creative writing resources for teachers

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How to Teach Writing - Resources for Creative Writing Teachers

Fiction writing course syllabus with lesson plans, fiction writing exercises and worksheets, resources for teaching introductory poetry writing, resources for teaching children.

How to teach writing - general thoughts

• help students to understand the elements of craft (e.g., story structure, poetic meter, etc.) so that they can recognize them in their reading and consciously experiment with them in their writing.
• open students' eyes to the options available to them when they write a story or poem (e.g., "showing" instead of "telling", using different kinds of narrators and narrative viewpoints, using different poetic forms).
• encourage students to become close observers of the world around them and to find creative material in their environments.
• teach students the value of specificity, of using all five senses to discover details that may not be obvious to the casual observer.
• help students to separate the processes of writing and editing, to avoid self-criticism while writing their rough drafts to allow ideas to flow freely (for this to work, their teachers also have to avoid criticizing rough drafts!). Teach students to treat self-editing as a separate stage in the writing process.
• get students reading in the genre they'll be writing; e.g., if they're writing poetry, encourage them to read a lot of poems.
• help students learn to trust their own perspectives and observations, to believe that they have something interesting to say.
• teach students not to wait for inspiration, that they can write even when not inspired.
• get students excited about writing!

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Best Websites for Teaching & Learning Writing

Our favorite free and paid writing resources across the web!

Writing is one of the most important skills students can learn in school. Writing skills are linked to reading skills and to overall academic achievement. Luckily, there are loads of interesting and engaging websites to help make writing instruction fun. To help you get started, here’s a list of the best writing websites for teaching and learning.

With 9 million members and 800,000 participating K-12 classrooms, Storybird  is the world’s largest language arts program. With Storybird, students can create short, visual stories on their own or with friends. In addition, this writing curriculum is aligned with Common Core standards and offers over 600 lessons, quizzes, and writing prompts created by seasoned educators and authors.

Cost: Free trial, subscription

Writing A-Z

With thousands of downloadable and projectable resources for writing instruction, as well as a collection of interactive online writing tools, Writing A-Z helps teachers meet the needs of every student at every learning level. In addition, teachers can track students’ progress, making individualized instruction a snap.

Story Jumper

StoryJumper is a free storybook creation site for students in grades 1-8. Students create their own original stories, then add their own artwork or access images from StoryJumper’s library. Kids can write alone, collaborate with classmates or even connect with students around the world. In addition, the site includes teacher guides, writing projects, templates, and more.

Cost: Free, Prices vary for printed books

Features an expansive, curated collection of story-starts created by renowned authors such as Jeff Kinney (Diary of a Wimpy Kid) and Jeff Bruel (Bad Kitty). Students read the first chapter of a story, then write, edit and revise the next chapter themselves online. As a class project, teachers can assign all students the same story starter. Once all the stories are written, students can anonymously read other entries and peer assess and vote for the best version of the story.

Cost: $12.99 per book

Write About

An authentic classroom writing community and publishing platform built by teachers for teachers. Access units and lessons, free choice and creative writing tips, journaling lessons, quick writes, and more for students K-12.

Cost: Free, Premium and Premium Plus versions

Storium.edu

This innovative, collaborative writing game revolves around digital story cards that represent different aspects of storytelling and character development. Along with visual cues, the cards serve as writing prompts, helping students figure out what to write next at each step of the game. Students take turns playing story cards and adding to the story. Paragraph by paragraph, they collaboratively write their own original story simply by playing the game.

Elementari integrates coding into writing as students create and publish simple interactive and animated digital stories. Using the online platform, students write and code, share, and remix interactive stories using professional illustrations and sounds. Teachers can monitor progress and offer personalized feedback to help students grow as writers.

Access 1000+ writing assignments and prompts organized by collection, genre, or grade level with Writable. Scaffold instruction and motivate your students to become purposeful, proficient writers. Also available: Skills activities, graphic organizers, quick writes, response to reading, and much more

Magnetic Poetry

Just like the fridge magnets we all know and love, this tool offers a selection of words and screen space for students to create their own poetry. They can request more words, start over and even share their poetry electronically. Magnetic Poetry is a perfect choice as a writing station or an option during creative play.

Make Beliefs Comix

Students of all ages love creating their own worlds through comic strips. MakeBeliefs Comix provides story ideas and comic starters as well as a gallery of comics for inspiration. Students choose from a wide cast of characters with different looks and moods and then write the words and thoughts for them. Also featured on this site: videos, writing tools, lesson plans, a special needs section, and an ideas exchange.

Read, Write, Think

Sponsored by the National Council of Teachers of English, this site offers high-quality, standards-aligned education materials for students K-12. Featuring hundreds of lesson plans, calendar resources, printouts, and interactive tools such as story maps, plot diagrams, timelines, and more.

PicLits is an e-learning website that utilizes photography and keywords to improve students’ literacy skills with an emphasis on interactive, visual learning. Inspired by an image, students create a caption, sentence, story, paragraph, poem, or even a quotation to capture the essence, story, and/or meaning of that image.

iWrite offers free online creative writing and illustration activities for kids in grades 1-8. In addition, they help writers take advantage of innovative online writing clubs, camps, workshops, and publishing opportunities. iWrite TV offers videos on topics like brainstorming, genre and theme, setting and description. and more.

Grammarly for Education

Grammarly helps students polish up their communication skills. A great student writing aid, it allows students to check their writing for typos, commonly confusing words, tricky sentence structure, and more. And Grammarly has hundreds of informative blogs such as H ow to Write a Research Paper, How to Write a Poem, and Grammar Tips.

Cost: Free basic plan, Subscription Education options.

StoryboardThat

StoryboardThat is an easy drag-and-drop creation platform with cross-curricular applications for writers K-12. With over 3,000 lesson plans and activities , teachers can create materials and lessons for their classes which will help students can take ownership of their voice and learning.

Grammar Girl

One of Writer’s Digest’s 101 best websites, Mignon Fogarty offers “Quick and Dirty Tips” with blogs and videos such as Top Ten Grammar Myths and Can You Start a Sentence with And to help students become the best writers possible.

NaNoWritMo Young Writers Program

NaNoWritMo’s Young Writers Program supports young writers and K-12 educators as they participate in National Novel Writing Month each November and offers smaller writing challenges year-round. Kids can track their word-count goal for the month and draft their novel right on the site. Plus, they can get support from published authors and an international community of fellow novelists.

Power Poetry

The largest online poetry community in the world and a safe, creative, free place for teen poets and teachers. Chock full of resources, there are lesson plans, classroom activity guides, and printable worksheets to help you in the classroom.

Poetry Foundation Teen Section

The Poetry Foundation offers a variety of articles, videos and podcasts to help teens in all aspects of poetry. You’ll find tips on understanding and writing poems along with featured poems by famous poets. The Poetry Foundation also has a Children Section as well as a Teacher Section.

Time4Writing

Free writing resources for students K-12 in seven main categories. Each category includes a selection of fun writing games, instructional videos, printable writing worksheets, and other writing tools. This site also offers online courses with writing instruction by certified teachers.

Cost: Free resources, Fees for online courses

What are your favorite writing websites for the classroom? Share in the comments below!

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30 Ideas for Teaching Writing

The following ideas originated as full-length articles in National Writing Project publications over a 30-year period from 1974-2004. Links to the full articles accompany each idea.

Table of Contents: 30 Ideas for Teaching Writing

• Use the shared events of students’ lives to inspire writing.
• Establish an email dialogue between students from different schools who are reading the same book.
• Use writing to improve relations among students.
• Help student writers draw rich chunks of writing from endless sprawl.
• Work with words relevant to students’ lives to help them build vocabulary.
• Help students analyze text by asking them to imagine dialogue between authors.
• Spotlight language and use group brainstorming to help students create poetry.
• Ask students to reflect on and write about their writing.
• Ease into writing workshops by presenting yourself as a model.
• Get students to focus on their writing by holding off on grading.
• Use casual talk about students’ lives to generate writing.
• Give students a chance to write to an audience for real purpose.
• Practice and play with revision techniques.
• Pair students with adult reading/writing buddies.
• Teach “tension” to move students beyond fluency.
• Encourage descriptive writing by focusing on the sounds of words.
• Require written response to peers’ writing.
• Make writing reflection tangible.
• Make grammar instruction dynamic.
• Ask students to experiment with sentence length.
• Help students ask questions about their writing.
• Challenge students to find active verbs.
• Require students to make a persuasive written argument in support of a final grade.
• Ground writing in social issues important to students.
• Encourage the “framing device” as an aid to cohesion in writing.
• Use real world examples to reinforce writing conventions.
• Think like a football coach.
• Allow classroom writing to take a page from yearbook writing.
• Use home language on the road to Standard English.
• Introduce multi-genre writing in the context of community service.

1. Use the shared events of students’ lives to inspire writing.

Debbie Rotkow, a co-director of the Coastal Georgia Writing Project, makes use of the real-life circumstances of her first grade students to help them compose writing that, in Frank Smith’s words, is “natural and purposeful.”

When a child comes to school with a fresh haircut or a tattered book bag, these events can inspire a poem. When Michael rode his bike without training wheels for the first time, this occasion provided a worthwhile topic to write about. A new baby in a family, a lost tooth, and the death of one student’s father were the playful or serious inspirations for student writing.

Says Rotkow: “Our classroom reverberated with the stories of our lives as we wrote, talked, and reflected about who we were, what we did, what we thought, and how we thought about it. We became a community.”

ROTKOW, DEBBIE. 2003. “Two or Three Things I Know for Sure About Helping Students Write the Stories of Their Lives,” The Quarterly (25) 4.

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2. Establish an email dialogue between students from different schools who are reading the same book.

When high school teacher Karen Murar and college instructor Elaine Ware, teacher-consultants with the Western Pennsylvania Writing Project, discovered students were scheduled to read the August Wilson play Fences at the same time, they set up email communication between students to allow some “teacherless talk” about the text.

Rather than typical teacher-led discussion, the project fostered independent conversation between students. Formal classroom discussion of the play did not occur until students had completed all email correspondence. Though teachers were not involved in student online dialogues, the conversations evidenced the same reading strategies promoted in teacher-led discussion, including predication, clarification, interpretation, and others.

