactly does it mean and what can we learn from it? The former half of that question is probably best left to Chekhov scholars. The latter half is easier; this advice is excellent and straightforward if we simply ignore Chekhov’s justification. The beginning and end are less at risk of being full of lies than full of waffle. It’s best to resist the temptation to open like a medieval saga with a multi-chapter genealogy and family history of all of your characters, and similarly to resist the temptation, like Tolkien didn’t in The Return of the King, to come to a logical ending to your story and then end it three more times. But if you can’t resist that temptation in your first draft, get it all out of your system and then simply delete those sections from draft 2 onwards.

5. “First, find out what your hero wants, then just follow him!” – Ray Bradbury, author of Fahrenheit 451

Like many other creative writing tips, this can feel a little bit like magical thinking. See also: “I let my characters decide the plot” or even “I had this bit all worked out, but then my characters decided to do something different” – as if the story you were writing was some kind of hyperactive game of the Sims, rather than something born from and guided entirely by your own imagination. If you are a more practically-minded writer, this might seem entirely baffling. (If it makes complete, instinctive sense to you, you might wish to skip ahead to the next point). Don’t read this advice and proceed to treat the process of writing as a particularly lonely roleplaying game. Remember instead that when you have lovingly crafted a character who is so realistic that they could practically walk off the page, if their planned actions conflict with their character, then you need to change one or the other, rather than shoehorning a character into actions that they clearly would not perform.

6. “I love deadlines. I like the whooshing sound they make as they fly by.” – Douglas Adams, author of The Hitchhiker’s Guide to the Galaxy

This comment is an impressive demonstration of what not to do. Adams’ first bestseller – The Hitchhiker’s Guide to the Galaxy – ends very abruptly because he had missed so many deadlines that his publisher simply told him to finish the page he was on and sent a courier to collect the book as it was. Subsequent deadlines have a remarkable theme – the Doctor Who producer who locked Adams in his study and gave him coffee and whiskey for two days until it was finished; the girlfriend who locked Adams in her house until he finished The Restaurant at the End of the Universe ; and the editor who locked him in a hotel suite for three weeks until he wrote So Long and Thanks for All the Fish . It appears that, having found a solution to making Adams write to a deadline, his collaborators stuck to it, whether or not that meant committing the crime of false imprisonment. There are two messages for aspiring writers here. One is that you should make an attempt to control your procrastination before it reaches such legendary heights. The other, I suppose, is that if you find an odd technique that helps you write, you should go ahead and make the most of it – at least other people will get a good anecdote out of it.

7. “I can’t write five words but that I change seven.” – Dorothy Parker, poet, short story writer, critic and satirist

Dorothy Parker was a writer now best known for a huge number of highly quoted phrases, such as, “the two most beautiful words in the English language are ‘cheque enclosed.’” The sharp, concise elegance of her writing is – as this quotation suggests – the result of a colossal amount of editing. Parker phrases this as if it were an unfortunate condition, but it’s a very rare writer who gets everything right first time. (To skip back to point 6, the book that Douglas Adams edited the most – Last Chance to See – was also the one of which he was the most proud). There are arguments to be had about when editing is appropriate. Should you write a first draft in full before you go back to tweak anything, or should you edit as you go along? This will depend on temperament and ability to cope with imperfections. What is crucial is that by the time you’re ready to submit anything for publication, at least seven words have been changed for every five you initially wrote.

8. “If there’s a book that you want to read, but it hasn’t been written yet, then you must write it.” – Toni Morrison, Nobel prize-winning novelist

This is good advice for writers of fiction and nonfiction alike. In nonfiction the barrier to entry is higher (for instance, if you desperately want to read a first-person account of the writing of epic poetry in Anglo-Saxon times, you’ll be waiting a while) but in fiction the ground is open to everyone. If you’re fed up with whatever the prevailing literary trend is (whether that’s dystopian young adult fiction or yummy-mummy novels), you can be the change you wish to see in the world. Don’t be sanctimonious about writing the novel that you think the world needs – that’s a sure-fire way to lose friends – but it can be deeply motivational to remember that there is a space in the world where your novel should be. Aside from anything else, filling a gap in the market makes excellent business sense. Do you have any creative writing tips that you think should be more widely known? Share them in the comments!

Since 1967, Teachers & Writers Collaborative has published over 80 books dedicated to teaching creative writing.  Today, 42 titles are in print.  Retailers and educational institutions may order our books directly through Ingram .  Individuals may find our books at your local bookseller.  Visit our booklist at Word Up Books , an NYC community bookstore, or find an independent bookseller near you Visit Indie Bookstore Finder.

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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

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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 117,341 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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What is Creative Writing? A Key Piece of the Writer’s Toolbox

Not all writing is the same and there’s a type of writing that has the ability to transport, teach, and inspire others like no other.

Creative writing stands out due to its unique approach and focus on imagination. Here’s how to get started and grow as you explore the broad and beautiful world of creative writing!

What is Creative Writing?

Creative writing is a form of writing that extends beyond the bounds of regular professional, journalistic, academic, or technical forms of literature. It is characterized by its emphasis on narrative craft, character development, and the use of literary tropes or poetic techniques to express ideas in an original and imaginative way.

Creative writing can take on various forms such as:

• short stories
• screenplays

It’s a way for writers to express their thoughts, feelings, and ideas in a creative, often symbolic, way . It’s about using the power of words to transport readers into a world created by the writer.

5 Key Characteristics of Creative Writing

Creative writing is marked by several defining characteristics, each working to create a distinct form of expression:

1. Imagination and Creativity: Creative writing is all about harnessing your creativity and imagination to create an engaging and compelling piece of work. It allows writers to explore different scenarios, characters, and worlds that may not exist in reality.

2. Emotional Engagement: Creative writing often evokes strong emotions in the reader. It aims to make the reader feel something — whether it’s happiness, sorrow, excitement, or fear.

3. Originality: Creative writing values originality. It’s about presenting familiar things in new ways or exploring ideas that are less conventional.

4. Use of Literary Devices: Creative writing frequently employs literary devices such as metaphors, similes, personification, and others to enrich the text and convey meanings in a more subtle, layered manner.

5. Focus on Aesthetics: The beauty of language and the way words flow together is important in creative writing. The aim is to create a piece that’s not just interesting to read, but also beautiful to hear when read aloud.

Remember, creative writing is not just about producing a work of art. It’s also a means of self-expression and a way to share your perspective with the world. Whether you’re considering it as a hobby or contemplating a career in it, understanding the nature and characteristics of creative writing can help you hone your skills and create more engaging pieces .

For more insights into creative writing, check out our articles on creative writing jobs and what you can do with a creative writing degree and is a degree in creative writing worth it .

Styles of Creative Writing

To fully understand creative writing , you must be aware of the various styles involved. Creative writing explores a multitude of genres, each with its own unique characteristics and techniques.

Poetry is a form of creative writing that uses expressive language to evoke emotions and ideas. Poets often employ rhythm, rhyme, and other poetic devices to create pieces that are deeply personal and impactful. Poems can vary greatly in length, style, and subject matter, making this a versatile and dynamic form of creative writing.

Short Stories

Short stories are another common style of creative writing. These are brief narratives that typically revolve around a single event or idea. Despite their length, short stories can provide a powerful punch, using precise language and tight narrative structures to convey a complete story in a limited space.

Novels represent a longer form of narrative creative writing. They usually involve complex plots, multiple characters, and various themes. Writing a novel requires a significant investment of time and effort; however, the result can be a rich and immersive reading experience.

Screenplays

Screenplays are written works intended for the screen, be it television, film, or online platforms. They require a specific format, incorporating dialogue and visual descriptions to guide the production process. Screenwriters must also consider the practical aspects of filmmaking, making this an intricate and specialized form of creative writing.

If you’re interested in this style, understanding creative writing jobs and what you can do with a creative writing degree can provide useful insights.

Writing for the theater is another specialized form of creative writing. Plays, like screenplays, combine dialogue and action, but they also require an understanding of the unique dynamics of the theatrical stage. Playwrights must think about the live audience and the physical space of the theater when crafting their works.

Each of these styles offers unique opportunities for creativity and expression. Whether you’re drawn to the concise power of poetry, the detailed storytelling of novels, or the visual language of screenplays and plays, there’s a form of creative writing that will suit your artistic voice. The key is to explore, experiment, and find the style that resonates with you.

For those looking to spark their creativity, our article on creative writing prompts offers a wealth of ideas to get you started.

Importance of Creative Writing

Understanding what is creative writing involves recognizing its value and significance. Engaging in creative writing can provide numerous benefits – let’s take a closer look.

Developing Creativity and Imagination

Creative writing serves as a fertile ground for nurturing creativity and imagination. It encourages you to think outside the box, explore different perspectives, and create unique and original content. This leads to improved problem-solving skills and a broader worldview , both of which can be beneficial in various aspects of life.

Through creative writing, one can build entire worlds, create characters, and weave complex narratives, all of which are products of a creative mind and vivid imagination. This can be especially beneficial for those seeking creative writing jobs and what you can do with a creative writing degree .

Enhancing Communication Skills

Creative writing can also play a crucial role in honing communication skills. It demands clarity, precision, and a strong command of language. This helps to improve your vocabulary, grammar, and syntax, making it easier to express thoughts and ideas effectively .

Moreover, creative writing encourages empathy as you often need to portray a variety of characters from different backgrounds and perspectives. This leads to a better understanding of people and improved interpersonal communication skills.

Exploring Emotions and Ideas

One of the most profound aspects of creative writing is its ability to provide a safe space for exploring emotions and ideas. It serves as an outlet for thoughts and feelings , allowing you to express yourself in ways that might not be possible in everyday conversation.

Writing can be therapeutic, helping you process complex emotions, navigate difficult life events, and gain insight into your own experiences and perceptions. It can also be a means of self-discovery , helping you to understand yourself and the world around you better.

So, whether you’re a seasoned writer or just starting out, the benefits of creative writing are vast and varied. For those interested in developing their creative writing skills, check out our articles on creative writing prompts and how to teach creative writing . If you’re considering a career in this field, you might find our article on is a degree in creative writing worth it helpful.

4 Steps to Start Creative Writing

Creative writing can seem daunting to beginners, but with the right approach, anyone can start their journey into this creative field. Here are some steps to help you start creative writing .

1. Finding Inspiration

The first step in creative writing is finding inspiration . Inspiration can come from anywhere and anything. Observe the world around you, listen to conversations, explore different cultures, and delve into various topics of interest.

Reading widely can also be a significant source of inspiration. Read different types of books, articles, and blogs. Discover what resonates with you and sparks your imagination.

For structured creative prompts, visit our list of creative writing prompts to get your creative juices flowing.

Editor’s Note : When something excites or interests you, stop and take note – it could be the inspiration for your next creative writing piece.

2. Planning Your Piece

Once you have an idea, the next step is to plan your piece . Start by outlining:

• the main points

Remember, this can serve as a roadmap to guide your writing process. A plan doesn’t have to be rigid. It’s a flexible guideline that can be adjusted as you delve deeper into your writing. The primary purpose is to provide direction and prevent writer’s block.

3. Writing Your First Draft

After planning your piece, you can start writing your first draft . This is where you give life to your ideas and breathe life into your characters.

Don’t worry about making it perfect in the first go. The first draft is about getting your ideas down on paper . You can always refine and polish your work later. And if you don’t have a great place to write that first draft, consider a journal for writing .

4. Editing and Revising Your Work

The final step in the creative writing process is editing and revising your work . This is where you fine-tune your piece, correct grammatical errors, and improve sentence structure and flow.

Editing is also an opportunity to enhance your storytelling . You can add more descriptive details, develop your characters further, and make sure your plot is engaging and coherent.

Remember, writing is a craft that improves with practice . Don’t be discouraged if your first few pieces don’t meet your expectations. Keep writing, keep learning, and most importantly, enjoy the creative process.

For more insights on creative writing, check out our articles on how to teach creative writing or creative writing activities for kids.