MURAR, KAREN, and ELAINE WARE. 1998. “Teacherless Talk: Impressions from Electronic Literacy Conversations.” The Quarterly (20) 3.

3. Use writing to improve relations among students.

Diane Waff, co-director of the Philadelphia Writing Project, taught in an urban school where boys outnumbered girls four to one in her classroom. The situation left girls feeling overwhelmed, according to Waff, and their “voices faded into the background, overpowered by more aggressive male voices.”

Determined not to ignore this unhealthy situation, Waff urged students to face the problem head-on, asking them to write about gender-based problems in their journals. She then introduced literature that considered relationships between the sexes, focusing on themes of romance, love, and marriage. Students wrote in response to works as diverse as de Maupassant’s “The Necklace” and Dean Myers’s Motown and DiDi.

In the beginning there was a great dissonance between male and female responses. According to Waff, “Girls focused on feelings; boys focused on sex, money, and the fleeting nature of romantic attachment.” But as the students continued to write about and discuss their honest feelings, they began to notice that they had similar ideas on many issues. “By confronting these gender-based problems directly,” says Waff, “the effect was to improve the lives of individual students and the social well-being of the wider school community.”

WAFF, DIANE. 1995. “Romance in the Classroom: Inviting Discourse on Gender and Power.” The Quarterly (17) 2.

4. Help student writers draw rich chunks of writing from endless sprawl.

Jan Matsuoka, a teacher-consultant with the Bay Area Writing Project (California), describes a revision conference she held with a third grade English language learner named Sandee, who had written about a recent trip to Los Angeles.

“I told her I wanted her story to have more focus,” writes Matsuoka. “I could tell she was confused so I made rough sketches representing the events of her trip. I made a small frame out of a piece of paper and placed it down on one of her drawings—a sketch she had made of a visit with her grandmother.”

“Focus, I told her, means writing about the memorable details of the visit with your grandmother, not everything else you did on the trip.”

“‘Oh, I get it,’ Sandee smiled, ‘like just one cartoon, not a whole bunch.'”

Sandee’s next draft was more deep than broad.

MATSUOKA, JAN. 1998. “Revising Revision: How My Students Transformed Writers’ Workshop.” The Quarterly (20) 1.

5. Work with words relevant to students’ lives to help them build vocabulary.

Eileen Simmons, a teacher-consultant with the Oklahoma State University Writing Project, knows that the more relevant new words are to students’ lives, the more likely they are to take hold.

In her high school classroom, she uses a form of the children’s ABC book as a community-building project. For each letter of the alphabet, the students find an appropriately descriptive word for themselves. Students elaborate on the word by writing sentences and creating an illustration. In the process, they make extensive use of the dictionary and thesaurus.

One student describes her personality as sometimes “caustic,” illustrating the word with a photograph of a burning car in a war zone. Her caption explains that she understands the hurt her “burning” sarcastic remarks can generate.

SIMMONS, EILEEN. 2002. “Visualizing Vocabulary.” The Quarterly (24) 3.

6. Help students analyze text by asking them to imagine dialogue between authors.

John Levine, a teacher-consultant with the Bay Area Writing Project (California), helps his college freshmen integrate the ideas of several writers into a single analytical essay by asking them to create a dialogue among those writers.

He tells his students, for instance, “imagine you are the moderator of a panel discussion on the topic these writers are discussing. Consider the three writers and construct a dialogue among the four ‘voices’ (the three essayists plus you).”

Levine tells students to format the dialogue as though it were a script. The essay follows from this preparation.

LEVINE, JOHN. 2002. “Talking Texts: Writing Dialogue in the College Composition Classroom.” The Quarterly (24) 2.

7. Spotlight language and use group brainstorming to help students create poetry.

The following is a group poem created by second grade students of Michelle Fleer, a teacher-consultant with the Dakota Writing Project (South Dakota).

Underwater Crabs crawl patiently along the ocean floor searching for prey. Fish soundlessly weave their way through slippery seaweed Whales whisper to others as they slide through the salty water. And silent waves wash into a dark cave where an octopus is sleeping.

Fleer helped her students get started by finding a familiar topic. (In this case her students had been studying sea life.) She asked them to brainstorm language related to the sea, allowing them time to list appropriate nouns, verbs, and adjectives. The students then used these words to create phrases and used the phrases to produce the poem itself.

As a group, students put together words in ways Fleer didn’t believe many of them could have done if they were working on their own, and after creating several group poems, some students felt confident enough to work alone.

FLEER, MICHELLE. 2002. “Beyond ‘Pink is a Rose.'” The Quarterly (24) 4.

8. Ask students to reflect on and write about their writing.

Douglas James Joyce, a teacher-consultant with the Denver Writing Project, makes use of what he calls “metawriting” in his college writing classes. He sees metawriting (writing about writing) as a way to help students reduce errors in their academic prose.

Joyce explains one metawriting strategy: After reading each essay, he selects one error that occurs frequently in a student’s work and points out each instance in which the error is made. He instructs the student to write a one page essay, comparing and contrasting three sources that provide guidance on the established use of that particular convention, making sure a variety of sources are available.

“I want the student to dig into the topic as deeply as necessary, to come away with a thorough understanding of the how and why of the usage, and to understand any debate that may surround the particular usage.”

JOYCE, DOUGLAS JAMES. 2002. “On the Use of Metawriting to Learn Grammar and Mechanics.” The Quarterly (24) 4.

9. Ease into writing workshops by presenting yourself as a model.

Glorianne Bradshaw, a teacher-consultant with the Red River Valley Writing Project (North Dakota), decided to make use of experiences from her own life when teaching her first-graders how to write.

For example, on an overhead transparency she shows a sketch of herself stirring cookie batter while on vacation. She writes the phrase “made cookies” under the sketch. Then she asks students to help her write a sentence about this. She writes the words who, where, and when. Using these words as prompts, she and the students construct the sentence, “I made cookies in the kitchen in the morning.”

Next, each student returns to the sketch he or she has made of a summer vacation activity and, with her help, answers the same questions answered for Bradshaw’s drawing. Then she asks them, “Tell me more. Do the cookies have chocolate chips? Does the pizza have pepperoni?” These facts lead to other sentences.

Rather than taking away creativity, Bradshaw believes this kind of structure gives students a helpful format for creativity.

BRADSHAW, GLORIANNE. 2001. “Back to Square One: What to do When Writing Workshop Just Doesn’t Work.” The Quarterly (23) 1.

10. Get students to focus on their writing by holding off on grading.

Stephanie Wilder found that the grades she gave her high school students were getting in the way of their progress. The weaker students stopped trying. Other students relied on grades as the only standard by which they judged their own work.

“I decided to postpone my grading until the portfolios, which contained a selection of student work, were complete,” Wilder says. She continued to comment on papers, encourage revision, and urge students to meet with her for conferences. But she waited to grade the papers.

It took a while for students to stop leafing to the ends of their papers in search of a grade, and there was some grumbling from students who had always received excellent grades. But she believes that because she was less quick to judge their work, students were better able to evaluate their efforts themselves.

WILDER, STEPHANIE. 1997. “Pruning Too Early: The Thorny Issue of Grading Student Writing.” The Quarterly (19) 4.

11. Use casual talk about students’ lives to generate writing.

Erin (Pirnot) Ciccone, teacher-consultant with the Pennsylvania Writing and Literature Project, found a way to make more productive the “Monday morning gab fest” she used as a warm-up with her fifth grade students. She conceived of “Headline News.” As students entered the classroom on Monday mornings, they wrote personal headlines about their weekends and posted them on the bulletin board. A headline might read “Fifth-Grader Stranded at Movie Theatre” or “Girl Takes on Responsibility as Mother’s Helper.”

After the headlines had been posted, students had a chance to guess the stories behind them. The writers then told the stories behind their headlines. As each student had only three minutes to talk, they needed to make decisions about what was important and to clarify details as they proceeded. They began to rely on suspense and “purposeful ambiguity” to hold listeners’ interest.

On Tuesday, students committed their stories to writing. Because of the “Headline News” experience, Ciccone’s students have been able to generate writing that is focused, detailed, and well ordered.

CICCONE, ERIN (PIRNOT). 2001. “A Place for Talk in Writers’ Workshop.” The Quarterly (23) 4.

12. Give students a chance to write to an audience for real purpose.

Patricia A. Slagle, high school teacher and teacher-consultant with the Louisville Writing Project (Kentucky), understands the difference between writing for a hypothetical purpose and writing to an audience for real purpose. She illustrates the difference by contrasting two assignments.

She began with: “Imagine you are the drama critic for your local newspaper. Write a review of an imaginary production of the play we have just finished studying in class.” This prompt asks students to assume the contrived role of a professional writer and drama critic. They must adapt to a voice that is not theirs and pretend to have knowledge they do not have.

Slagle developed a more effective alternative: “Write a letter to the director of your local theater company in which you present arguments for producing the play that we have just finished studying in class.” This prompt, Slagle says, allows the writer her own voice, building into her argument concrete references to personal experience. “Of course,” adds Slagle, “this prompt would constitute authentic writing only for those students who, in fact, would like to see the play produced.”

SLAGLE, PATRICIA A. 1997. “Getting Real: Authenticity in Writing Prompts.” The Quarterly (19) 3.

13. Practice and play with revision techniques.

Mark Farrington, college instructor and teacher-consultant with the Northern Virginia Writing Project, believes teaching revision sometimes means practicing techniques of revision. An exercise like “find a place other than the first sentence where this essay might begin” is valuable because it shows student writers the possibilities that exist in writing.

For Farrington’s students, practice can sometime turn to play with directions to:

• add five colors
• add four action verbs
• add one metaphor
• add five sensory details.

In his college fiction writing class, Farrington asks students to choose a spot in the story where the main character does something that is crucial to the rest of the story. At that moment, Farrington says, they must make the character do the exact opposite.

“Playing at revision can lead to insightful surprises,” Farrington says. “When they come, revision doesn’t seem such hard work anymore.”