Tips to Improve Creative Writing Skills

Understanding what is creative writing is the first step. But how can one improve their creative writing skills? Here are some tips that can help.

Read Widely

Reading is a vital part of becoming a better writer. By immersing oneself in a variety of genres, styles, and authors, one can gain a richer understanding of language and storytelling techniques . Different authors have unique voices and methods of telling stories, which can serve as inspiration for your own work. So, read widely and frequently!

Practice Regularly

Like any skill, creative writing improves with practice. Consistently writing — whether it be daily, weekly, or monthly — helps develop your writing style and voice . Using creative writing prompts can be a fun way to stimulate your imagination and get the words flowing.

Attend Writing Workshops and Courses

Formal education such as workshops and courses can offer structured learning and expert guidance. These can provide invaluable insights into the world of creative writing, from understanding plot development to character creation. If you’re wondering is a degree in creative writing worth it, these classes can also give you a taste of what studying creative writing at a higher level might look like .

Joining Writing Groups and Communities

Being part of a writing community can provide motivation, constructive feedback, and a sense of camaraderie. These groups often hold regular meetings where members share their work and give each other feedback. Plus, it’s a great way to connect with others who share your passion for writing.

Seeking Feedback on Your Work

Feedback is a crucial part of improving as a writer. It offers a fresh perspective on your work, highlighting areas of strength and opportunities for improvement. Whether it’s from a writing group, a mentor, or even friends and family, constructive criticism can help refine your writing .

Start Creative Writing Today!

Remember, becoming a proficient writer takes time and patience. So, don’t be discouraged by initial challenges. Keep writing, keep learning, and most importantly, keep enjoying the process. Who knows, your passion for creative writing might even lead to creative writing jobs and what you can do with a creative writing degree .

Happy writing!

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: 

Gratitude Journal Prompts Mindfulness Journal Prompts Journal Prompts for Anxiety Reflective Journal Prompts Healing Journal Prompts Cognitive Behavioral Therapy Journal Prompts Mental Health Journal Prompts ASMR Journal Prompts Manifestation Journal Prompts Self-Care Journal Prompts Morning Journal Prompts Evening Journal Prompts Self-Improvement Journal Prompts Creative Writing Journal Prompts Dream Journal Prompts Relationship Journal Prompts "What If" Journal Prompts New Year Journal Prompts Shadow Work Journal Prompts Journal Prompts for Overcoming Fear Journal Prompts for Dealing with Loss Journal Prompts for Discerning and Decision Making Travel Journal Prompts Fun Journal Prompts

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The Handbook of Creative Writing

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How to teach ... creative writing

Summer is the perfect time of year for a spot of creative writing. Inspire young imaginations to put pen to paper with our lesson plans and ideas

From birds chirping aloft the trees to sapphire blue lakes sparkling in the sun, the sights and sounds of summer make it the perfect time of year for a spot of creative writing. Getting students to put pen to paper is a good way to spark their imaginations, develop reading and writing skills, and teach about empathy.

To help you and your class get inventive, this week’s how to teach brings you a selection of ideas and resources to inspire the creativity of young wordsmiths.

Primary students

Author Nick Hesketh recommends that before children start writing, you should discuss what makes a good story. He shares this and other advice in his creative writing video series for the Scottish Book Trust . Get students thinking with these “badly written” exemplars , which provide a handy baseline to work from.

Next, capture young imaginations by getting students to think about the story they want to tell. Where is it set? At what time of day? What is the weather like? What can you hear, see, smell or feel? This worksheet by Creative Writing Now will help students get to know their main character, while this plot questionnaire will encourage them think about what is going to happen. Then get your class penning their masterpieces, writing just a few sentences to begin with. Stress that they shouldn’t worry about spelling, instead, just put a wavy line under any words they are unsure of. There are examples of well thought-out sentences here .

Creative writing should be fun, and playing games is good way to help students develop story ideas. Try an alternative word association game in which you think of words that are at odds with each other (such as “boat” and “rock”) instead of words that are connected (such as “boat” and “water”). The aim is to show that good story ideas often involve some sort of tension. We also have instructions for a fun game called The Invisible Book , which involves students coming up with the first three sentences of a story on the spot, which helps them find their writer’s voice.

If ideas aren’t flowing, kickstart things by stepping outside of the classroom and into the playground as suggested in this resource by WordSpace . Give students unusual things to write on, such as the back of an envelope, a leaf, or a rough piece of wallpaper. Or challenge them to write a short story in just 50 words.

A quick way to conjure up story ideas is through pictures. Use prompts such as this image of two boys sitting on the wing of an aeroplane or this one of a dinosaur in the garden , which can work really well. Another tip from writer and teacher Heather Wright is to ask students to start several stories then choose the one they want to finish. This writing checklist will help students evaluate their work when it’s finished.

Secondary students

Challenge secondary students to write a story in just six words or get them to compile a list of objects for an imaginary cabinet of curiosity. These are just some ideas offered by the Writers’ Centre Norwich , a literature development agency based in England’s only UNESCO City of Literature . They have produced an easy-to-use 20-page activity pack for the classroom, which introduces a range of genres and draws on a variety of writing stimuli including photographs and poems.

If students want to get to the heart of a character, ask them to address the audience as their favourite fictitious creations. Writing a monologue is the focus of this key stage 4 resource by the Poetry Society . A second resource encourages students to create a piece of writing based on what they can – and can’t – see out of an imaginary window. The aim is for students to make effective use of descriptive detail as they write short lines of poetry in response to a series of prompts. As a homework task, ask students to repeat the exercise while looking out of a real window.

Students doing creative writing at A-level need to work in a whole range of written forms and genres including creative non-fiction and web content. They should be prepared to share work-in-progress with others, responding to feedback and developing drafting and editing skills. They should also write regularly to deadlines and keep a journal of writing ideas. You’ll find useful advice on approaching the first term of teaching in this guide by AQA . You’ll also find additional ideas to support learning and teaching here .

For those who are eager to take creative writing even further, this resource offers useful information on how to set up a creative writing club.

Finally, remember to encourage young people to read as often and as widely as possible – this is one of the most effective ways to teach creative writing. With this in mind, be sure to set your students off on the Summer Reading Challenge . You’ll find lots of reading and writing activities in this year’s pack .

Follow us on Twitter via @GuardianTeach . Join the Guardian Teacher Network for lesson resources, comment and job opportunities , direct to your inbox.

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Teaching creative writing in primary schools: a systematic review of the literature through the lens of reflexivity

• Open access
• Published: 17 June 2023

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• Georgina Barton   ORCID: orcid.org/0000-0003-2703-238X 1 ,
• Maryam Khosronejad 2 ,
• Mary Ryan 2 ,
• Lisa Kervin 3 &
• Debra Myhill 4  

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Teaching writing is complex and research related to approaches that support students’ understanding and outcomes in written assessment is prolific. Written aspects including text structure, purpose, and language conventions appear to be explicit elements teachers know how to teach. However, more qualitative and nuanced elements of writing such as authorial voice and creativity have received less attention. We conducted a systematic literature review on creativity and creative aspects of writing in primary classrooms by exploring research between 2011 and 2020. The review yielded 172 articles with 25 satisfying established criteria. Using Archer’s critical realist theory of reflexivity we report on personal, structural, and cultural emergent properties that surround the practice of creative writing. Implications and recommendations for improved practice are shared for school leaders, teachers, preservice teachers, students, and policy makers.

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Introduction

Creative writing in schools is an important part of learning, assessment, and reporting, however, there is evidence globally to suggest that such writing is often stifled in preference to quick on-demand writing, usually featured in high-stakes testing (Au & Gourd, 2013 ; Gibson & Ewing, 2020 ). Research points to this negatively impacting particularly on students from diverse backgrounds (Mahmood et al., 2020 ). When teachers teach on-demand writing typical pedagogical traits are revealed, those that are often referred to as formulaic (Ryan & Barton, 2014 ). When thinking about creative writing, however, Wyse et al. ( 2013 ) noted that it involves the absence of structure and teaching creative writing requires an ‘open’ pedagogical approach for students to be given imaginative choice. By this, they mean that teachers need to consider less formulaic ways to teach writing so that students can experience different opportunities and ways to write creatively. They argued that if students are not given the flexibility to experiment through writing then their creativity might be stifled. Similarly, Barbot et al. ( 2012 ), who carried out a study with a panel of 15 experts of creative writing, posited that creative writing is when students draw on their imagination and other creative processes to create fictional narratives or writing that is ‘unusually original’. They also noted that creative writing is important for the development of students’ critical and creative thinking skills and ways in which they can approach life in creative ways.

Creative writing is defined in various ways in literature. Wang ( 2019 ) defined creative writing as a form of original expression involving an author’s imagination to engage a reader. Other definitions of creative writing involve the notion of children’s imagination, choice, and originality and much research has explored the concept of creativity within and through the writing process.

While creative writing is defined in various ways, and the many ways that it is treated in literacy education, this article is not concerned with the nature of the term per se. Rather, it focusses on research about creative writing and creativity in writing to understand how research unpacks the personal and contextual characteristics that surround creative writing practices. To this aim, we adopt a broad definition of creative writing as a form of original writing involving an author’s imagination and self-expression to engage a reader (Wang, 2019 ). Creative writing is important for children’s development (Grainger et al., 2005 ), allowing them to use their imagination and broaden their ability to problem-solve and think deeply. Creativity in writing refers to specific aspects within a writing product that can be deemed creative. Some examples include the use of senses and how a writer might engage a reader (Deutsch, 2014 ; Smith, 2020 ).

International research on teaching writing has indicated a loss in innovative or creative pedagogical practices due to the pressure on teachers to teach prescribed writing skills that are assessed in high-stakes tests (Göçen, 2019 ; Stock & Molloy, 2020 ), often resulting in specific trends including teaching a genre approach to writing (Polesel et al., 2012 ; Ryan & Barton, 2014 ). A comprehensive meta-analysis by Graham et al ( 2012 ), designed to identify writing practices with evidence of effectiveness in primary classrooms, found that explicitly teaching imagery and creativity was an effective teaching practice in writing. In addition, a review of methods related to teaching writing conducted by Slavin et al. ( 2019 ) included studies that statistically reported causal relationships between teacher practice and student outcomes. Common themes in Slavin et al’s ( 2019 ) quest for improving writing included comprehensive teacher professional development, student engagement and enjoyment, and explicit teaching of grammar, punctuation, and usage. While they did not specifically cite creativity, motivating environments and cooperative learning were important characteristics of writing programs.

This systematic literature review aims to share empirical international research in the context of elementary/primary schools by exploring creativity in writing and the conditions that influence its emergence. It specifically aims to answer the question: What influences the teaching of creative writing in primary education? And how can reflexivity theorise these influences? The review shares scholarly work that attempts to define personal aspects of creative writing including imagination, and creative thinking; discusses creative approaches to teaching writing, and shows how these methods might support students’ creative writing or creative aspects of writing.

Writing is a complex process that involves students making decisions about word choice, sentence, and text structure, and ways in which to engage readers. Such decisions require a certain amount of reflection or at times deeper reflexive judgments by both teachers and students. Consequently, we draw on Archer’s ( 2012 ) critical realist theory of reflexivity to guide our review as research shows that reflexive thinking in practice can improve writing outcomes (Ryan et al., 2021 ). Archer ( 2007 ) highlights how reflexivity is an everyday activity involving mental processes whereby we think about ourselves in relation to our immediate personal, social, and cultural contexts. She suggests we make decisions through negotiating the connected emergences of personal properties (PEPs) related to the individual, structural properties (SEPs) related to the contextual happenings and cultural properties (CEPs) related to ideologies, each of which is influenced by the other developments. These decisions influence, and are influenced by, our subsequent actions. In applying reflexivity theory to writing (see Ryan, 2014 ), we cannot simply focus on the writing product, but should also interrogate the process of writing, that is, the influences on decision-making and design which are enabled or constrained through pedagogical practices in the classroom. Writing practices and outputs are formed through the interplay of personal, structural, and cultural conditions. Student decisions and actions about writing ensue through the mediation of personal (e.g. beliefs, motivations, interests, experiences), structural (e.g. curriculum, programs, testing regimes, teaching strategies, resources), and cultural (e.g. norms, expectations, ideologies, values) conditions. Therefore, teachers play an important role in facilitating the interplay of these conditions for their students and recontextualising curricula and policy (Ryan et al., 2021 ). For example, by enabling students’ agency and creating an authentic purpose for writing, teachers can balance the personal conditions of students (such as their motivation and interest) against the structural effects of the curriculum requirements. Using a reflexive approach to investigating the literature on creative writing we aim to reveal the personal, structural, and cultural conditions surrounding the study and the practice of creative writing. We argue that it is through the understanding of these conditions that we can theorise how a. students might make their writing more creative and b. how teachers might establish classroom conditions conducive to creativity.

The approach taken for this paper was guided by the PRISMA method (Moher et al., 2009 ) for conducting systematic literature reviews (see Table 1 ).

Our electronic search involved several databases: researchers’ library online catalogue, EBSCO host ultimate, ProQuest, Eric, Web of Science, Informit, and ScienceDirect. Using the following search terms: creativ* AND (‘teaching methods’ OR pedagog*) AND writing AND (elementary OR primary) to search titles and abstracts as well as limiting the search to peer-reviewed articles written in English within a 10-year timeframe (2011–2020), we initially retrieved 172 articles. Information about all 172 articles was input into a data spreadsheet including author, article title, journal title, volume and issue number, and abstract. Once completed, these articles were divided into two equal groups and two researchers were assigned to review the articles for relevancy against the following inclusion criteria:

Studies were peer-reviewed empirical research published in English;

Participants were primary students and/or teachers;

Students were not specifically English as a Second or Additional Language/Dialect learners (samples of culturally and linguistically diverse students in primary classrooms were included);

Studies were not carried out in curriculum areas other than English; and

Studies did not have a specific focus on digital technologies in the classroom.

For this systematic review, we were interested in the ways in which teachers thought about, understood, and taught the ‘creative’ aspect of writing.

The 25 studies that met the inclusion criteria were synthesised to review what influences the improvement of creative writing in primary education. We analysed the papers for how creative writing and/or creative aspects in writing were viewed as well as how teachers might best support students to develop reflexive capacities to improve the creative aspects of writing. We also identified any personal, structural, and/or cultural emergences that might impact on the effectiveness of students’ creative writing. Two of the authors read the entire articles and identified four main categories of research which were (1) understanding creative writing; (2) creative thinking and its contribution to writing; (3) creative pedagogy; and (4) what students can do to be more creative in their writing. These were cross-checked by the entire research team. Some of the papers fit more than one of these themes. In the next section, each theme is introduced and defined and then the articles that fall within the theme are reviewed.

Overall a total number of 25 articles had overlapping themes that included various personal and contextual aspects. Figure  1 shows what we have identified as the key themes under each category. In the next sections, we represent papers based on their main theme.

The personal, structural, and cultural conditions surrounding creative writing

Personal emergent properties

A total number of 13 articles were about what students can do to be more creative in their writing (Mendelowitz, 2014 ; Steele, 2016 ) and how teachers’ and students’ personal characteristics relate to the development of creative writing. These articles were mainly focussed on the personal emergent aspects of writing (Alhusaini & Maker, 2015 ; Barbot et al., 2012 ; Cremin et al., 2020 ; DeFauw, 2018 ; Dobson, 2015 ; Dobson & Stephenson, 2017 , 2020 ; Edwards-Groves, 2011 ; Healey, 2019 ; Lee & Enciso, 2017 ; Macken-Horarik, 2012 ; Ryan, 2014 ). The personal aspects identified in our review were (1) personal views about creative writing, (2) creative thinking, (3) writer identity, (4) learner motivation and engagement, and (5) knowledge and capabilities.

Personal views about creative writing

From our systematic review, we identified three articles exploring views about what creative writing is, and more specifically the role that it plays and the elements that make creative writing, in primary classrooms. One of these studies was focussed on the views and experiences of experts in writing (Barbot et al., 2012 ), whereas the other two investigated students’ perspectives and experiences (Alhusaini & Maker, 2015 ; Healey, 2019 ). Barbot et al’s ( 2012 ) work, for example, recognised that creative writing involves both cognitive and metacognitive abilities. This was determined by the expert panel of people whose work related to writing including teachers, linguists, psychologists, professional writers, and art educators. The panel were asked to complete an online survey that rated the relative importance of 28 identified skills needed to creatively write. Six broad categories were identified as a result of the responses and the rank given to each factor by the expert groups (See Table 2 ). They acknowledged that these features cross over various age groups from children to professional writers.

Findings suggested that each independent rater weighted different key components of creative writing as being more or less important for children. Overall, the findings showed.

a global ‘consensus’ across the expert groups indicated that creative writing skills are primarily supported by factors such as observation, generation of description, imagination, intrinsic motivation and perseverance, while the contributions of all of the other relevant factors seemed negligible (e.g. intelligence, working memory, extrinsic motivation and penmanship). (p. 218)

One factor that was ranked as critical by most respondents, but underemphasised by teachers, was imagination. Teachers’ work in classrooms around creative writing is complex due to the difficulty in defining imagination (Brill, 2004 ). Teachers also under-rated other aspects related to creative cognition.

Another study that explored students’ creativity in writing was conducted by Alhusaini and Maker ( 2015 ) in the south-west of the United States. Participants included 139 students with mixed ethnicities including White, Mexican American, and Navajo. This study involved six elementary/primary school teachers judging students’ writing samples of open-ended stories. To assess the work a Written Linguistic Assessment tool, which was based on the Consensual Assessment Technique [CAT] (Amabile, 1982 ) was implemented. According to Baer and McKool ( 2009 ), The CAT involves experts rating written artefacts or artistic objects by using their ‘sense of what is creative in the domain in question to rate the creativity of the products in relation to one another’ (p. 4). Interestingly, Alhusaini and Maker ( 2015 ) found the CAT to be effective in relation to interrater reliability. The authors do not share what the Judge’s Guidelines to Assess Students’ Stories entail. They mention the difference between technical quality and creativity and note that assessors were able to distinguish the differences between the two, but the reader is not made aware of the aspects of each quality. Overall, the study revealed that one of the most challenging problems in the field of creativity and writing is trying to measure creativity across cultures by using standardised tests. Such studies could have implications for other students from culturally and linguistically diverse backgrounds as teachers become more aware of cultural nuances in constituting ‘creative’ in creative writing.

The final study we identified in this category was by Healey ( 2019 ). Healey employed an Interpretative Phenomenological Analysis (IPA) and explored how eight children (11–12 Years of age) experienced creative writing in the classroom. He shared how children’s writing experiences were based on ‘the affect, embodiment, and materiality of their immediate engagement with activities in the classroom’ (p. 184). Results from student interviews showed three themes related to the experience of writing: the writing world (watching, ideas from elsewhere, flowing); the self (concealing and revealing, agency, adequacy); and schooled writing (standards, satisfying task requirements, rules of good writing). The author stated that children’s consciousness shifts between their imagination (The Writing World) and set assessment tasks (Schooled Writing). Both of these worlds affect the way children experience themselves as writers. Further findings from this work argued that originality of ideas and use of richer vocabulary improved students’ creative writing. Vocabulary improvement included diversity of word meanings, appropriate usage of words, words being in line with the purpose of the text; while originality of ideas featured creative and unusual (original) ideas—which in many ways is difficult to define.

Overall, when concerned with personal views and attitudes in creative writing, the two studies by Healey ( 2019 ) and Barbot et al. ( 2012 ) show contrasting findings about ‘imagination’ captured through the view of students and teachers, respectively. While Healey’s ( 2019 ) study suggests that children shift between their imagination and set assessment tasks in creative writing, Barbot et al. ( 2012 ) highlight the lack of attention to imagination among their participated teachers. Although these results cannot be generalised, they highlight the significance of understanding personal emergent properties that both students and teachers bring to the classroom and the way that they interact to affect the experience of creative writing for learners. From this theme, we suggest the importance of educators acknowledging students’ imagination through their definition of creative writing as well as providing quality time for students to choose what they write through imaginative thought. We now turn to creative thinking and related pedagogical approaches to teaching creative writing from the research literature.

Creative thinking

We identified two articles that were focussed on creative thinking and its contribution to writing (Copping, 2018 ; Cress & Holm, 2016 ). Copping ( 2018 ) explored writing pedagogy and the connections between children’s creative thinking, or a ‘new way of looking at something’ (p. 309), and their writing achievement. The study involved two primary schools in Lancashire, one in an affluent area and one in an underprivileged area. Approximately 28 children from each school were involved in two, 2-day writing workshops based on a murder mystery the children had to solve. Findings from this study revealed that to improve students’ writing achievement (1) a thinking environment needs to be created and maintained, (2) production processes should have value, (3) motivation and achievement increase when there is a tangible purpose, and (4) high expectations lead to higher attainment.

Cress and Holm’s ( 2016 ) study described a curricular approach implemented by a first-grade teacher and their class comprised 13 girls and 11 boys. The project known as the Creative Endeavours project aimed to develop creative thinking by (1) creating an environment of respect with a positive classroom climate. (2) offering new and challenging experiences, and (3) encouraging new ideas rather than praise. The authors argued that through peer collaboration and the flexibility to choose their own projects, children can become more authentically engaged in the writing process. The children wrote about their experiences and their choices, and reflected upon the projects undertaken. In this study, it was revealed that the children showed diversity in their writing assignments including presentation through sewing, photography, and drama. While there were only two papers in this particular theme, their findings are supported by systematic reviews (Graham et al., 2012 ; Slavin et al., 2019 ) that emphasise not only new ways of exploring a range of concepts for learning but also the creation of motivating environments for improving writing (Copping, 2018 ). In addition to the significance of positive and encouraging learning environments, these two studies suggest that setting ‘high expectations’ or ‘challenging experiences’ are conducive to creative thinking however, teachers would need to set appropriate, reflexive conditions for this to occur.

Writer identity

Studies in this category revolve around choice and learner writer identity. The study carried out by Dobson and Stephenson ( 2017 ) focussed on developing a community of writers involving 25 primary school pupils from low socio-economic backgrounds. The project was offered over 2 weeks and featured a number of creative writing workshops. The authors applied the theoretical frameworks of practitioner enquiry and discourse analysis to explore the children’s creative writing outputs. They argued that the workshops, which promoted intertextuality and freedom for the children as writers, enabled a shifting of their ‘writer’ identities (Holland et al., 1998). Dobson and Stephenson ( 2017 ) showed that allowing students to make decisions and choices in regard to authentic writing purposes supported a more flexible approach. They recommend stronger partnerships between schools and universities in relation to research on creative writing, however, it would be important for these relationships to be sustainable.

The second paper on this theme is by Ryan ( 2014 ) who noted that writing is a complex activity that requires appropriate thinking in relation to the purpose, audience, and medium of a variety of texts. Writers always make decisions about how they will present subject matter and/or feelings through all of the modes. Ryan ( 2014 ) suggested that writing is like a performance ‘whereby writers shape and represent their identities as they mediate social structures and personal considerations’ (p. 130). The study analysed writing samples of culturally and linguistically diverse Australian primary students to uncover the types of identities students shared. It found that three different types of writers existed—the school writers who followed teacher instructions or formulas to produce a product; the constrained writers who also followed instructions and formulas but were able to add in some authorical voice; and the reflexive writers who could show a definite command of writing and showed creative potential. Ryan ( 2014 ) argued that teachers’ practices in the classroom directly influence the ways in which students express these identities. She stated that when students are provided choices in writing, they are more able to shape and develop their voices. Such choices would need to include quality time and support to be reflexive in the decisions being made by the students.