FARRINGTON, MARK. 1999. “Four Principles Toward Teaching the Craft of Revision.” The Quarterly (21) 2.

14. Pair students with adult reading/writing buddies.

Bernadette Lambert, teacher-consultant with the Kennesaw Mountain Writing Project (Georgia), wondered what would happen if she had her sixth-grade students pair with an adult family member to read a book. She asked the students about the kinds of books they wanted to read (mysteries, adventure, ghost stories) and the adults about the kinds of books they wanted to read with the young people (character-building values, multiculturalism, no ghost stories). Using these suggestions for direction, Lambert developed a list of 30 books. From this list, each student-adult pair chose one. They committed themselves to read and discuss the book and write separate reviews.

Most of the students, says Lambert, were proud to share a piece of writing done by their adult reading buddy. Several admitted that they had never before had this level of intellectual conversation with an adult family member.

LAMBERT, BERNADETTE. 1999. “You and Me and a Book Makes Three.” The Quarterly (21) 3.

15. Teach “tension” to move students beyond fluency.

Suzanne Linebarger, a co-director of the Northern California Writing Project, recognized that one element lacking from many of her students’ stories was tension. One day, in front of the class, she demonstrated tension with a rubber band. Looped over her finger, the rubber band merely dangled. “However,” she told the students, “when I stretch it out and point it (not at a student), the rubber band suddenly becomes more interesting. It’s the tension, the potential energy, that rivets your attention. It’s the same in writing.”

Linebarger revised a generic writing prompt to add an element of tension. The initial prompt read, “Think of a friend who is special to you. Write about something your friend has done for you, you have done for your friend, or you have done together.”

Linebarger didn’t want responses that settled for “my best friend was really good to me,” so “during the rewrite session we talked about how hard it is to stay friends when met with a challenge. Students talked about times they had let their friends down or times their friends had let them down, and how they had managed to stay friends in spite of their problems. In other words, we talked about some tense situations that found their way into their writing.”

LINEBARGER, SUZANNE. 2001. “Tensing Up: Moving From Fluency to Flair.” The Quarterly (23) 3.

16. Encourage descriptive writing by focusing on the sounds of words.

Ray Skjelbred, middle school teacher at Marin Country Day School, wants his seventh grade students to listen to language. He wants to begin to train their ears by asking them to make lists of wonderful sounding words. “This is strictly a listening game,” says Skjelbred. “They shouldn’t write lunch just because they’re hungry.” When the collective list is assembled, Skjelbred asks students to make sentences from some of the words they’ve collected. They may use their own words, borrow from other contributors, add other words as necessary, and change word forms.

Among the words on one student’s list: tumble, detergent, sift, bubble, syllable, creep, erupt, and volcano . The student writes:

A man loads his laundry into the tumbling washer, the detergent sifting through the bubbling water. The syllables creep through her teeth. The fog erupts like a volcano in the dust.

“Unexpected words can go together, creating amazing images,” says Skjelbred.

SKJELBRED, RAY. 1997. “Sound and Sense: Grammar, Poetry, and Creative Language.” The Quarterly (19) 4.

17. Require written response to peers’ writing.

Kathleen O’Shaughnessy, co-director of the National Writing Project of Acadiana (Louisiana), asks her middle school students to respond to each others’ writing on Post-it Notes. Students attach their comments to a piece of writing under consideration.

“I’ve found that when I require a written response on a Post-it instead of merely allowing students to respond verbally, the responders take their duties more seriously and, with practice, the quality of their remarks improves.”

One student wrote:

While I was reading your piece, I felt like I was riding a roller coaster. It started out kinda slow, but you could tell there was something exciting coming up. But then it moved real fast and stopped all of a sudden. I almost needed to read it again the way you ride a roller coaster over again because it goes too fast.

Says O’Shaughnessy, “This response is certainly more useful to the writer than the usual ‘I think you could, like, add some more details, you know?’ that I often overheard in response meetings.”

O’SHAUGHNESSY, KATHLEEN. 2001. “Everything I Know About Teaching Language Arts, I Learned at the Office Supply Store.” The Quarterly (23) 2.

18. Make writing reflection tangible.

Anna Collins Trest, director of the South Mississippi Writing Project, finds she can lead upper elementary school students to better understand the concept of “reflection” if she anchors the discussion in the concrete and helps students establish categories for their reflective responses.

She decided to use mirrors to teach the reflective process. Each student had one. As the students gazed at their own reflections, she asked this question: “What can you think about while looking in the mirror at your own reflection?” As they answered, she categorized each response:

• I think I’m a queen – pretending/imagining
• I look at my cavities – examining/observing
• I think I’m having a bad hair day – forming opinions
• What will I look like when I am old? – questioning
• My hair is parted in the middle – describing
• I’m thinking about when I broke my nose – remembering
• I think I look better than my brother – comparing
• Everything on my face looks sad today – expressing emotion.

Trest talked with students about the categories and invited them to give personal examples of each. Then she asked them to look in the mirrors again, reflect on their images, and write.

“Elementary students are literal in their thinking,” Trest says, “but that doesn’t mean they can’t be creative.”

TREST, ANNA COLLINS. 1999. “I was a Journal Topic Junkie.” The Quarterly (21) 4.

19. Make grammar instruction dynamic.

Philip Ireland, teacher-consultant with the San Marcos Writing Project (California), believes in active learning. One of his strategies has been to take his seventh-graders on a “preposition walk” around the school campus. Walking in pairs, they tell each other what they are doing:

I’m stepping off the grass . I’m talking to my friend .

“Students soon discover that everything they do contains prepositional phrases. I walk among my students prompting answers,” Ireland explains.

“I’m crawling under the tennis net ,” Amanda proclaims from her hands and knees. “The prepositional phrase is under the net .”

“The preposition?” I ask.

“ Under .”

IRELAND, PHILIP. 2003. “It Seemed Like a Good Idea at the Time.” The Quarterly (25) 3.

20. Ask students to experiment with sentence length.

Kim Stafford, director of the Oregon Writing Project at Lewis and Clark College, wants his students to discard old notions that sentences should be a certain length. He explains to his students that a writer’s command of long and short sentences makes for a “more pliable” writing repertoire. He describes the exercise he uses to help students experiment with sentence length.

“I invite writers to compose a sentence that goes on for at least a page — and no fair cheating with a semicolon. Just use ‘and’ when you have to, or a dash, or make a list, and keep it going.” After years of being told not to, they take pleasure in writing the greatest run-on sentences they can.

“Then we shake out our writing hands, take a blank page, and write from the upper left to the lower right corner again, but this time letting no sentence be longer than four words, but every sentence must have a subject and a verb.”

Stafford compares the first style of sentence construction to a river and the second to a drum. “Writers need both,” he says. “Rivers have long rhythms. Drums roll.”

STAFFORD, KIM. 2003. “Sentence as River and as Drum.” The Quarterly (25) 3.

21. Help students ask questions about their writing.

Joni Chancer, teacher-consultant of the South Coast Writing Project (California), has paid a lot of attention to the type of questions she wants her upper elementary students to consider as they re-examine their writing, reflecting on pieces they may make part of their portfolios. Here are some of the questions:

Why did I write this piece? Where did I get my ideas? Who is the audience and how did it affect this piece? What skills did I work on in this piece? Was this piece easy or difficult to write? Why? What parts did I rework? What were my revisions? Did I try something new? What skills did I work on in this piece? What elements of writer’s craft enhanced my story? What might I change? Did something I read influence my writing? What did I learn or what did I expect the reader to learn? Where will I go from here? Will I publish it? Share it? Expand it? Toss it? File it?

Chancer cautions that these questions should not be considered a “reflection checklist,” rather they are questions that seem to be addressed frequently when writers tell the story of a particular piece.

CHANCER, JONI. 2001. “The Teacher’s Role in Portfolio Assessment.” In The Whole Story: Teachers Talk About Portfolios , edited by Mary Ann Smith and Jane Juska. Berkeley, California: National Writing Project.

22. Challenge students to find active verbs.

Nancy Lilly, co-director of the Greater New Orleans Writing Project, wanted her fourth and fifth grade students to breathe life into their nonfiction writing. She thought the student who wrote this paragraph could do better:

The jaguar is the biggest and strongest cat in the rainforest. The jaguar’s jaw is strong enough to crush a turtle’s shell. Jaguars also have very powerful legs for leaping from branch to branch to chase prey.

Building on an idea from Stephanie Harvey (Nonfiction Matters, Stenhouse, 1998) Lilly introduced the concept of “nouns as stuff” and verbs as “what stuff does.”

In a brainstorming session related to the students’ study of the rain forest, the class supplied the following assistance to the writer:

Stuff/Nouns : What Stuff Does/Verbs jaguar : leaps, pounces jaguar’s : legs pump jaguar’s : teeth crush jaguar’s : mouth devours

This was just the help the writer needed to create the following revised paragraph:

As the sun disappears from the heart of the forest, the jaguar leaps through the underbrush, pumping its powerful legs. It spies a gharial gliding down the river. The jungle cat pounces, crushing the turtle with his teeth, devouring the reptile with pleasure.

LILLY, NANCY. “Dead or Alive: How will Students’ Nonfiction Writing Arrive?” The Quarterly (25) 4.

23. Require students to make a persuasive written argument in support of a final grade.

For a final exam, Sarah Lorenz, a teacher-consultant with the Eastern Michigan Writing Project, asks her high school students to make a written argument for the grade they think they should receive. Drawing on work they have done over the semester, students make a case for how much they have learned in the writing class.

“The key to convincing me,” says Lorenz, “is the use of detail. They can’t simply say they have improved as writers—they have to give examples and even quote their own writing…They can’t just say something was helpful—they have to tell me why they thought it was important, how their thinking changed, or how they applied this learning to everyday life.”

LORENZ, SARAH. 2001. “Beyond Rhetoric: A Reflective Persuasive Final Exam for the Writing Classroom.” The Quarterly (23) 4.

24. Ground writing in social issues important to students.

Jean Hicks, director, and Tim Johnson, a co-director, both of the Louisville Writing Project (Kentucky), have developed a way to help high school students create brief, effective dramas about issues in their lives. The class, working in groups, decides on a theme such as jealousy, sibling rivalry, competition, or teen drinking. Each group develops a scene illustrating an aspect of this chosen theme.