The Teachers as Writers project (2015–2017) was conducted by Cremin, Myhill, Eyres, Nash, Wilson, and Oliver. In a recent paper ( 2020 ), the team reported on a collaborative partnership between two universities and a creative writing foundation. Professional writers were invited to engage with teachers in the writing process and the impact of these interactions on classroom teaching practices was determined. Data sets included observations, interviews, audio-capture (of workshops, tutorials and co-mentoring reflections), and audio-diaries from 16 teachers; and a randomised controlled trial (RCT) involving 32 primary and secondary classes. An intervention was carried out involving teachers writing in a week long residence with professional writers, one-on-one tutorials, and extra time and space to write. They also continued learning through two Continuing Professional Development (CPD) days. Results showed that teachers’ identities as writers shifted greatly due to their engagement with professional authors. The students responded positively in terms of their motivation, confidence, sense of ownership, and skills as writers. The professional authors also commented on positive impacts including their own contributions to schools. Conversely, these changes in practice did not improve the students’ final assessment results in any significant way. The authors noted that assuming a causal relationship between teachers’ engagement with writing workshops and students’ writing outcomes was spurious. They, therefore, developed further research building on this learning.

Knowledge and capabilities

The role of knowledge and capability is central to the articles in this category. In Australia, Macken-Horarik ( 2012 ) reported on the introduction of a national curriculum for English. This article drew on Systemic Functional Linguistics (SFL) by investigating the potential of Halliday’s notion of grammatics for understanding students’ writing as acts of creative meaning in context. Macken-Horarik ( 2012 ) argued that students needed to know deeply about language so that they could make creative decisions with their writing. She outlined that a ‘good enough’ grammatics would assist teachers in becoming comfortable with ‘playful developments in students’ texts and to foster their control of literate discourse’ (p. 179).

A project carried out by Edwards-Groves in 2011 highlights the role of knowledge about digital technologies in writing practices. 17 teachers in primary classrooms in Australia were asked to use particular digital technologies with their students when constructing classroom texts. Findings showed that an extended perspective on what counts as writing including the writing process was needed. Results revealed that collaborative methods when constructing diverse texts required teachers to rethink pedagogies towards writing instruction and what they consider as writing. It was argued that technology can be used to enhance creative possibilities for students in the form of new and dynamic texts. In particular, it was noted that teachers and students should be aware that digital technologies can both constrain and/or enable text creation in the classroom depending on a number of variables including knowledge and understanding, locating resources and logistical issues such as connectivity and reliability.

In addition, Mendelowitz’s ( 2014 ) study argued that nurturing teachers’ own creativity assisted their ability to teach writing more generally. She noted several ‘interrelated variables and relationships that still need to be given attention in order to gain a more holistic understanding of the challenges of teaching creative writing’ (p. 164). According to Mendelowitz ( 2014 ), elements that impacted on these challenges include teachers’ school writing histories, conceptualisations of imagination, classroom discourses, and pedagogy. Documenting teachers’ work through interviews and classroom observations by the researcher, the study found that teachers need to be able to define imagination and imaginative writing and know what strategies work best with their students. She noted that the teacher’s approaches to teaching writing ‘powerfully shaped by the interactions between their conceptualisations and enactments of imaginative writing pedagogy’ (p. 181) and that these may either limit or create a space for students to be more creative with their writing.

Such Personal Emergent Properties show that individual attributes of both teachers and students are important in learning creative writing. The next section of the paper explores the articles that shared various structural and cultural properties.

Structural emergent properties

In the subset of structural emergent properties, we mainly identified pedagogical approaches for creative writing that explored primary school learning and teaching (Christianakis, 2011a ; Christianakis, 2011b ; Coles, 2017 ; DeFauw, 2018 ; Hall & Grisham-Brown, 2011 ; Portier et al., 2019 ; Rumney et al., 2016 ; Sears, 2012 ; Steele, 2016 ; Southern et al., 2020 ; Yoo & Carter, 2017 ). These pedagogical approaches were aimed at addressing issues related to personal emergent properties such as motivation and engagement, and confidence in writing. The two categories of writing pedagogies were those that engaged professional authors and artists in teaching about creative writing, and the approaches that involved play(ful) activities, and use of visual arts, and drama.

Engaging professional authors and artists

Interestingly, many of the studies used literary forms and/or professional creative authors to spike interest and motivation in the students. Coles’ ( 2017 ) study, for example, used a garden-themed poetry writing project to support 9–10-year-old children’s creative writing in a London primary school. The 5-week project partnered with a professional creative writing organisation that facilitated the Ministry for Stories (MoS) writing centres across the USA. The study found that the social relationships created through this partnership allowed for a more inclusive and socially generative model of creativity. This meant that teachers should not just include creative aspects in assessment rubrics but rather recognise that creativity is encouraged through imagination and working with others. The researchers found improvements in the children’s participation in classroom writing activities as well as diversity in the ways they expressed their writing. The approach valued ‘rich means of expression rather than a set of rules to be learnt’ (p. 396). They also acknowledged issues associated with school–community partnerships including the sustainability of the practice.

Similarly, Rumney et al. ( 2016 ) found that using creative multimodal activities increased students’ confidence and motivation for writing. The study implemented the Write Here project with over 900 children in 12 primary and secondary schools. The study involved the children visiting local art galleries to work with professional authors and artists. Case studies were presented about pre-writing activities, the actual gallery work and post-gallery follow-up sessions. It aimed to improve students’ social development and literacy outcomes through diverse learning activities such as visual art and play in different contexts such as art galleries and classrooms. Like Coles’ ( 2017 ) study, this project showed that creative activities (e.g. talking about and acting out pictures; using story maps; backwards writing and planning) engaged students more than just teaching skills.

In addition, DeFauw’s ( 2018 ) study had student-centred learning and leadership at the core when working with a children’s book author for one year. The collaboration involved three face-to-face sessions with the author as well as online communication through blog posts. Data included recorded interactions, readings and pre and post interviews with teachers ( n  = 9), students ( n  = 36), and the author. The partnership showed that students’ interest was activated and sustained due to the situational context as well as the extended time given to students to interact with the author. The project improved students’ interest in and motivation to write as a result of engaging with authors and hearing about their own experience and writing strategies. It also found that teachers gained more confidence to support students’ exploration of writing in more creative ways. The creative pedagogies were also used in addressing issues related to creative writing outcomes for students, including teachers’ lack of confidence about pedagogies (Southern et al., 2020 ). Through a creative social enterprise approach, the authors facilitated professional development and learning involving artist-led activities for students. The program called Zip Zap had been implemented in schools in Wales and England, and data were collected through focus groups with teachers, students, and parents/carers. Observations of some of the professional development workshops were also video recorded. Third space theory was used to describe the collaborative practice between educators and artists that supported students’ creative writing outcomes. It was noteworthy that involving ‘creative’ practitioners largely focussed on the specific strategies that could be used in classrooms, to which our next section now turns.

Play(ful) activities, visual arts, and drama

Much research explores how to best support students who find writing difficult. Sears’ research ( 2012 ) is a case in point. The author shared how visual arts may be an effective way to improve struggling students with writing. They argued that the visual arts can provide ways of ‘accessing and expressing [student] ideas and ultimately opening a world of creative possibilities’ (p. 17). In the study, six third-grade students engaged with drawing and painting as pre-writing strategies, leading to the creation of poems based on the artworks. The students’ final poems were assessed and showed improved knowledge of all 6 technical categories in writing: ideas, organisation, fluency, voice, word choice, and conventions. The author also argued that students’ motivation to write increased as a result of the visual art activities.

A study by Portier et al. ( 2019 ) investigated approaches to teaching writing that were motiving and engaging for students. Involving 10 northern rural communities in Canada, the project implemented collaborative, play(ful) learning activities alongside sixteen teachers and their students. Interestingly, the study, like many others in our review, found a disconnect ‘between the achievement of curricular objectives and the implementation of play(ful) learning activities’ (p. 20); an approach valued in early childhood education. The students were supported through action research projects in creating texts with different purposes. Students’ motivation as well as samples of work were analysed and showed that student interest areas and collaborative approaches benefited both teachers and students. Further research on how reflexive thinking might have influenced these benefits is recommended.

Similarly, Lee and Enciso ( 2017 ) highlighted the importance of motivation and engagement in their study. In a collaboration with Austin Theatre Alliance, Lee and Enciso ( 2017 ) investigated how dramatic approaches to teaching, such as through expanded imagination and improvisation, can improve students’ story writing. They argued that the students’ motivation to write was also increased. The study was carried out through a controlled quasi-experimental study over 8 weeks of story-writing and drama-based programs. 29 third-grade classrooms in various schools, located in an urban district of Texas, were involved. The study also pre- and post-tested the students’ writing self-efficacy through story building. The study found that students were more able to use their cultural knowledge such as ‘culturally formed repertoires of language and experience to explore and express new understandings of the world and themselves…’ (p. 160) for creative writing purposes but needed more quality resources to support opportunities such as the Literacy for Life program. A most important finding was that for children who experience poverty, drama-based activities developed and led by teaching artists were extremely powerful and allowed the students to express themselves in entertaining ways. We do note that ‘entertainment’ and or engagement might mean different things for different students so reflexive approaches to deciding what these are would be necessary.

Steele’s ( 2016 ) study also looked at supporting teachers’ work in the classroom. Involving 6 out of 20 teacher workshop participants in Hawaii, this exploratory case study utilised observations, interview, and portfolio analyses of teacher and student work. Findings from the study showed that some teachers relished moving away from everyday ‘typical’ practice and increased student voice and choice. Other teachers, however, found it difficult to take risks and hence respond to student needs and ideas.

Dobson and Stephenson’s ( 2020 ) study focussed on the professional development of primary school teachers using drama to develop creative writing across the curriculum. The project was sponsored by the United Kingdom Literacy Association and ran for two terms in a school year. Researchers based the research on a collaborative approach involving academics and four teachers working with theatre educators to use process drama. Data sets included lesson observations, notes taken during learning conversations, and interviews with the teachers. The findings showed that three of the four teachers resisted some of the methods used such as performance; resulting in a lack of child-centred learning. The remaining teacher could take on board innovative practice, which the researchers attributed to his disposition. The study argued that these teachers, while a small participant group, needed more support in feeling confident in implementing new and creative approaches to teaching writing.

The final study, identified as addressing creative pedagogies for creative writing, was carried out by Yoo and Carter ( 2017 ) as professional development for teachers. Data included teacher survey responses and field notes taken by the researchers at each workshop (note: number of workshops and participants is unknown). The program aimed to investigate how emotions play a role in teachers’ work when teaching creative writing. The researchers found that intuitive joint construction of meaning was important to meet the needs of both primary and secondary teachers. A community of practice was established to support teachers’ identities as writers (see also Cremin et al., 2020 ). Findings showed that teachers who already identified as writers engaged more positively in the workshop.

These studies presented some approaches for teachers to consider how to teach creative writing. For example, the need to value unique spaces for students to write, including authentic connections with people and places outside of school environments was shared. Further, the need for quality stimuli and time for writing was acknowledged. Several other studies identified that blended teaching approaches to support student learning outcomes in the area of creative writing is important for schools and teachers to consider. We do acknowledge there may be other methods available to support students in creative writing, however, understanding what types of SEPs are impacting on teaching creative writing is an important step in determining improvements in schools.

Cultural emergent properties

Christianakis ( 2011a , 2011b ) wrote two papers about children’s creative text development with an emphasis on the cultural aspects. The first was an ethnographic study across 8 months with a year five class in East San Francisco Bay. The study included audio recording the students’ conversations and analysing over 900 samples of work. In the classroom, students were involved in a range of meaning-making practices including those that were arts-based and multimodal. The conversations with the students involved the researcher asking questions such: tell me more about this drawing, how did you come up with the idea? or why did you make this choice? The study found that there was a need for schools to reconceptualise the teaching of writing ‘to include not only orthographic symbols, but also the wide array of communicative tools that children bring to writing’ (p. 22). The author argued that unless corresponding institutional practices and ideologies were interrogated then improved practice was unlikely.