Considering the theme of sibling rivalry, for instance, students identify possible scenes with topics such as “I Had It First” (competing for family resources) and “Calling in the Troops” (tattling). Students then set up the circumstances and characters.

Hicks and Johnson give each of the “characters” a different color packet of Post-it Notes. Each student develops and posts dialogue for his or her character. As the scene emerges, Post-its can be added, moved, and deleted. They remind students of the conventions of drama such as conflict and resolution. Scenes, when acted out, are limited to 10 minutes.

“It’s not so much about the genre or the product as it is about creating a culture that supports the thinking and learning of writers,” write Hicks and Johnson.

HICKS, JEAN and TIM JOHNSON. 2000. “Staging Learning: The Play’s the Thing.” The Quarterly (22) 3.

25. Encourage the “framing device” as an aid to cohesion in writing.

Romana Hillebrand, a teacher-consultant with the Northwest Inland Writing Project (Idaho), asks her university students to find a literary or historical reference or a personal narrative that can provide a fresh way into and out of their writing, surrounding it much like a window frame surrounds a glass pane.

Hillebrand provides this example:

A student in her research class wrote a paper on the relationship between humans and plants, beginning with a reference to the nursery rhyme, “Ring around the rosy, a pocket full of posies….” She explained the rhymes as originating with the practice of masking the stench of death with flowers during the Black Plague. The student finished the paper with the sentence, “Without plants, life on Earth would cease to exist as we know it; ashes, ashes we all fall down.”

Hillebrand concludes that linking the introduction and the conclusion helps unify a paper and satisfy the reader.

HILLEBRAND, ROMANA. 2001. “It’s a Frame Up: Helping Students Devise Beginning and Endings.”The Quarterly (23) 1.

26. Use real world examples to reinforce writing conventions.

Suzanne Cherry, director of the Swamp Fox Writing Project (South Carolina), has her own way of dramatizing the comma splice error. She brings to class two pieces of wire, the last inch of each exposed. She tells her college students, “We need to join these pieces of wire together right now if we are to be able to watch our favorite TV show. What can we do? We could use some tape, but that would probably be a mistake as the puppy could easily eat through the connection. By splicing the wires in this way, we are creating a fire hazard.”

A better connection, the students usually suggest, would be to use one of those electrical connectors that look like pen caps.

“Now,” Cherry says (often to the accompaniment of multiple groans), “let’s turn these wires into sentences. If we simply splice them together with a comma, the equivalent of a piece of tape, we create a weak connection, or a comma splice error. What then would be the grammatical equivalent of the electrical connector? Think conjunction – and, but, or. Or try a semicolon. All of these show relationships between sentences in a way that the comma, a device for taping clauses together in a slapdash manner, does not.”

“I’ve been teaching writing for many years,” Cherry says. “And I now realize the more able we are to relate the concepts of writing to ‘real world’ experience, the more successful we will be.”

CHERRY, SUZANNE. “Keeping the Comma Splice Queen Happy,” The Voice (9) 1.

27. Think like a football coach.

In addition to his work as a high school teacher of writing, Dan Holt, a co-director with the Third Coast Writing Project (Michigan), spent 20 years coaching football. While doing the latter, he learned quite a bit about doing the former. Here is some of what he found out:

The writing teacher can’t stay on the sidelines. “When I modeled for my players, they knew what I wanted them to do.” The same involvement, he says, is required to successfully teach writing.

Like the coach, the writing teacher should praise strong performance rather than focus on the negative. Statements such as “Wow, that was a killer block,” or “That paragraph was tight” will turn “butterball” ninth-grade boys into varsity linemen and insecure adolescents into aspiring poets.

The writing teacher should apply the KISS theory: Keep it simple stupid. Holt explains for a freshman quarterback, audibles (on-field commands) are best used with care until a player has reached a higher skill level. In writing class, a student who has never written a poem needs to start with small verse forms such as a chinquapin or haiku.

Practice and routine are important both for football players and for writing students, but football players and writers also need the “adrenaline rush” of the big game and the final draft.

HOLT, DAN. 1999. “What Coaching Football Taught Me about Teaching Writing.” The Voice (4) 3.

28. Allow classroom writing to take a page from yearbook writing.

High school teacher Jon Appleby noticed that when yearbooks fell into students’ hands “my curriculum got dropped in a heartbeat for spirited words scribbled over photos.” Appleby wondered, “How can I make my classroom as fascinating and consuming as the yearbook?”

Here are some ideas that yearbook writing inspired:

Take pictures, put them on the bulletin boards, and have students write captions for them. Then design small descriptive writing assignments using the photographs of events such as the prom and homecoming. Afterwards, ask students to choose quotes from things they have read that represent what they feel and think and put them on the walls.

Check in about students’ lives. Recognize achievements and individuals the way that yearbook writers direct attention to each other. Ask students to write down memories and simply, joyfully share them. As yearbook writing usually does, insist on a sense of tomorrow.

APPLEBY, JON. 2001. “The School Yearbook: A Guide to Writing and Teaching.” The Voice (6) 3.

29. Use home language on the road to Standard English.

Eileen Kennedy, special education teacher at Medger Evers College, works with native speakers of Caribbean Creole who are preparing to teach in New York City. Sometimes she encourages these students to draft writing in their native Creole. The additional challenge becomes to re-draft this writing, rendered in patois, into Standard English.

She finds that narratives involving immigrant Caribbean natives in unfamiliar situations — buying a refrigerator, for instance — lead to inspired writing. In addition, some students expressed their thoughts more proficiently in Standard English after drafting in their vernaculars.

KENNEDY, EILEEN. 2003. “Writing in Home Dialects: Choosing a Written Discourse in a Teacher Education Class.” The Quarterly (25) 2.

30. Introduce multi-genre writing in the context of community service.

Jim Wilcox, teacher-consultant with the Oklahoma Writing Project, requires his college students to volunteer at a local facility that serves the community, any place from the Special Olympics to a burn unit. Over the course of their tenure with the organization, students write in a number of genres: an objective report that describes the appearance and activity of the facility, a personal interview/profile, an evaluation essay that requires students to set up criteria by which to assess this kind of organization, an investigative report that includes information from a second source, and a letter to the editor of a campus newspaper or other publication.

Wilcox says, “Besides improving their researching skills, students learn that their community is indeed full of problems and frustrations. They also learn that their own talents and time are valuable assets in solving some of the world’s problems — one life at a time.”

WILCOX, JIM. 2003. “The Spirit of Volunteerism in English Composition.” The Quarterly (25) 2.

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Teach Writing With The New York Times: Our 2021-22 Curriculum

A flexible, eight-unit program based on the real-world features found in newspapers, from editorials and reviews to personal narratives, profiles and podcasts.

By The Learning Network

Update, Aug. 3, 2023: Find our 2023-24 writing curriculum here.

What can the news, features, essays, interviews, photos, videos, podcasts and graphics in The New York Times teach your students about composing for a real audience? So much, we hope, that the units we detail below are just a beginning.

Our annual writing curriculum is both a road map for teachers and an invitation to students. For teachers, it organizes our offerings — lesson plans, writing prompts, mentor texts and student contests — into eight distinct units, each of which focuses on a different genre of writing that your students can find not just in The Times but in all kinds of real-world sources.

For students, it offers confirmation that they have something valuable to say, a wide range of choice in how to say it, and a global audience eager to listen. Promoting student voice has always been a pillar of our site, but in these extraordinary times we think it is critical. Through the opportunities for publication woven throughout each unit, we want to encourage students to go beyond simply consuming media to becoming creators themselves.

Though our offerings are aimed at middle and high school students, we know that they are used up and down levels and across subjects — from elementary school to college. So have a look, and see if you can find a way to include any of these opportunities in your curriculum this year, whether to help students document their lives, tell stories, express opinions, investigate ideas, interview fascinating people or analyze culture. We can’t wait to hear what they have to say!

Each unit includes:

Writing prompts to help students try out related skills in a “low stakes” way.

We publish new writing prompts every school day, and have since 2009. You can find categorized collections of these prompts, or just scroll through to see the latest. Your students can respond on our site, using our public forums as a kind of “rehearsal space” for practicing voice and technique.

Daily opportunities to practice writing for an authentic audience.

If a student submits a comment on our site, it will be read by Times editors, who approve each one before it gets published. Submitting a comment also gives students an audience of fellow teenagers from around the world who might read and respond to their work. Each week, we call out our favorite comments and honor dozens of students by name in our Thursday “ Current Events Conversation ” feature.

Guided practice with mentor texts .

Each unit we publish features guided practice lessons, written directly to students, that help them observe, understand and practice the kinds of “craft moves” that make different genres of writing sing. From how to “show not tell” in narratives to how to express critical opinions , quote or paraphrase experts or craft scripts for podcasts , we have used the work of both Times journalists and the teenage winners of our contests to show students techniques they can emulate.

“Annotated by the Author” commentaries from Times writers — and teenagers.

As part of our Mentor Texts series , we’ve been asking Times journalists from desks across the newsroom to annotate their articles to let students in on their writing, research and editing processes, and we’ll be adding more for each unit this year. Whether it’s Science writer Nicholas St. Fleur on tiny tyrannosaurs , Opinion writer Aisha Harris on the cultural canon , or The Times’s comics-industry reporter, George Gene Gustines, on comic books that celebrate pride , the idea is to demystify journalism for teenagers.

But in the 2020-21 school year, we also started asking teen winners of our contests to analyze the craft moves they made that led to successful work. Check out their ideas on how to choose a great topic , embed evidence , use metaphors and more .

A contest that can act as a culminating project .

Over the years we’ve heard from many teachers that our contests serve as final projects in their classes, and this curriculum came about in large part because we want to help teachers “plan backwards” to support those projects.

All contest entries are considered by experts, whether Times journalists, outside educators from partner organizations, or professional practitioners in a related field. Winning means being published on our site, and, perhaps, in the print edition of The New York Times.

Additional support for teachers.