Christianakis’ ( 2011b ) second article, from the same project, explored more specifically the creation of hybrid rap poems by the children. She explicated how educators needed to negotiate and challenge dominant practices in primary classroom literacy learning. Like many studies before, a strong recommendation was to be more inclusive of youth popular cultures and culturally relevant literacies for students to be more engaged in creative writing practices. For Christianakis, culturally relevant literacies meant practices that embraced diversity in class and race and accounted for, and challenged, the dominant hegemonic curriculum that ‘privileges a traditional canon’ (p. 1140).

In summary, we found several themes under PEPs that could be considered for further research including those outlined in Table 3 below.

Discussion and implications for classroom practice

From this systematic literature review, several positions were exposed about the personal, structural, and cultural influences (Archer, 2012 ; Ryan, 2014 ) on teaching creative writing. These include limited teacher and student knowledge of what constitutes creative writing (Personal Emergent Properties [PEPs]), and no shared understanding or expectation in relation to creative writing pedagogy in their context (Cultural Emergent Properties [CEPs]). The negative impact of standardised testing and trending approaches on how teachers teach writing (CEP; Structural Emergent Properties [SEPs]) could also be considered (see AUTHORS 1 and 3, 2014 for example). In addition, teachers’ poor self-efficacy in terms of teaching creative writing (PEP); a paucity of quality professional development about teaching and assessing creative writing (SEP); and issues related to the sustainability of creative approaches to teach writing (SEP; CEP) need to be considered by leaders and teachers in schools. Our literature review advances knowledge about creative writing by revealing two interconnected areas that affect creative writing practices. Findings suggest that a parallel focus on personal conditions and contextual conditions—including structural and cultural—has the potential to improve creative writing in general. Below, we share some implications and recommendations for improved practice by focussing on both (1) personal views about creative writing and (2) the structural and cultural aspects that affect creative writing practices at schools.

Focussing on personal views about creative writing

School leaders and teachers must clearly define what creative writing is, what key skills constitute creative writing.

From our search it was apparent that schools and their educators often do not have a clear idea or indeed a shared idea as to what constitutes creative writing in relation to their own context. Without a well-defined focus for creative writing students may find it difficult to know what is required in classroom tasks and assessment. In addition, when planning for creative writing in school programs, teachers should consider flexible learning opportunities and choice for their students when developing their creative writing skills. Such flexibility should also involve choice of topic, ways of working (e.g. peer collaboration, individual activities etc.), and open discussions led by students in the classroom as shown throughout this paper. It would also be important for leaders and teachers to interrogate current approaches to teaching writing which we argued in the introduction to be formulaic and genre based.

Improve teacher self-efficacy, confidence, and content knowledge in teaching writing

Many of our studies showed that teachers who lacked confidence about writing themselves had less knowledge and skills to teach writing than those that may have participated in projects encouraging ‘teachers as writers’. Further, improved knowledge of grammar (as highlighted in Macken-Horarik’s, 2012 work); talk about writing in the classroom and other spaces (Cremin et al., 2020 ) and the writing process (see Ryan, 2014 ) could assist teachers in becoming more confident to take risks in the classroom with their students. Above all being playful about writing through extended conversations and practices is required.

Focussing on the structural and cultural resources

Improve training and further professional development and learning about teaching and assessing creative writing.

In order for the above personal attributes to be improved, further professional development and learning are required. Many of the papers presented throughout this review demonstrated the powerful impact of immersive professional learning for teachers. Working alongside professional authors, researchers, drama practitioners, visual artists, poets, for example, provided positive opportunities for teachers to learn about writing but also to feel more confident to teach it without imposing strict boundaries on students. We argue for professional development to be both formal and informal including such approaches as coaching and mentoring in the classroom. Demonstrated practice alongside the teacher is also recommended. This, in turn, would address the ongoing issue of creative writing being stifled for students in the classroom context.

Consider sustainability of creative pedagogic approaches and spaces for creative writing in curriculum planning

Many of the studies throughout this paper shared creative approaches to teaching writing but there were concerns that some of these methods may not be sustainable. It is important for school leaders to support the work of teachers in relation to teaching creative writing. We acknowledge that there is increasing uncertainty and scrutiny surrounding teachers’ everyday work (Knight, 2020 ), however, continued engagement in learning about and participating in creative pedagogy for writing is highly recommended. In addition, the studies suggested the provision of appropriate and authentic spaces in which students could creatively write and these often included spaces outside of the normal classroom environment and arts-based approaches implemented in such spaces. Teachers should be encouraged to collaborate and take risks rather than follow predetermined strategies for every lesson. A whole of school practice can be developed with important conversations about the ideologies that inform the school’s approach to writing.

Schools should not stifle creativity in the classroom due to the infiltration of standardised and/or trending approaches to teaching and assessing writing

It is evident that pedagogical approaches to teaching writing have been stifled by more formulaic methods aiming to meet expectations of standardised tests despite other evidence showing the benefits of more productive, engaging, and creative approaches to teaching writing as highlighted above. This can be particularly the case for students from non-dominant backgrounds where writing about cultural and life experiences through innovative practices has been proven to empower their voices (Johnson, 2021 ). The research shows that when students are offered rigid structures of texts, no choice of genres, and indeed word lists, their own decisions about writing are diminished (Ryan & Barton, 2013 ). It has been proven that students’ engagement and motivation to write can increase when they are able to write directly from their own experience or in social groups. It is therefore recommended that school leaders and teachers reconsider their ideologies about writing and explicitly indicate the importance of real-world purposes for writing—not just formulised, quick writing as usually included in external tests—but also those that encourage students’ growth in imagination, creativity, and innovative thought.

This systematic review used a lens of reflexivity to situate writing as a process of active and creative design whereby students make conscious decisions about their writing, with guidance from their teachers. As explained, we see creative writing as writing that engages a reader and, therefore, requires knowledge of authorial voice and appropriate word choice. This involves reflexive decisions relating to personal, structural, and cultural emergent properties. Predominant in the literature was the striking influence of CEPs or the values and expectations ascribed to writing, which in turn influence the strategies and resources (SEPs) and the experiences and motivations of students and teachers in the classroom (PEPs). Writing is about more than a series of perfectly formed sentences in a recognisable structure, which dominates conceptions of writing through high-stakes testing globally. It is about engagement with the expressive self, emergent identities, and relationships to places and people and above all communicating to and/or entertaining a reader. Without quality education in creative writing, society is at risk of losing an art form that is important for cultural practice and expression (Watson, 2016 ).

We do foresee several limitations with such a review, largely related to the positive nature of the studies in relation to creative approaches to teaching writing as well as the relatively small numbers of participants in some of the studies. Most of the studies reported favourably on the approaches taken by teachers to influence student motivation towards writing with limited comments about adverse effects. In terms of contributions, the notion that students need to draw on creative thought and ideas when writing means that teachers and leaders must think about diverse ways to teach writing. We argue, on the basis of the findings, that inquiry-based and reflexive professional learning projects about creativity are crucial for primary classrooms: what creativity means in different contexts and for different writers; how it is enabled; and the decisions and actions that emerge when creative and reflexive design guide our approach to classroom writing. Without quality knowledge and understanding of what creative writing is and how it is taught, we would be at risk of diminishing students’ self-expression and ability to communicate meaning to others in literary forms.

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Barton, G., Khosronejad, M., Ryan, M. et al. Teaching creative writing in primary schools: a systematic review of the literature through the lens of reflexivity. Aust. Educ. Res. (2023). https://doi.org/10.1007/s13384-023-00641-9

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How to Become a Creative Writing Teacher (And Enjoy It)

If you’re passionate about writing and want to share your love of the craft with others, becoming a creative writing teacher may be for you.

Creative writing is an art that offers students the opportunity to explore their creativity and improve their writing skills. Teaching this discipline requires not only expertise in writing but also the ability to inspire and guide aspiring writers on their journey to becoming better wordsmiths. Whether you’re looking to make extra money on the side or considering a full-time career, this guide will walk you through the steps of becoming a creative writing teacher, including dissertation data analysis help and resources for aspiring educators.

Become a Creative Writing Teacher: The Basics

The first step is getting the right qualifications, which typically include at least a bachelor’s degree in English or another related field. Having prior teaching experience and certifications would be a big plus. Once you have these things lined up, familiarize yourself with different lesson-planning resources and strategies. It will propel you to start strong when it’s time to teach. Finally, always be open to feedback from both your students and colleagues so you can continue growing as an educator. If you have a passion for writing and enjoy teaching, becoming a creative writing instructor could be a fulfilling career path. Now let’s get into the specifics, so you can have a better understanding of what the job entails.

5 Tips for Becoming a Creative Writing Teacher

Teaching others how to write it’s very fulfilling and allows you to share your unique perspective with your students. But there are several requirements you will need to meet to do it properly. Keep reading to see what they are:

1. Get a Degree in English or Creative Writing

While not required, having a relevant degree can give you an edge when applying for teaching positions. Formal education on the subject gives you the foundation in literature and composition that will be helpful when teaching how to write. People who wish to become creative writing teachers often attend college for additional writing training before sharing their expertise with others. This equips them to use various teaching approaches, whether it be through a traditional academic setting, an online course, a summer camp workshop, etc.

2. Consider Getting a Teaching Certification

Many states require teachers to have certain teaching certifications. Although it is not required for all positions, having one can make you more attractive as a candidate. Full-time courses usually take three to four years, while part-time courses take four to six years. If you have undergraduate credits from previous studies, you might complete a course in two years. There are also a lot of online writing certificate programs you can explore. Some of them are even conducted by bestselling authors and renowned educators, so you should check them out.

3. Start Your Own Writing Group or Workshop

This is a great way to get experience leading other writers. You’ll gain some insights into what it takes to be an effective teacher and learn how to communicate with your students . The most wonderful thing about starting a creative writing group is that you can build it exactly what you want it to be. It could be a workshop-style group where you read each other’s work. You can form a group where you meet up together and write, or just talk about writing or each other’s personal experiences in honing their craft. There are no rules. You can contact your writing sessions in a local café, or if that’s not possible, you can host the whole thing on a Facebook group.

4. Volunteer to Teach Creative Writing in Local Schools

Many educational institutions have after-school programs or summer camps that are always looking for volunteers. This is a great way to get your foot in the door and see if teaching is right for you. Most schools collaborate with volunteers who are or want to learn how to become creative writing teachers. You can teach how to edit and publish creative writing.

5. Be Patient and Persistent

Getting a job as a creative writing teacher can be competitive. Don’t get discouraged if you don’t land your dream position right away. Keep applying and refining your resume , and eventually, you’ll find the perfect fit! To become a creative writing teacher, consider getting a degree or teaching certification in English or creative writing. You can also start your writing group or workshop, or volunteer to teach creative writing in local schools. These will give you the training and experience you need to get closer to your goal.

Teaching Writing With True Excellence

We all know the importance of teaching writing. After all, as the saying goes, “If you can’t write well, you can’t think well.” And in today’s world, with so much emphasis on effective communication and clear thinking skills, it’s more important than ever to make sure our students are receiving a top-notch education on learning how to write. So what does true excellence in teaching writing look like? Here are five key concepts to consider:

1. High Expectations

As teachers, we need to have high expectations for our students’ writing abilities. This doesn’t mean that we should be unrealistic or overly critical. Rather, it means that we should expect them to produce quality work that meets or exceeds our standards. By setting the bar high from the beginning, we’ll give them a goal to strive for and help them develop their skills more quickly.

2. Quality Feedback

For our students to improve their writing abilities, they need regular quality feedback . This feedback needs to be specific and objective. Simply telling them “good job” or “nice work” will not help them improve. We need to point out what they’re doing well and where they can make improvements so that they can see their progress. The more specific you can get while providing feedback, the better.

3. Focus on the Process

It’s important to remember that writing is a process, not a product. This means that we should focus on helping our students with each step of the process, from brainstorming ideas to editing and revising their work. By focusing on the process, we’ll help them develop strong writing skills that will serve them well through life.

4. Setting an Example

Another important aspect of teaching writing is modeling good behavior for our students. If we want them to produce quality work, then we need to show them how it’s done. We can do this by sharing our writings with them (with permission, of course), or by demonstrating proper grammar, spelling, and punctuation usage in our daily communications with them. Another great idea is to encourage them to read as much as possible and introduce them to the classics so they can fully grasp what a great piece of literary art looks like.

5. Encouragement

Finally, one of the best things we can do as teachers is to encourage our students in their writing endeavors. This includes offering positive feedback when deserved, but also giving them that extra push in the right direction when the going gets tough. Letting them know you believe in their ability to improve and achieve great things will go a long way in helping them reach their full potential as writers. Teaching writing effectively requires high expectations, quality feedback, a focus on process, modeling, and encouragement.

Testing Your Students Through Writing Tasks

As a creative writing teacher, it’s essential to test your students’ skills and knowledge regularly. One way to do this is through writing tasks. By setting regular writing assignments, you can gauge your student’s progress and identify areas that need improvement.

Here are some tips for making the most of the writing tasks in your classroom :

• Make sure the task applies to what your students are currently studying. This will help them engage with the material and produce their best work.
• Clearly instruct what you expect from the finished product. This includes specifying word count, formatting requirements, etc.
• Provide feedback on each student’s performance after they submit their work. This helps them understand where they need to improve. It will also give you an idea of how well they are grasping the concepts being taught.

In short, get your students engaged in their learning by setting regular writing tasks. By making the tasks relevant and providing clear instructions, you’ll help them produce their best work. Don’t forget to provide feedback so they can understand where they need to improve. Many writing teachers are worried about the influence of artificial intelligence on the writing process. That’s why you need to explain that using AI bots for writing will teach them how to write, as it’s a form of “creative plagiarism.”

FAQ About How to Become a Creative Writing Teacher:

1. how do i start teaching creative writing.

There is no single answer to this question since there are many ways to become a creative writing teacher. The best way to teach creative writing will depend on your qualifications, experience, and goals. For example, if you have a degree in English or Creative Writing , you may teach at the college level. Alternatively, if you have significant experience as a writer but no formal education in the field, you may teach creative writing courses at community colleges or adult education centers. There are also online programs that allow people with no teaching experience to lead classes on specific topics related to creative writing. This could be an option for someone looking for flexibility and wanting to share their expertise with others without committing to traditional employment. No matter what route someone takes to become a creative writing teacher, they must possess excellent communication skills, patience, and creativity so they can encourage students to reach their fullest potential.

2. Can you teach writing when only have a creative writing degree?

Yes, you can teach creative writing with a degree in the subject. There are many ways to become a creative writing teacher, but most involve some level of formal education. Many universities offer degrees in creative writing, and there are also specialized schools that focus solely on teaching the craft of writing.

3. What degree do you need to teach creative writing in college?

Requirements for teaching creative writing at the college level can vary depending on the institution. However, most colleges and universities will require that their creative writing instructors have at least a master’s degree in English or Creative Writing. Many institutions may also prefer or require that candidates for teaching positions have prior experience teaching at the college level.

4. How Much Does a Creative Writer Make?

According to Zip Recruiter, the average yearly salary for creative writing teachers is $53, 608.00. But the range goes to as low as $46,000 a year for beginners, and up to over $100,000 a year for those who are in the biz for several years.

If you’re passionate about writing and want to share your love of literature with others, becoming a creative writing teacher may be the perfect career for you. By imparting your knowledge and expertise to students, you can help them develop their skills and find their voice as writers. Are you interested in becoming a freelance writer, working remotely, or improving your productivity and side hustle? I offer coaching and consulting services to help you achieve your goals. Visit my website or contact me today to learn more about how I can help you reach your full potential. Next up, you may want to explore a guide on how to become a columnist .

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Graduate Teaching Assistantships

A limited number of teaching assistantships are available to applicants in our masters programs. English Department TAs receive full tuition coverage along with health insurance and a modest stipend intended to help defray living expenses. Although tuition is paid in full, the arrangement does not cover university fees and other living expenses.

Availability of Assistantships

In the MA English and MS Technical Communication programs, we are able to offer assistantships to approximately one third of applicants. Assistantships are awarded upon admission and are only available for full-time students who begin their graduate work in the fall semester. In the MFA in Creative Writing program, all admitted students with an undergraduate GPA of 3.0 or higher are offered assistantships. To be considered for an assistantship in any program, you must apply by the Feb.1 deadline. Because our TA training program extends for the entire four semesters of the master’s degree, we can only consider students for TAships when they initially apply for admission.

Teaching Assignments

Teaching assignments are based on departmental need and vary by program. See descriptions in the blocks below.

• Most TAs in the MA and MFA programs prepare to teach composition in the First-Year Writing Program.
• TAs in the MS Technical Communication program prepare to teach Undergraduate Professional Writing.
• A smaller number of teaching appointments are available in creative writing, linguistics, film studies and literature.

Most graduate T.A.s in the M.A. and MFA programs will prepare to teach ENG 101, Academic Writing and Research, in the First-Year Writing Program (FYWP). These T.A.s assist ENG 101 faculty in the first year, participate in a one-week planning workshop the following summer, and teach their own sections in the second year. If you have an assistantship in the FYWP, you’ll follow the sequence of activities outlined below.

First year, Fall semester : Enroll in ENG 511, Composition Theory and Research,* in either the fall or spring semester of your first year. This course introduces prospective instructors to the theoretical and research scholarship that grounds current practices in writing pedagogy. You must earn a B or higher in ENG 511 to be eligible to participate in the TA program. In this first semester, you’ll also participate in meetings with FYWP Associate Director Zachary Beare to prepare for the mentoring semester. You’ll may also help plan and lead campus activities celebrating the National Day on Writing in October, under the leadership of the associate director.

First year, Spring semester : Shadow and assist a full-time lecturer in an ENG 101 class. TAs attend all class meetings of their mentor’s ENG101, in addition to attending weekly cohort meetings, maintaining a reflective teaching journal, and participating in ongoing programmatic professional development workshops. You will gain experience in these areas: designing and teaching mini lessons; designing and teaching whole class sessions; designing and teaching extended lessons across class days; conferencing with students (individually or in groups); and conducting formal and informal assessment. Mentors file mid-term and end-of-term readiness evaluations for each T.A., reviewed by the associate director. 

Summer following first year : Participate in a week-long course design workshop in May (directly following finals) to prepare to teach your own 101 course in the fall.

Second year, Fall semester : Teach one section of ENG 101 (4 credit hours). Enroll in ENG 624, Teaching College Composition.* This is the pedagogy practicum that supports the teaching cohort. Participate in FYWP professional development workshops. Mentors from the first year conduct classroom observations.

Second year, Spring semester : Teach one section of ENG 101. Participate in FYWP professional development workshops.

*ENG 511 and ENG 624 are 3-credit-hour graduate courses that may be used to fulfill open elective requirements in the M.A. or MFA program. In some M.A. concentrations, ENG 511 satisfies a distribution requirement. You must earn a B or higher in 511 in order to continue in the TA program.

Undergraduate Professional Writing

GTAs in the M.S. Technical Communication program train to become instructors of record for ENG 331 (Communication for Engineering and Technology), ENG 332 (Communication for Business and Management), or ENG 333 (Communication for Science and Research).

GTAs participate in two semesters of observation, training, and preparation in their first year. More specific details are available on the Inquiry-Guided TA Training page. Here is a brief overview of the T.A. training process and experience:

First year, Fall : Meet with your T.A. mentor, observe experienced teacher(s), attend PW seminars, and complete the Inquiry-Guided T.A. Training program.

First year, Spring : Continue to attend PW seminars, practice grading and participate in grade norming, practice delivering a full class session, create online resources and course materials, and get comfortable with classroom technology.

Second year, Fall : Teach ENG 331, ENG 332, or ENG 333 and participate in observations including pre-and post-meetings. GTAs teach a total of three sections (9 credit hours) in their second year; you’ll be scheduled to teach one section in fall and two in spring or vice versa. In the semester that you teach two classes, you will enroll in ENG 685 (MR Supervised Teaching) for 3 credit hours, the outcome of which will be a teaching portfolio.

Second year, Spring : Review ClassEvals. Teach ENG 331 or ENG 332 and participate in observations including pre-and post-meetings.

Program Contributions

T.A.s in the MSTC program also contribute to our teaching, research, and outreach missions in other ways during their four semesters at NC State. Examples of such activities may include:

• providing program assistance (website support, social media coordination, administrative support for MSTC and the Professional Writing program)
• participating in special projects (research to support program initiatives), and
• taking leadership roles in the Technical Communication Association student association (event planning, assisting with the annual SpeedCon Unconference).

Undergraduate Creative Writing

Around half of the MFA students will prepare to teach undergraduate courses in Creative Writing.  In the first year they shadow an instructor teaching ENG 287 — Explorations in Creative Writing — in preparation for teaching their own sections in the second year. If you have an assistantship in Creative Writing, you’ll follow the sequence of activities outlined below.

First Year : Be prepared to attend an ENG 287 course in either the fall or spring semester of your first year. This mentored teaching experience prepares students to teach Creative Writing (287, 288 Fiction Writing, or 289 Poetry Writing) through observation and participation. T.A.s attend all class meetings, assist regularly as needed, meet periodically with the professor for mentoring and feedback, and participate in weekly cohort meetings on-line. You will gain experience in these areas: designing and teaching a full class lecture and creating an exercise on a specific craft technique; teaching a workshop across two class days; conferencing with students (individually or in groups); and responding to student writing. 

In whichever semester you do not attend the ENG 287 course, you will informally visit and observe the classrooms of tenure-track faculty and second-year T.A.s teaching ENG 287-8-9. 

Summer following first year : Prepare a syllabus for 287, 288, or 289 and meet with the supervising teacher for discussion and approval.

Second Year:  Teach a total of three sections (9 credit hours) of ENG 287, 288 or 289. You’ll be scheduled to teach one section in fall and two in spring or vice versa.  MFA faculty will conduct classroom observations.

T.A.s also support the teaching mission of the Creative Writing program in other ways, including program assistance (website support, communication, publicity for events), special projects (research to support program initiatives), teaching technologies (utilizing smart classroom projects). T.A.s might be asked to facilitate a well-planned class activity for a professor who is away at a conference or presenting a reading.

Undergraduate Literature

Students in the Literature concentration of the M.A. English are eligible for appointment as a Graduate Teaching Assistant (GTA) with the Literature faculty through a new pilot program. One such appointment is available in Fall 2018.

First Year.  Fall Semester: The Literature GTA will take at least one, preferably two, graduate-level courses in their teaching area as part of their MA courseload. Spring Semester: The GTA will shadow a literature professor and make classroom visits to other undergraduate literature courses with follow-up discussion.

Second Year.  In the Fall Semester, the GTA will co-teach a 70-student section of relevant course (ENG 208 or ENG 251). This will include meeting in August with the professor of record to discuss syllabus, expectations, etc. The professor of record will offer lectures and the GTA will be responsible for leading weekly “labs” or discussion groups of 20+ students based upon the lectures and discussions offered by the teacher of record that week. Using a seminar-style discussion format, labs will be dedicated to a close analysis of the texts on the syllabus as well as a consideration of the role contextual issues (history and culture, for example) play in the texts. Grading oversight will be provided by the professor of record. In addition to grading responsibilities, Teaching Assistants will also be responsible for participating in other aspects of the course in order to prepare them for assuming the responsibilities of teaching a course themselves in the following semester. 

Second Year, Spring Semester. Upon successful completion of the preparatory work above, the GTA will teach his or her own section of the course they co-taught in the fall. 

Undergraduate Linguistics

Students in the Linguistics concentration of the M.A. English are eligible for appointment as a Graduate Teaching Assistant (GTA) with the Linguistics faculty.  One such appointments is available each year.  Alternatively, Linguistics students may be offered assistantships in the First-Year Writing Program. 