For each of the eight units in this curriculum, we offer either on-demand or live webinars that feature Learning Network editors as well as teachers who use The Times in their classrooms. Our webinars introduce participants to our many resources and provide practical how-to’s on how to use our prompts, mentor texts and contests in the classroom.

We also invite teachers to join our P.L.C. on teaching writing with The Times , where educators can share resources, strategies and inspiration about teaching with these units.

Below are the eight units we will offer in the 2021-22 school year.

September-October

Documenting and Reflecting on Teenage Lives

This unit was first developed in 2020 to acknowledge the profound effects of that tumultuous year on a generation of teenagers. Our open-ended invitation to “show us — in words or images, video or audio — how the events of this year have affected you” resulted in a deluge of extraordinary submissions, some of which were featured online and in a special print section .

Now, as schools reopen, teachers have asked us to run the unit and related contest again, this time to acknowledge a new set of issues and concerns. We all hope to return to something that looks like “normal life” soon, yet we will all return changed. How can we make space for students to process their experiences, but be mindful that these months have been traumatic for many? How could a project like this one help bring school communities together? And how might teaching students to document and reflect give them skills they can use, in and out of the classroom, for the rest of their lives?

This time we are asking , Who are you now? How do you think the last year and a half has shaped — and will continue to shape — you and your generation? What can you show or tell us that might help explain what it’s like to be a teenager in 2021? In answering these questions, students can choose any aspect, big or small, of what it means to be growing up in this moment, and send us work in almost any medium they can upload digitally.

Writing will be used as a tool throughout the unit to help students brainstorm, compose and edit, and all students will be asked to craft written artist’s statements to accompany their submissions. (Contest dates: Sept. 15-Oct. 27, 2021)

October-November

The Personal Narrative

While The Times is known for its award-winning journalism, the paper also has a robust tradition of publishing personal essays on topics like love , family , life on campus and navigating anxiety . And on our site, our daily writing prompts have long invited students to tell us their stories, too. Our 2019 collection of 550 Prompts for Narrative and Personal Writing is a good place to start, though we add more every week during the school year.

In this unit we draw on many of these resources, plus some of the 1,000-plus personal essays from the Magazine’s long-running Lives column , to help students find their own “short, memorable stories ” and tell them well. Our related mentor-text lessons can help them practice skills like writing with voice , using details to show rather than tell , structuring a narrative arc , dropping the reader into a scene and more.

As part of our “Annotated by the Author” series, we also spotlight the work of three teenage winners of this contest. We invite students to use their advice, on keeping conclusions open-ended and using metaphors, for example, as inspiration and to submit their own stories to our Third Annual Personal Narrative Writing Contest. (Dates: Oct. 13-Nov. 17, 2021)

November-DECEMBER

Book reports and literary essays have long been staples of language arts classrooms, but this unit encourages students to learn how to critique art in other genres as well. As we point out, a cultural review is a form of argumentative essay. Your class might be writing about Lizzo or “ Looking for Alaska ,” but they still have to make claims and support them with evidence. And, just as they must in a literature essay, they have to read (or watch, or listen to) a work closely; analyze it and understand its context; and explain what is meaningful and interesting about it.

In our Mentor Texts series , we feature the work of Times movie , restaurant , book and music critics to help students understand the elements of a successful review. In these and other guided lessons, we also spotlight the work of teenage contest winners from previous years.

As a culminating project, we invite students to send us their own reviews of a book, movie, restaurant, album, theatrical production, video game, dance performance, TV show, art exhibition or any other kind of work The Times critiques. (Contest Dates: Nov. 10-Dec. 15, 2021)

January-February

The Journalistic Profile

How can focusing on one form of journalistic writing teach students cross-curricular skills like researching, asking effective questions, listening, note-taking, fact-checking, storytelling, connecting with local experts, and, of course, writing and editing to compose with clarity, voice and style?

We hope to show students how to do all of this in our step-by-step guide for participating in our new profile-writing contest . First, we will introduce them to Times profiles across sections, inviting them to read pieces about people who range from the world famous to the locally distinctive. Then, our curriculum will help walk students through the steps of choosing someone they are interested in to research, interview, photograph and introduce in their own short profile pieces .

Contest Dates: Jan. 5-Feb. 16, 2022

February-March

Informational Writing

Informational writing is the style of writing that dominates The New York Times as well as any other traditional newspaper you might read, and in this unit we hope to show students that it can be every bit as engaging and compelling to read and to write as other genres.

Via thousands of articles a month — from front-page reporting on politics to news about athletes in Sports, deep data dives in The Upshot, recipes in Cooking, advice columns in Style and long-form investigative pieces in the magazine — Times journalists find ways to experiment with the genre to intrigue and inform their audiences.

This unit invites students to take any STEM-related discovery, process or idea that interests them and write about it in a way that makes it understandable and engaging for a general audience — but all the skills we teach along the way can work for any kind of informational writing. Via our Mentor Texts series, we show them how to hook the reader from the start , use quotes and research , explain why a topic matters and more.

At the end of the unit, we invite teenagers to submit their own writing to our Third Annual STEM Writing Contest to show us what they’ve learned. (Dates: Feb. 2-March 9, 2022)

March-April

Argumentative Writing

The demand for evidence-based argumentative writing is now woven into school assignments across the curriculum and grade levels, and you couldn’t ask for better real-world examples than what you can find in The Times Opinion section .

This unit is, like our others, supported with writing prompts, mentor-text lesson plans, webinars and more. But thanks to the fact that we’ve run the related contest for eight years now, we also have several lesson plans and videos that focus on winning teenage work, on topics as varied as policing , anti-Asian racism , toxicity in gaming , saving the snow day , the “life-changing magic” of being messy and how “Animal Crossing” might save Gen Z .

At a time when media literacy is more important than ever, we hope that our annual Student Editorial Contest can encourage students to broaden their information diets with a range of reliable sources, and learn from a variety of perspectives on their chosen issue. (Dates: March 2-April 13, 2022)

Writing for Podcasts

Most of our writing units so far have all asked for essays of one kind or another, but this spring contest invites students to do what journalists at The Times do every day: make multimedia to tell a story, investigate an issue or communicate a concept.

Our annual podcast contest gives students the freedom to talk about anything they want in any form they like. In the past we’ve had winners who’ve done personal narratives, local travelogues, opinion pieces, interviews with community members, investigative journalism and descriptions of scientific discoveries.

As with all our other units, we have supported this contest with excellent examples from The Times and around the web, as well as with mentor texts by teenagers that offer guided practice in understanding elements and techniques. (Contest Dates: April 6-May 18, 2022)

June-August

Independent Reading and Writing

At a time when teachers are looking for ways to offer students more “voice and choice,” this unit, based on our annual summer contest, offers both.

Every year since 2010 we have invited teenagers around the world to add The New York Times to their summer reading lists and, so far, over 70,000 have. Every week for 10 weeks, we ask participants to choose something in The Times that has sparked their interest, then tell us why. At the end of the week, judges from the Times newsroom pick favorite responses, and we publish them on our site.

Our related Mentor Text feature spotlights the work of past winners , explains why newsroom judges admired their thinking, and provides four steps to helping any student write better reader-responses.

Because this is one of our most open-ended contests — students can choose whatever they like, and react however they like — it has proved over the years to be a useful place for young writers to hone their voices, practice skills and take risks . Join us! (Contest Dates: June 10-Aug. 19, 2022)

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Teaching Creative Writing: Tips for Your High School Class

When I was first told that I’d be teaching creative writing, I panicked. While I had always enjoyed writing myself, I had no idea how to show others how to do it creatively. After all, all of my professional development had focused on argumentative writing and improving test scores. 

Eventually, though, I came to love my creative writing class, and I think you will too. In this post, I hope to help you with shaping your own creative writing class. 

Disclosure: This post may contain affiliate links that earn me a small commission, at no additional cost to you. I only recommend products that I personally use and love, or think my readers will find useful.

The Importance of Teaching Creative Writing

Before getting into the nitty-gritty of how to teach creative writing, let’s first remind ourselves why you should teach a creative writing class.  

How often do you see students freeze in your English class, wondering if what they’re writing is “right”? How often do your students beg you to look over their work to make sure that they’re doing it “right”? 

We English teachers know that there’s no such thing as “right” when it comes to writing. But our students really struggle with the idea of there being no one correct answer. Creative writing is one solution to this problem.

By encouraging our students to explore, express themselves, and play with language, we show them how fun and exploratory writing can be. I know there have been many times in my life when writing clarified my own ideas and beliefs for me; creative writing provides this opportunity for our high school students. 

Plus, creative writing is just downright fun! And in this modern era of standardized testing, high-stakes grading, and just increased anxiety overall, isn’t more fun just what our students and us need? 

Creative writing is playful, imaginative, but also rigorous. It’s a great balance to our standard literature or composition curriculum. 

Whether you’re choosing to teach creative writing or you’re being voluntold to do so, you’re probably ready to start planning. Make it as easy as possible on yourself: grab my done-for-you Creative Writing Class here !

Otherwise, preparing for an elective creative writing class isn’t much different than preparing for any other English class .

Set your goals and choose the standards you’ll cover. Plan lessons accordingly. Then, be sure to have a way to assess student progress. 

Teaching Creative Writing Tip #1: Get Clear on Your Goals

First, what do you want to achieve with your creative writing class? In some school, Creative Writing is purely a fun elective. The goal is create a class that students enjoy with a side of learning. 

For other schools or district cultures, however, Creative Writing might be an intensely academic course. As a child, I went to an arts middle school. Creative writing was my major and it was taken very seriously. 

The amount of rigor you wish to include in your class will impact how you structure everything . So take some time to think about that . You may want to get some feedback from your administrator or other colleagues who have taught the course. 

Some schools also sequence creative writing classes, so be sure you know where in the sequence your particular elective falls. I’ve also seen schools divide creative writing classes by genre: a poetry course and a short story course. 

Know what your administrator expects and then think about what you as an instructor want to accomplish with your students.  

Teaching Creative Writing Tip #2: List Out Your Essential Skills

Regardless of your class’s level of rigor, there are some skills that every creative writing course should cover. 