Teaching Support

The Linguistics GTA assists faculty teaching undergraduate linguistics courses, with assignments coordinated by the program director.  Ordinarily, Linguistics TAs will serve three different courses during their two years at NCSU: ENG 210 (Introduction to Language and Linguistics), ENG 326 (History of English), and either ENG 324 (Modern English Syntax) or another linguistics course such as ENG 525 (Variety in Language) or ENG 584 (Ethnolinguistics). These courses have been selected in large part because they are the courses that students are most likely to be asked to teach if they enter the college teaching profession later in their careers, though program needs may also figure into assignments. TAs consult regularly with faculty mentors and perform tasks as needed for the class, such as:

• Attending class whenever possible and taking careful notes on the lectures—not just on the content, but on how the faculty mentor teaches it.  This is crucial so that the TA has materials with which to teach a similar course in the future.
• Filling in for the faculty  mentor on occasion if needed.  The TA may also have opportunities to lecture when the faculty mentor is present.
• Helping with in-class exercises and assisting students in the process.
• Collecting and keeping records of daily attendance. 
• Grading homework assignments, quizzes, and tests.
• Recording homework, quiz, and test grades in a spreadsheet and sending updates of it to the faculty mentor periodically.
• Holding regular office hours during which students can meet with the TA.
• Assisting the faculty mentor in other ways as needed.

The Linguistics program may utilize TAs in support of our teaching, research, and outreach mission in other ways, such as program assistance, special projects, and technological assistance. Examples of such activities include staffing the linguistics booth at the North Carolina State Fair, assessing video documentaries, preparing equipment for fieldwork, updating the interview archive (SLAAP), working with faculty on research projects and presenting them at academic conferences, and participating in the annual dialect curriculum teaching in Ocracoke. T.A.s also customarily serve, with pay, as proctors for the Linguistics Laboratory (Tompkins 204).

Undergraduate Film Studies

Students in the Film Studies concentration of the M.A. English are eligible for appointment as a Graduate Teaching Assistant (GTA) with the Film Studies faculty. One such appointment is available each year. Alternatively, Film Studies students may be offered assistantships in the First-Year Writing Program.

First Year:  The Film Studies GTA assists faculty teaching undergraduate film courses, with assignments coordinated by the program director. Whenever feasible, Film TAs will have opportunities to work with different faculty members in each semester.  Supervising instructors provide the TA with opportunities to observe and participate in the following aspects of teaching film:

• delivering a lecture and leading discussion
• writing and/or grading written assignments
• meeting individually with students to work on assignments, including papers  

The TA meets regularly with the faculty mentor to discuss the course and receive feedback on his or her performance. 

Summer following first year:  Prepare a syllabus for 282 and meet with supervising teacher for discussion and approval.

Second Year:  Film TAs teach their own sections of ENG 282, Introduction to Film.

The Film program may utilize TAs in support of our teaching mission in other ways, including program assistance (website support, communication, publicity for events, archiving holdings); special projects (research to support program initiatives); and teaching technologies (dubbing clips for classes, and supervising production projects). TAs might be asked to run a screening for an absent professor (i.e. one travelling to present a paper at a conference) or to facilitate another well-planned activity.  

University and Department Definitions and Expectations

Teaching Assistantships at NC State are defined by the Graduate School as half-time appointments. The workload in English thus averages about 20 hours per week. Depending on teaching assignment, this workload may be somewhat lighter in the first year, when T.A.s are beginning their training and assisting other instructors, and heavier in the second year, when they may be teaching classes of their own. TAs may register for no more than 9 hours per semester when teaching.

In the first year, TAs must earn 18 graduate credit hours in English to be eligible to teach their own ENG classes in the second year. This requirement does not pertain to TAs who will not be teaching their own courses.

Reappointment to a second year of an assistantship requires successful progress toward the degree as measured by maintaining a 3.0 or higher GPA, the completion before the fall of the second year of 18 hours of graduate credit in English, and the recommendation of those who have taught and supervised the TA during the initial year.

KS2 English: Write a script

BBC Teach > Primary Resources > English KS2 > Creative art, design and writing skills

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Video transcript video transcript.

Naomi: Hello! Guess where I am? I’m on the set of a new teen drama called ‘Flatmates’.

Naomi: Lets go and have a look around!

Naomi: Right now, the team are very busy getting this set to get it ready for filming, but behind the scenes there is a whole other team all using their creative skills in different ways to achieve different things.

Naomi: Like the producer who will be organising all the filming schedules or getting all the cast and crew assembled,

Naomi: or the art director who will be putting the final touches onto all the props that will bring this set to life.

Naomi: Now of course none of this would be able to happen without scripts and on a production like this there is a whole team of script-writers and script editors and its their job to put down on paper a vision that the rest of the team will bring to life for you to watch.

Naomi: Can you imagine having an idea for a story in your head that will be transformed into a complete production by a huge team of people?

Naomi: I wonder how I would get started on something like that? Here’s our script writing master to tell us more.

Naomi: Bronagh Taggart is one of the script writers on Flatmates, and has written for a whole range of children's programmes.

Bronagh: One of the golden rules for writing for television is the 'show don't tell' rule.

Bronagh: What that means is that its better to show something rather than to write lots of dialogue or lots of action.

Bronagh: For example, if you wanted to show that one of your characters was scared, instead of writing lots of dialogue you could actually show that with something as simple as 'their hands are shaking'.

Bronagh: Or if you wanted to explain that their had been a fight, instead of writing a long scene filled with lots of action you could just cut to someone with a black eye or an injury.

Bronagh: Your challenge is to write a scene for your own TV show and to try and use the 'show don't tell' rule.

Bronagh: Go get creative!

Naomi: Oh, nice challenge. I can’t wait to get started on this one!

Naomi: But I’m going to need some help, I wonder who my helpers are?

Naomi: This is Lucy and her creative superpower is vocal acrobatics!

Naomi: Next we've got Rosa and she can pull out a performance any time, any place!

Naomi: And finally its Oliver, and he's got super-fast tapping feet!

Naomi: So what do you think of this challenge? You like it?

Oliver: Can we pick any programme we want?

Naomi: As long as it has recognisable characters that we can write lines for. So we'll choose a programme that we like, take two or three characters from that show and then we'll write a scene that they can feature in.

Naomi: Tell you what can help is choose a setting, something like a doctor’s waiting room, for example, and then it'll be our task to work out the story behind why they are there.

Rosa: So maybe like a shop or a grocery store?

Naomi: Thats a perfect idea! A grocery store would be great. I've got some scripts here that you can have a look at, see how they're laid out…

Naomi: While you take a look at those, here are a few things you're going to need if you would like to take on this challenge.

Naomi: A pen or pencil,

Naomi: some paper,

Naomi: and some scripts to compare for layout.

Naomi: Right, so now we know what a script looks like it’s time to get some ideas down on paper.

Naomi: I am loving these ideas! The next step is to write our scenes. We're going to work together as a group but you can work alone if you prefer.

Naomi: Look for ways to show, not tell.

Naomi: Remember TV is all visual so you don't need to write long conversations or dialogue.

Naomi: Try to think about how the character would say something and not how you would say something.

Naomi: Well done team, we have totally nailed this! Excellent work! How about we try and act it out?

Naomi: Who's going to play what part?

Oliver: I'll be Timmy!

Rosa: I'll be Granny.

Lucy: And I'll be the Zookeeper.

Naomi: Does that mean I'm director? Perfect! Places please!

Oliver: Don't worry penguins, I'll set you free!

Naomi: He opens the gate and the penguins waddle out!

Rosa: Timmy, Timmy where are you? Its time to get lunch!

Naomi: A penguin waddles past Granny B and she pats it on the head.

Lucy: Why are you holding hands with a penguin?

Rosa: Its not a penguin, its Timmy!

Naomi: If you enjoyed this challenge there are loads more over on the BBC Teach website.

Naomi: You can design a chair, write a poem or produce a stop-motion animation!

Naomi: Go on, get creative!

Video summary

This short film presents a real-world context for writing a script and challenges children to write a short script for a TV show.

The presenter, Naomi Wilkinson, is on the set studio of a popular CBBC show. A group of children are invited to take on the challenge of writing a short script for characters of their choice from the show.

Our ‘Master’ scriptwriter will add to the challenge by inviting the children to use the ‘show don’t tell’ rule, a golden rule of writing for the screen.

Using CBBC scripts as a guide, the children write their own short scenes, which are shared at the end of the film. You can download scripts from Children’s television shows from the BBC Writersroom .

This short film is from the BBC series, Get Creative.

Teacher Notes

Before Watching

Talk to your pupils about their favourite TV shows. Ask them if they think there is anything different about writing a script to a story.

Share some of the scripts from the BBC Writersroom website or select some sections to show them.

You may want to create a class list of scriptwriting features to display as a reminder when children are writing.

After Watching

This activity can be done in groups, pairs or individually.

Give your pupils a few moments to pick the show and characters. Now, ask them to decide on a setting and scenario (i.e. where is this scene and what is the drama?)

The suggestions in the film are a doctors surgery or grocery store, but encourage children to be as creative as they like.

Allow them 10-15 minutes to write (cap the length of the scene to 1-2 pages, tops). You may want to display the Thinking Questions to help guide the writing.

As an extra challenge invite them to incorporate the ‘Master Skill’.

Master Skill

The words ‘show don’t tell’ are used constantly in the writing world – put simply it means think visually and allow visuals to show you what is happening and how characters are feeling, rather than you as a writer telling the reader/audience.

For example: Susan was very scared. Is more powerful when you show that feeling, rather than tell it.

In a story you might write: Susan hesitated. Her breath quickened and her hand began to tremble.

In a script you would write this as action. Susan hesitates. Her breath quickens and her hand begins to tremble.

Or you might include it as dialogue/action.

Rather than: Susan: I’m scared.

It would be more interesting to write:

Susan: (whispering) I don’t think we should go in there… we don’t know what we might find.

Discuss the concept of making your scripts more interesting and powerful by ‘showing not telling’ and having the characters put across their thoughts/feelings without outwardly saying them.

You may want to model this with examples as above.

Thinking Questions

• Who is in my scene?
• Where is my scene?
• How do the characters talk and interact with each other?
• Where is the conflict or drama in my scene?
• What are my characters thinking and feeling and how can I show this through their dialogue (without them saying outright)?

Supported Learning and SEN

The complexities of script-writing could be a lot for children who struggle with the written word to take on, however drama and spoken word can be a lot of fun and freeing for these children too. And thinking in terms of the visuals of a television show may appeal to those not usually enthused by written material.

There are many ways you could make this challenge more accessible for children, here are a few ideas:

• Have children improvise the scenes in pairs/groups first.
• Allow an adult or more abled peer to scribe for the group.
• Consider recording the improvised scenes on a tablet, as a reminder for when they come to write, or as a way of taking writing out altogether.
• Create a template with script layout and names already included.
• Create a support sheet with spellings of names, difficult words.

Extend this Activity

• Perform the scenes in a live showcase for parents/assembly/another class or just each other.
• Film the scenes and make short movies – you could upload these to the school website.
• Use the scenes to create another piece of writing – a short story, a news report.
• Write a ‘How to Write A Script’ fact sheet, that can be kept for future reference or shared with other classes, or the school website.

Curriculum Notes

This short film is designed to support the teaching of creative writing for KS2 in England, Wales, Northern Ireland and for 2nd level in Scotland.

In England the video offers pupils a chance to write with purpose in context, using the skills of notation and editing whilst also providing the opportunity to read work aloud and work towards mastery through developing specific key skills.

In Wales the video provides an opportunity for pupils to write creatively with chances to adapt their writing for purpose, use a range of language skills, note ideas and plan their writing then reflect, redraft and improve their work.

In Northern Ireland the video gives pupils the opportunity to participate in independent or group writing, select, plan and adapt their writing for purpose, express thoughts and feelings through their imaginative compositions, experiment with language and practise the skills of revising and redrafting their compositions.

In Scotland the video presents pupils with an example of contextual writing to explore, from which they can create their own pieces of writing from notes, use appropriate vocabulary, language and style to engage their reader and check their writing for sense and purpose.

This short film will help children to:

• Participate in shared and independent creative writing.
• Analyse the features of a specific writing style (scripts) and create their own.
• Adapt writing to suit a purpose.
• Use dialogue to convey character and further plot.

More from creative art, design and writing skills

Write a poem. video Write a poem

In this short film for primary schools, Naomi Wilkinson and a group of children are challenged to write a poem for someone they know.

Create a story. video Create a story

A visit to the Newsround studio presents real-life context for telling a story and a challenge for children to tell a story as a short news report.

Write song lyrics. video Write song lyrics

Karim Zeroual and a group of children take on the challenge of writing their own song lyrics.

The challenge of being a creative person once you’ve created a person

A very tired parent’s tips for writing a book while also doing all the other things.

Eight or nine years ago, an old friend called seeking advice. She was trying to write a novel, but she was also a new mom with a full-time job, and she was exhausted. I, who had breezily published a couple of books by then, offered my best wisdom. You have to push through, I told her sternly. You have to take your own writing seriously, or nobody else will. Set aside two hours every night. Put on the coffee and push through the exhaustion. You can and will do it.

Years passed. Then I, too, had a baby. Then I, too, set out to write a book while also being a mother with a full-time job. And somewhere in the middle of this endeavor, I called my friend and asked whether my advice had been as bad as I was beginning to sense it had been. No, she told me cheerfully, it had actually been much worse. The callousness of it had shocked her, she said, until she decided that I simply hadn’t known any better and that, when I did, I would apologize.

God, I’m so sorry.

My first post-baby book came out today, and I have been thinking, almost nonstop, about the relationship between creativity and motherhood. I used to love reading articles with titles such as “The daily routines of 10 famous artists,” until I realized that Leo Tolstoy may have finished his masterpieces by locking his study doors to ensure uninterrupted productivity, but, like, what were his 13 children doing while he was in there? Did anyone check in on Mrs. Tolstoy? For the women I know, there is no setting aside a few hours at the end of the workday. The end of the workday is the beginning of the parent day. The end of the parent day is never, because 2-year-olds wake cheerfully at 5 a.m., and strep throat comes for us all.

Where, in this schedule, was the life of the mind? TikTok would not stop showing me videos of mothers showing off their “realistic beauty routines,” but what I really wanted were realistic creativity routines: the mothers who didn’t give a crap about heatless curlers, but had somehow composed a cello sonata while working five days a week as a dental hygienist.

In my bleariest days of early parenthood, I met a woman at the playground who had just finished doing something extraordinary (Triathlon? Solo art exhibit?), and when the rest of us asked her how she’d found the time, she shrugged and said, modestly, “Oh, you know.” But the point was that we didn’t know, and we were desperate for her to tell us. (Live-in grandparents? Adderall?)

The bigger point is that we weren’t really trying to figure out how to compete in triathlons. We were trying to figure out how to be people.

When you have a baby or a toddler, reminding yourself that you are a full person with your own dreams and needs can feel both completely vital and completely impossible. But being a full person is a sacred legacy to give to a child. My own mother is a folk artist. When I was growing up, she made Ukrainian eggs in the frigid concrete sunroom, a space heater at her feet, and her works were shown and sold at galleries around the Midwest. I knew then, and I know now, that my mother would die and kill for me. But I also knew that she loved other things, too. She had loved those things before she ever knew me. She had secrets and wisdom to pass on.

Her work had nothing to do with me, yet it was a gift. It paid for my brother and me to go to summer camp. It went on display at the Art Institute of Chicago, and we visited it, as well as the Seurats and the Hoppers, and ate granola bars. When my mother dies, I will carefully unwrap the tissue paper surrounding the astonishing works of art she gave to me over the years, and I will sob.

I want that for my own daughter. I want her to know that motherhood doesn’t have to atrophy personhood; it can expand it.

And in wanting that, desperately, I came up with a routine that allowed me to maintain a grip on the parts of me that were me before I was a mother. A realistic creativity routine, if you will.

I write between the hours of 10 p.m. and midnight, unless it turns out that I write between the hours of 2 a.m. and 4. I write 300 to 400 words every time I am on the Metro; I write 30 to 40 words each time I pick my daughter up from day care, in the three-minute gap between when I ring the outer bell and when a teacher’s aide comes to let me inside. I write badly. I write very, very badly, vaguely remembering a quote I’d once heard attributed to author Jodi Picoult, about how you can always edit a bad page, but you can never edit a blank page.

Does it look like the routines of Tolstoy, or Virginia Woolf, or anyone else I may have once read about in an article about the routines of famous artists? It does not. But the bad pages get edited, and then they get good.

Pursuing creativity as a working mom means, in other words, letting go of any romantic notions of what creativity means or looks like.

It means not waiting for inspiration to strike, but instead striking inspiration, bludgeoning it upside the head and wrestling it to the ground. Inspiration is a luxury, and once you realize that, you can also understand that the ability to create something through sheer force of will — without inspiration, without routine, without time — is a far more creative act than relying on a muse.

If my old friend called me now, I think that is what I would say to her. That, and:

You will not be Mark Twain, summoned by a horn when it’s time to eat the dinner someone else has prepared. You will not be going on Tchaikovsky’s vigorous two-hour walks through the countryside or spending the morning shopping for inspiring objects like Andy Warhol.

But you will create something. Not by pushing through the exhaustion so much as living alongside it, and then peering beyond it, and then stopping, and then starting, and then having superhuman discipline, and then eating a whole package of Oreos, and then finishing something beautiful at 2 a.m. and sneaking into your child’s room to see another beautiful thing, and then thinking about how the things that make us the most tired are the things that give us reason to create at all.

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Why writing by hand beats typing for thinking and learning

Jonathan Lambert

If you're like many digitally savvy Americans, it has likely been a while since you've spent much time writing by hand.

The laborious process of tracing out our thoughts, letter by letter, on the page is becoming a relic of the past in our screen-dominated world, where text messages and thumb-typed grocery lists have replaced handwritten letters and sticky notes. Electronic keyboards offer obvious efficiency benefits that have undoubtedly boosted our productivity — imagine having to write all your emails longhand.

To keep up, many schools are introducing computers as early as preschool, meaning some kids may learn the basics of typing before writing by hand.

But giving up this slower, more tactile way of expressing ourselves may come at a significant cost, according to a growing body of research that's uncovering the surprising cognitive benefits of taking pen to paper, or even stylus to iPad — for both children and adults.

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In kids, studies show that tracing out ABCs, as opposed to typing them, leads to better and longer-lasting recognition and understanding of letters. Writing by hand also improves memory and recall of words, laying down the foundations of literacy and learning. In adults, taking notes by hand during a lecture, instead of typing, can lead to better conceptual understanding of material.

"There's actually some very important things going on during the embodied experience of writing by hand," says Ramesh Balasubramaniam , a neuroscientist at the University of California, Merced. "It has important cognitive benefits."

While those benefits have long been recognized by some (for instance, many authors, including Jennifer Egan and Neil Gaiman , draft their stories by hand to stoke creativity), scientists have only recently started investigating why writing by hand has these effects.

A slew of recent brain imaging research suggests handwriting's power stems from the relative complexity of the process and how it forces different brain systems to work together to reproduce the shapes of letters in our heads onto the page.

Your brain on handwriting

Both handwriting and typing involve moving our hands and fingers to create words on a page. But handwriting, it turns out, requires a lot more fine-tuned coordination between the motor and visual systems. This seems to more deeply engage the brain in ways that support learning.

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"Handwriting is probably among the most complex motor skills that the brain is capable of," says Marieke Longcamp , a cognitive neuroscientist at Aix-Marseille Université.

Gripping a pen nimbly enough to write is a complicated task, as it requires your brain to continuously monitor the pressure that each finger exerts on the pen. Then, your motor system has to delicately modify that pressure to re-create each letter of the words in your head on the page.

"Your fingers have to each do something different to produce a recognizable letter," says Sophia Vinci-Booher , an educational neuroscientist at Vanderbilt University. Adding to the complexity, your visual system must continuously process that letter as it's formed. With each stroke, your brain compares the unfolding script with mental models of the letters and words, making adjustments to fingers in real time to create the letters' shapes, says Vinci-Booher.

That's not true for typing.

To type "tap" your fingers don't have to trace out the form of the letters — they just make three relatively simple and uniform movements. In comparison, it takes a lot more brainpower, as well as cross-talk between brain areas, to write than type.

Recent brain imaging studies bolster this idea. A study published in January found that when students write by hand, brain areas involved in motor and visual information processing " sync up " with areas crucial to memory formation, firing at frequencies associated with learning.

"We don't see that [synchronized activity] in typewriting at all," says Audrey van der Meer , a psychologist and study co-author at the Norwegian University of Science and Technology. She suggests that writing by hand is a neurobiologically richer process and that this richness may confer some cognitive benefits.

Other experts agree. "There seems to be something fundamental about engaging your body to produce these shapes," says Robert Wiley , a cognitive psychologist at the University of North Carolina, Greensboro. "It lets you make associations between your body and what you're seeing and hearing," he says, which might give the mind more footholds for accessing a given concept or idea.

Those extra footholds are especially important for learning in kids, but they may give adults a leg up too. Wiley and others worry that ditching handwriting for typing could have serious consequences for how we all learn and think.

What might be lost as handwriting wanes

The clearest consequence of screens and keyboards replacing pen and paper might be on kids' ability to learn the building blocks of literacy — letters.

"Letter recognition in early childhood is actually one of the best predictors of later reading and math attainment," says Vinci-Booher. Her work suggests the process of learning to write letters by hand is crucial for learning to read them.

"When kids write letters, they're just messy," she says. As kids practice writing "A," each iteration is different, and that variability helps solidify their conceptual understanding of the letter.

Research suggests kids learn to recognize letters better when seeing variable handwritten examples, compared with uniform typed examples.

This helps develop areas of the brain used during reading in older children and adults, Vinci-Booher found.

"This could be one of the ways that early experiences actually translate to long-term life outcomes," she says. "These visually demanding, fine motor actions bake in neural communication patterns that are really important for learning later on."

Ditching handwriting instruction could mean that those skills don't get developed as well, which could impair kids' ability to learn down the road.

"If young children are not receiving any handwriting training, which is very good brain stimulation, then their brains simply won't reach their full potential," says van der Meer. "It's scary to think of the potential consequences."

Many states are trying to avoid these risks by mandating cursive instruction. This year, California started requiring elementary school students to learn cursive , and similar bills are moving through state legislatures in several states, including Indiana, Kentucky, South Carolina and Wisconsin. (So far, evidence suggests that it's the writing by hand that matters, not whether it's print or cursive.)

Slowing down and processing information

For adults, one of the main benefits of writing by hand is that it simply forces us to slow down.

During a meeting or lecture, it's possible to type what you're hearing verbatim. But often, "you're not actually processing that information — you're just typing in the blind," says van der Meer. "If you take notes by hand, you can't write everything down," she says.

The relative slowness of the medium forces you to process the information, writing key words or phrases and using drawing or arrows to work through ideas, she says. "You make the information your own," she says, which helps it stick in the brain.

Such connections and integration are still possible when typing, but they need to be made more intentionally. And sometimes, efficiency wins out. "When you're writing a long essay, it's obviously much more practical to use a keyboard," says van der Meer.

Still, given our long history of using our hands to mark meaning in the world, some scientists worry about the more diffuse consequences of offloading our thinking to computers.

"We're foisting a lot of our knowledge, extending our cognition, to other devices, so it's only natural that we've started using these other agents to do our writing for us," says Balasubramaniam.

It's possible that this might free up our minds to do other kinds of hard thinking, he says. Or we might be sacrificing a fundamental process that's crucial for the kinds of immersive cognitive experiences that enable us to learn and think at our full potential.

Balasubramaniam stresses, however, that we don't have to ditch digital tools to harness the power of handwriting. So far, research suggests that scribbling with a stylus on a screen activates the same brain pathways as etching ink on paper. It's the movement that counts, he says, not its final form.

Jonathan Lambert is a Washington, D.C.-based freelance journalist who covers science, health and policy.

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Creative writing grade 9 vocabulary courtesy of Taylor Swift

Subject: English

Age range: 14-16

Resource type: Assessment and revision

Last updated

20 May 2024

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