First, you need to cover the writing process. Throughout the course, students should practice brainstorming, outlining, writing, and editing their drafts. In nearly every Poem Writing Activity that I use in my class, students follow the same process. They examine a model text, brainstorm ideas, outline or fill out a graphic organizer, put together a final draft, and then share with a peer for feedback. 

That last step–sharing and critiquing work–is an essential skill that can’t be overstated. Students are often reluctant to share their work, but it’s through that peer feedback that they often grow the most. Find short, casual, and informal ways to build in feedback throughout the class in order to normalize it for students. 

Literary terms are another, in my opinion, must-cover topic for teaching a creative writing class. You want your students to know how to talk about their writing and others’ like an actual author. How deep into vocabulary you want to go is up to you, but by the end of the course, students should sound like writers honing their craft. 

Lastly, you should cover some basic writing skills, preferably skills that will help students in their academic writing, too. I like to cover broad topics like writing for tone or including dialogue. Lessons like these will be ones that students can use in other writing assignments, as well. 

Of course, if you’re teaching a creative writing class to students who plan on becoming creative writing majors in college, you could focus on more narrow skills. For me, most of my students are upperclassmen looking for an “easy A”. I try my best to engage them in activities and teach them skills that are widely applicable. 

Teaching Creative Writing Tip #3: Make Sure Your Materials are Age-Appropriate

Once you know what you’re teaching, you can begin to cultivate the actual lessons you’ll present. If you pick up a book on teaching creative writing or do a quick Google search, you’ll see tons of creative writing resources out there for young children . You’ll see far less for teens. 

Really, the content and general ideas around creative writing don’t change much from elementary to high school. But the presentation of ideas should .

Every high school teacher knows that teens do not like to feel babied or talked down to; make sure your lessons and activities approach “old” ideas with an added level of rigor or maturity.

Take for example the haiku poem. I think most students are introduced to haikus at some point during their elementary years. We know that haiku is a pretty simple poem structure. 

However, in my Haiku Poem Writing Lesson , I add an extra layer of rigor. First, students analyze a poem in which each stanza is its own haiku. Students are asked not only to count syllables but to notice how the author uses punctuation to clarify ideas. They also analyze mood throughout the work.  

By incorporating a mentor text and having students examine an author’s choices, the simple lesson of writing a haiku becomes more relevant and rigorous. 

Teaching Creative Writing Tip #4: Tell Students What They Should Not Write About

You’ll often be surprised by just how vulnerable your students are willing to be with you in their writing. But there are some experiences that we teachers don’t need to know about, or are required to act on. 

The first day of a creative writing course should always include a lecture on what it means to be a mandated reporter. Remind students that if they write about suicidal thoughts, abuse at home, or anything else that might suggest they’re in danger that you are required by law to report it. 

Depending on how strict your district, school, or your own teaching preferences, you may also want to cover your own stance on swearing, violence, or sexual encounters in student writing. One idea is to implement a “PG-13” only rule in your classroom.

Whatever your boundaries are for student work, make it clear on the first day and repeat it regularly.

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Teaching Creative Writing Tip #5: Give Students Lots of Choice

Creative writing should be creative . Yes, you want to give students parameters for their assignments and clear expectations. But you want them to feel a sense of freedom, also.  

I took a class once where the story starters we were given went on for several pages . By the time we students were able to start writing, characters had already been developed. The plot lines had already been well-established. We felt written into a corner, and we all struggled with wrapping up the loose ends that had already been created. 

I’ve done an Author Study Project with my class in which students were able to choose a poet or short story author to study and emulate. My kids loved looking through the work of Edgar Allan Poe, Elizabeth Acevedo, Neil Gaiman, and Jason Reynolds for inspiration. They each gravitated towards a writer that resonated with them before getting to work. 

Another example is my Fairy Tale Retelling Project. In this classic assignment, students must rewrite a fairy tale from the perspective of the villain. Students immediately choose their favorite tales, giving them flexibility and choice.

I recommend determining the form and the skills that must be demonstrated for the students . Then, let students choose the topic for their assignment. 

Teaching Creative Writing Tip #6: Use Hands-On Activities

If you’re teaching a class full of students who are excited to write constantly, you can probably get away writing all class period. Many of us, however, are teaching a very different class. Your students may have just chosen an elective randomly. They might not even have known what creative writing was!

(True story–one of my creative writing students thought the class would be about making graffiti. I guess that is writing creatively!)

For students who have no long-term writing aspirations, you need to make your lessons and activities a little more engaging. 

When possible, I try to make writing “hands-on.” Adding some tactile activity to a standard lesson breaks up class, engages students, and makes the lesson more memorable.

For example, when I teach students the old adage “Show. Don’t Tell” , I could just give them a scene to write. Instead, I print simple sentences onto strips of paper and have students randomly select one from a hat. (Then they turn this simple sentence into a whole “telling” scene.)

Simply handing students a strip of paper that they can touch and feel makes the lesson more exciting. It creates more buy-in with students. 

Another one of my favorite hands-on activities is a Figurative Language Scavenger Hunt. I hang up posters of mentor poems around the room, each full of different figurative language techniques. 

Then, students must get up and explore the posters around the room in an attempt to find an example of 10 different figurative language techniques.

We could do the same lesson on a worksheet, but having students up and moving increases engagement, collaboration, and gives everyone a break from constantly sitting. 

Teaching Creative Writing Tip #7: Incorporate Mentor Texts

One way to make sure that your creative writing class is rigorous–and valuable–enough for high school students is to use mentor texts . 

Mentor texts are essential for older students because it shows them what’s possible . Many of my students will rush through an assignment just to be done with it. If you ask them what they could do to improve their writing, they say that they think it’s fine. 

But when they’re shown mentor texts or exemplar products produced by their peers, suddenly students see a myriad of ways in which they could improve their own work. They’re quick to make edits. 

I try to always include a mentor text and several examples whenever I introduce students to new ideas or teach a new lesson. You can pull mentor texts from classic writers. However, I also recommend including writing from more modern poets and writers as well. 

Teaching Creative Writing truly is a special job. Your students trust you with writing that many adults in their lives will never see. You’ll be able to watch students grow and bloom in a totally new way.

That doesn’t mean that teaching creative writing is without challenges or difficulties, however. If you want an easy place to start, or just want to save yourself a ton of planning time, I highly recommend checking out my Complete Creative Writing Class . 

Inside this bundle, you’ll receive daily warm-ups, weekly lessons, two projects, several activities, a lesson calendar, and more! It’s truly everything you need for an engaging 9-week elective course!

Teaching Resources: 11 Resources for Writing Teachers

Teaching writing has probably never been harder. How do you teach writing to students whose main experience with writing is  text messaging! 

At the same time, writing is more important now than ever. Colleges make life-changing decisions about students' acceptance based on their writing, and employers say good writing is a hard skill to find in the workplace. Writing is a must-have skill.

So how can you teach writing more effectively?

How to Teach Writing

At The Write Practice, we strive to convince our readers why learning to write better is important to them  and their lives, and we do this  before  we ever teach a single concept.

In other words, we talk about the question  why  a lot because we believe that a student who   is convinced what they're learning is important to them will always learn better.

We also believe deeply in  deliberate practice , and that's why at the end of each lesson, we give students a chance to put what they've just learned to use immediately, encouraging them to share their work with other writers to get feedback.

Teaching Resources for Writing

With that in mind, we've assembled a list of our eleven best resources about writing for students.

1.  Why We Write: Four Reasons . George Orwell wrote that there are four reasons why people write. We've updated his list to encourage new and experienced writers alike to think about what motivates them to write.  Click here to view the article.

2.  Before You Start Writing, Do This First . Crafting a solid premise is an essential part of the writing process, whether you're writing an essay, a one-act play, or a short story. Here, we explain the process of creating a premise for non-fiction and fiction.  Click here to view the article.

3.  10 Effective Tips to Write an Essay . Writing an essay isn't easy, no matter how long you've been writing, but that doesn't mean it can't be fun. In this article, we give all our best advice to write a great essay.  Click here to view the article.

4.  Grammar 101.  Good grammar is important, but does it really matter whether you know what an Oxford comma is or how to use a semi-colon? YES! And we'll having fun learning all the strange rules, too.  Click here to view the article.

5.  Why Your Writing Sounds Weird (And What to Do About It) . Most schools don't teach sentence structure anymore, but the reality is that if your sentences aren't structured correctly, your writing will sound  weird . Here's a fun and authoritative guide to sentence structure.  Click here to view the article.

6.  5 Essentials Elements of a Story. Every story is made up of building blocks: action, dialogue, description, inner monologue, and exposition. In this article, we explain how they fit together.  Click here to view the article.

7.  The Secret to Showing Instead of Telling. “Show, Don't Tell,” is an important rule in storytelling. Here's the secret to explaining it as simply as possible.  Click here to view the article.

8.  How to Become a Better Writer in One Simple Step . This is the single piece of writing advice we give most often. If students can master this, they'll instantly become powerful, captivating writers.  Click here to view the article.

9.  16 Observations About Real Dialogue. Writing good dialogue is hard work. In this article, we give honest observations about realistic dialogue, and then challenge students to a fun and creative exercise.  Click here to view the article.

10.  The Strongest Form of Characterization. Great stories are made up of interesting and unique characters, but how do you create a great characters? This article explains the best form of characterization.   Click here to view the article.

11.  10 Best Writing Prompts . Students love writing prompts, and these are our 10 best! Have fun with them! Click here to view the article.

How to Use These Resources

You're welcome to use these resources in any of the following ways:

• Print the articles and use them in your classes
• Email or link within your syllabus for your students to view on their own
• Develop lesson plans based on the concepts discussed
• Use the exercises at the end of each article for homework projects
• Allow students to read and critique each others' writing

Also, if you do decided to use any of these resources in your classrooms, please send us a note letting us know . We love hearing from teachers!

Good luck, and happy 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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Creativity and Innovation in the Writing Classroom

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

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

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

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

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

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

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

Principles of Design Thinking

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

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

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

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

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

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

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

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

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

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

Learn more about design thinking:

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

Understand and Empathize

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

Define, Ideate, and Prototype

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

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

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

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

Learn more about brainstorming and prototyping:

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

Test and Assess/Reflect

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

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

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

A Note on Assessment

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

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

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

Learn more about productive failure:

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

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

Further Reading

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

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

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

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

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

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

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

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

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

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

Resources on design thinking in writing pedagogy:

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

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

General resources on creativity:

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

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

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

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

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

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

Writing Guides for Teachers and Students

These writing guides give teachers and students the skills and knowledge to write multiple text types. Expand the sections below to browse our collection.

The Fundamental Skills of Writing

Master the elements of writing skills regardless of the text type.

Learn the five critical stages of the writing process here.

This guide explains how to write great sentences and structure them.

This guide covers the process of writing powerful paragraphs that impact readers.

Learn all about the Author’s Purpose and why it is important to understand before attempting any piece of writing.

In this guide for students and teachers, we cover the essay writing process , skills and techniques from start to finish.

Master the art of writing a strong start to an essay with our complete guide here.

In this guide, we cover all the tips, skills and techniques for writing a strong conclusion to any piece of writing.

The five-paragraph essay will cover most types of essays students and teachers will cover in the classroom. This complete guide will ensure it is a simple process.

Be sure you can proofread and edit your essay like a professional with this complete guide for students and teachers here.

Writing Guides for Entertaining an Audience

These complete guides for teachers and students will cover genres and text types that entertain, such as narratives, fables and various stories.

This guide explains what makes for a great story and how to write one. An excellent resource for students and teachers on Narratives.

This guide for teachers and students explores the history and process of writing fables.

This guide teaches students how to write a fantastic fairy tale and is packed with great lesson ideas and resources.

This guide explains how to write a personal narrative and is an excellent resource for students and teachers.

Learn what a recount text is and the process for writing one through this complete guide for students and teachers.

You can’t write a great story without an understanding of plot. This guide explains the plot to teachers and students with ease.

This guide explains how characters and setting fit within story elements and how to create ones that engage your audience.

Students love to write short stories , and this complete guide will walk through all the steps to writing an efficient and effective story.

In this guide , we explore the structure and features of poetry and the strategies for writing a great poem.

This guide explores seven accessible forms of poetry and provides students and teachers with the tools to create them.

Writing Guides for Informative Text Types

These guides for students and teachers cover non-fiction writing genres.

Learn how to write an incredible informational text with this complete guide for students and teachers here.

In this guide for students and teachers, we walk through the process of writing a procedure step by step.

Master the craft of writing an Expository Essay with this complete guide here.

Please read our complete guide to writing an explanation text here.

Our complete guide to writing a Historical Recount provides teachers and students with many skills and resources.

Learn how to write a text all about yourself with our complete guide to writing an Autobiography for Teachers and Students.

Master the process of writing a Biography with our complete guide for students and teachers here.

Our complete guide to letter writing for students and teachers will teach you to write great formal and informal letters.

Master the process of writing a Hypothesis with our complete guide for teachers and students here.

Learn to write a Compare and Contrast Essay with our complete guide here.

Master the Novel Study Essay with our complete guide for students and teachers here.

Learn how to write news articles and blog posts here with our complete guide for students and teachers.

Master emails, speeches and other forms of transitional writing with our complete guide for students and teachers here.

Our complete guide to writing a descriptive text is packed with ideas and content for teachers and students.

Writing Guides for Persuasive Text Types

Our persuasive writing guides for teachers and students will ensure we can always win friends and influence people through the power of the spoken and written word.

Learn how to write a persuasive essay with our complete guide for teachers and students here.

Be sure to read our complete guide to writing a winning debate speech here. A great guide for students and teachers.

We have a complete guide to teaching opinion writing. Read it here.

Master the skills of writing a text response essay here. A complete guide for students and teachers.

Master Argumentative and Discussion essays with our complete writing guides for teachers and students.

Let your voice be heard on the topic of a book or film review essay with our complete guide here.

Writing Prompts

Looking for engaging and interesting writing prompts? We have a huge collection of them here for all text types.

Teaching Ideas

We have hundreds of free teaching ideas and resources for teaching all aspects of literacy. Be sure to browse them here.

COMPLETE DIGITAL AND PRINT FUN WRITING UNIT

25 FUN and ENGAGING writing tasks your students can complete INDEPENDENTLY with NO PREP REQUIRED that they will love.

Fully EDITABLE and works as with all DIGITAL PLATFORMS such as Google Classroom, or you can PRINT them for traditional writing tasks.

Be sure to view all of our resources at Innovative Teaching Ideas

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• The Best Creative Writing Resources For Teaching Plot And Setting In Ks3 English

10 of the Best Creative Writing Resources for Teaching Plot and Setting in KS3 English

Whether students want to create an epic adventure in a fiery inferno or tense tale in a sleepy town, make sure they create a compelling plot and a fully realised setting with these resources…

Storyboard templates

Whether it’s short stories, comic strips or filmmaking, every tale needs the right structure to be told well.

Having a beginning, middle and end may be a staple of storytelling , but alone it’s not enough, and there are many ways to tell a story.

But however you choose to write yours, one thing is constant – good stories need good structure. These storyboard template resources and activities will help your students develop the skills required to add that foundation to their creative writing.

Check out these resources here.

Year 7 English worksheets

Get to grips with descriptive writing across two lessons with these free Year 7 English worksheets which focus on a piece of text all about the jungle.

Create a spooky atmosphere

Creative writing lessons need to stimulate all of the senses and inspire students. Creative writing in the Gothic genre – spooky stories – offers a wonderful opportunity for this. This is a topic that always manages to enthuse pupils and one of the most exciting aspects is that the outcome is completely different with every group.

Giving students time for thinking and the creation of ideas is essential. This plan provides the stimulus from which a number of sessions can be developed. Subsequent periods can also focus on the development of different writing skills as required by the individual needs of a group.

Get this resource here.

Use The Hobbit to write about tunnels

In this ‘build your own adventure story’ resource students discover new lands, and overcome monsters and other obstacles.

It begins with a passage from JRR Tolkien’s The Hobbit , where Bilbo finds himself in a dark cave and meets Gollum for the first time. There are 10 pointers to look at to explore the passage, before student’s begin to write their own story.

It starts in a tunnel, which of course needs describing, and the other side of that they emerge in a fantasy land, which, guess what, also needs describing. They’ll also need to create maps, monsters and much more.

Download it here.

The Place as Character

This interactive resource from Eduqas offers an opening paragraph example of a story that creates a real sense of setting. Students should read through and identify the adjectives used to develop the atmosphere of the place being described.

The second section is where they give it a go themselves, writing out a descriptive passage about a place. But there are lists of adjectives they can click on to insert them into the story should they get stuck for inspiration.

Give it a try here.

Inspiring images and sticky notes

Inspiring images and endless sticky notes might be all you need to get learners producing some truly creative writing. And this lesson is one where students of all abilities (including in mixed ability groups) from Y7 to Y9 are taught engaging creative writing.

Getting students moving around the classroom (especially in classes where behaviour can be challenging) can be daunting but the speed of the task keeps students focused and can result in some fantastic work being produced without too much teacher talk or instruction needed.

This is very much a facilitation of learning and creating for the teacher. You do need a number of resources (and one way to differentiate this lesson thoroughly is to decide exactly which student will have each picture), but for all the coloured sticky notes required, it is well worth the effort.

Download this free lesson plan here.

Playing with structure

This excellent resource on Structure features sections about narrative structures, structure of stories, how you can play with structure, opening and closing a story and how narrative point of view can affect the how you structure the plot.

Dig in to all this here.

Model texts for settings

If you’re after example texts for different settings then head to Literary Wagoll where you’ll find descriptions of an alien world, a fairground, a tree house, a thunderstorm and various others.

Check out all these and more here.

Plot elements

This short and sweet resource is a handy reminder of what the ‘plot’ actually is (and how it can differ from how you choose to tell your story), and it also includes a fun little exercise based on quickly coming up with a plot based on a random word.

You’ll find it here.

Plot advice

This post features an excerpt from the book What’s the Story? Building Blocks for Fiction Writing , and builds on the idea of what a plot is.

It also includes a short list of traditional plot types, and tips for building a compelling plot, like using momentum, creating stakes and giving the characters goals and motives.

Give it a look here.

Browse more  English games KS3 ideas and more creative writing prompts .

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Are your students bored with completing writing assignments on traditional one page worksheets or plain lined writing paper?

Below you will find information about the four different kinds of creative writing teaching resources that are found on this website.

1. large creative writing templates and projects.

Are you looking for some LARGE creative writing projects and interesting writing topics that will spark interest and enthusiasm in your students?

On this page, you will find creative writing teaching resources that contain large and unique creative writing templates that will help you to engage your students in writing.

My writing templates are unique in shape, but simple in supplies!

After you have printed out the templates, the only materials that you will need to have in your classroom to complete these writing projects are scissors, glue, tape, and coloring pencils. You will not need to go shopping after school for art supplies and materials to complete these fun creative writing projects.

On this page, you will also find examples and photographs of many of these unique creative writing teaching resources and student projects.

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2. Unique Poetry Lesson Plans and Templates

Have you found it difficult to come up with some new, creative, and engaging ideas for poetry writing during your language arts lessons?

My poetry web page contains poetry lesson plans and templates in a variety of different shapes, sizes, and themes.

It is often difficult to get students enthusiastic about writing poetry. I have found that my students immediately become more interested in writing poems when the poetry templates are unique in shape and have interesting themes.

The poetry writing templates that you will find on Unique Teaching Resources are unique in shape, size, and theme.

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3. Printable Worksheets For Teachers

Are you looking for colorful printable worksheets for a variety of different school and holiday writing topics?

Are you looking for a way to create a quick bulletin board display of your students' work that is eye catching and brightens up your classroom for a special holiday or event?

The printable worksheets that you find on Unique Teaching Resources are bright and colorful. Each of the teacher worksheet sets that you will find on my website also contains a free 5 page bulletin board display banner.

All of my teacher worksheet sets contain the following components:

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Are you looking for a creative list of writing prompts and journal ideas for your students?

On this page, you will find a large list of writing ideas that will spark creative ideas in your students during journal and creative writing activities.

Many of these journal and creative writing prompt ideas include links to resources that I have created for that specific writing idea.

For many of these ideas, I have also included useful links to other websites that will help you in planning your lesson activities.

• Specific creative writing prompts and ideas that you can use for each month of the year.
• General writing prompts that you can use all year long with your students.

Click here to go to creative writing prompts page.

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20 Creative Writing Activities for Elementary Students

• November 23, 2021

Did you know that November is National Novel Writing Month? While your young learners are probably not ready to write an entire book, this month is a great time to practice creative writing skills with your students. Not only can creative writing be helpful for teaching vocabulary and sentence structure, but it can also encourage students to use imaginative thinkin g —and even find a genuine love of writing!

All of these 20 creative writing activities can be used with elementary school students to practice reading and writing skills. We’ve included options for both early elementary students, who may still be learning to write, and elementary students in upper grades who are ready to work on projects of their choosing.

1. Join the NaNoWriMo organization’s Young Writers Program (YWP) ! Together, your students can work on all sorts of age-appropriate writing challenges and activities throughout the year—including a project of their choice in November!

2. To practice pre-writing skills and collaborating on a project, try these shared writing project activities .

3. If you have any budding cartoonists in your class, this Finish the Comic activity from author Jarrett Lerner can be a great way for younger students to practice writing dialogue.

4. Teach your students about adjectives and writing descriptions with this Popcorn Adjectives activity .

5. Students can learn about creative writing by studying imagery and poetry by established authors. Using this writing worksheet , kids can write out their thoughts about a poem and draw images that stand out to them.

6. To teach creative thinking skills with kindergarteners and early elementary students, try this Mystery Seed writing activity .

7. Get families involved, too! Share these fun home writing activities with your student’s families to help them practice at home.

8. Print out and put together a Writing Jar with tons of creative writing prompts to inspire your students.

9. Check out this resource for even more writing prompts focused on imaginative thinking.

10. Try blackout poetry , an activity that encourages students to make their own beautiful art from a work that already exists.

11. Creative writing isn’t limited to fiction. This narrative writing activity can teach students to write events clearly and in sequence from their real life.

12. For a creative writing project that’s just plain fun, try this Roll a Story activity.

13. This nonfiction project helps children learn to write a letter as they write to a loved one of their choice.

14. If you want to give your students some freedom in choosing a writing assignment, hang up this Writing Prompt Choice Board in your classroom and let them answer whichever prompt they’d like!

15. Encourage students to keep their own journal throughout the year. You could even give them time each morning to respond to a journal prompt .

16. Use this journal page template to help students structure and compile journal entries.

17. These printable Mad Libs can teach children different parts of a sentence while they use their imaginations to create a story.

18. Use this What? So What? Now What? exercise (#6 at the link) to help students structure their creative writing projects.

19. To teach children how to create descriptive sentences, play this Show, Don’t Tell writing activity .

20. If you’d like to hold a month-long creative writing activity, try this 30-Day Writing Challenge for kids .

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15 Essential Resources for Elementary Writing Instruction

Authored by Janine Henley, this blog post offers 15 essential resources for elementary educators to enhance their writing curriculum and instruction. From webinars to books and podcasts, each resource is carefully selected to empower teachers, literacy coaches, and reading specialists in cultivating proficient writers in their classrooms. Dive into this curated collection of resources to unlock writing success, strengthen foundations, and foster creativity among young learners.

Table of Contents

• Articles, Guides & Research

Books : Effective Writing Instruction

• In “Keys to Early Writing,” you’ll find a comprehensive guide aligned to Keys to Literacy’s professional development modules. This resource is designed to support educators with an introduction to writing instruction, detailed instructional practices, real classroom examples, and engaging professional learning activities. The book also features numerous reproducible templates that you can use with your own students.
• The Institute of Education Sciences’ “Teaching Elementary School Students to Be Effective Writers” guide offers four insightful recommendations to enhance elementary students’ writing skills. With detailed implementation steps and solutions for common challenges, this guide is a must-have for teachers, literacy coaches, and educators dedicated to improving their students’ writing proficiency. Explore this resource to learn more about effective elementary writing instruction!

Articles, Guides & Research : Elementary Writing Instruction

• 826 Writing Reports aims to ignite the power and joy of writing, envisioning a world where every student has access to quality writing education. Their dedication to creating more writing spaces and empowering teachers resonates deeply with our own commitment to literacy. 826 is working towards a future where writing flourishes in every classroom, enriching the lives of students and educators alike. The 826 Writing Reports explore the current state of writing instruction and research based best practices that will help move the needle on student achievement.
• In the latest edition of “Best Practices in Writing Instruction,” experts dive into strategies to help create a supportive writing environment and strategies to teach writing for different purposes. There are also several chapters that explore how to support students in honing specific skills—from handwriting and spelling to sentence construction and the writing process. This definitive text translates new research into effective guidelines for teaching writing across grades K–12, offering educators practical insights and real classroom examples to cultivate a comprehensive, high-quality writing program.
• The Reading League’s Curriculum Evaluation Tool provides educators with a valuable resource to assess the alignment of curricula with evidence-based practices in reading instruction. With the Curriculum Evaluation Guidelines (CEGs) Reviewer Workbook, curriculum review teams can effectively rate and record evidence of potential red flags. It’s crucial to ensure that instructional practices align with the scientific evidence base of how children learn to read, particularly in Tier I instruction. The guidelines are meticulously designed to identify any non-aligned practices, or “red flags,” across key areas such as Word Recognition, Language Comprehension, Reading Comprehension, Writing, and Assessment
• In the article “5 High-Impact Writing Strategies for the Elementary Grades,” educators are encouraged to broaden their perspective on writing instruction beyond traditional storytelling and informational pieces. While these are undoubtedly valuable, the article emphasizes the importance of foundational transcription skills, such as handwriting. The article also discusses integrating writing across all content areas to deepen students’ understanding and prepare them as proficient writers. By incorporating writing into various subjects and providing opportunities for student choice, educators can nurture a strong foundation for young writers to excel in authoring texts across genres.
• In this blog post, I’ll be diving into The Writing Rope Book Club: A Spotlight on Explicit Writing Instruction. As both a member of the Heggerty team and an experienced educator myself, I’ll share insights and strategies to enhance writing instruction in elementary classrooms. Join me as I explore the steps to starting The Writing Rope book club and provide practical tips to strengthen your teaching practice.
• In this insightful blog post, Dr. Gary Troia dives into the realm of effective writing instruction, offering invaluable insights for educators. As we explore “A Guide to Effective Writing Instruction,” Dr. Troia seamlessly connects structured literacy practices with the art of teaching writing, providing practical strategies to enhance instruction. Gain a deeper understanding of the essential elements of effective writing instruction and learn how to integrate them seamlessly into our classrooms.

Webinars : Improving Student Writing Skills in the Classroom

• In this insightful webinar, Margie B. Gillis, Ed.D, a nationally recognized literacy expert, discusses the critical role of syntactic knowledge in student comprehension. As we explore the Syntax Attitude Educator session, Margie shares valuable research insights and practical strategies for educators to teach students how to understand the functions of sentence parts within text. During the webinar, Margie’s expertise shines through as she equips educators with evidence-based practices to enhance reading comprehension in the classroom. When we focus on syntax, we help strengthen not only our students’ reading comprehension but their written composition skills as well. This webinar will help equip you with the knowledge of sentence parts so you can teach syntax effectively!
• The AIMS Institute 2024 Symposium brings together some of the brightest minds in literacy education to share valuable insights and practical strategies. From exploring the reading-writing connection to delving into considerations for English Learners and Emergent Bilingual Students, this symposium covers a wide range of topics crucial to elementary education. With presentations from experts like Dr. Sonia Cabell and Dr. Devin Kearns, you’ll gain valuable tools and techniques to enhance your instruction and support student learning. Plus, with presentation slides generously shared by the presenters, you’ll have access to a wealth of resources to further your professional development.
• The 2022 Literacy Symposium: Writing Strand is a treasure trove of insights and strategies to enrich your teaching practice. Led by esteemed experts like Joan Sedita and Dr. Anita Archer, this symposium covers a wide range of topics crucial to fostering literacy development in your students. From exploring the importance of summarizing for comprehension and writing skills to delving into effective spelling instruction and syntax comprehension, each session offers practical suggestions and research-based approaches that you can implement in your classroom. Whether you want to enhance your students’ writing skills or deepen their comprehension abilities, this symposium provides valuable tools and techniques to support your journey as an educator.
• The webinar titled “An Introduction to a Simple View of Writing” presented by Dr. Murray and Dr. Beveren Currie provides a comprehensive overview of the simple view of writing, offering insights into its components and implications for instruction. Through engaging discussions and practical examples, attendees gain a deeper understanding of the transcription and composition skills that are essential to become a proficient writer. Delivered as part of the PATTAN Literacy Symposium, this session equips educators with essential knowledge to enhance writing instruction and support student success in literacy.
• “Navigating Writing Instruction in the Elementary Classroom,” hosted by Alisa VanHekken, Chief Academic Officer at Heggerty, this webinar promises valuable insights and strategies to enhance our approach to teaching writing. It explores transformative practices and addresses key questions shaping writing education today. It’s a great resource for anyone looking to inspire a new generation of confident and creative young writers.

Podcasts: Teacher-Friendly Podcasts Spotlighting Effective Writing Instruction

• Dive into the fascinating world of writing science with Pedagogy Non-Grata’s latest podcast episode. Join the round table discussion featuring esteemed writing experts Dr. Steve Graham, Dr. Amy Rouse Gillespie, Joan Sedita, and Lyn Stone as they discuss the best practices of effective writing instruction. Gain valuable insights and practical strategies from these leading voices in education as they explore the latest research that fosters writing proficiency. Whether you’re an educator, parent, or writing enthusiast, this episode offers invaluable knowledge to enhance your understanding of the science behind writing.
• In this podcast episode, “Writing Your Way to Better Reading,” host Susan Lambert engages in a thought-provoking conversation with renowned expert Dr. Steve Graham about the intricate relationship between writing and literacy. Drawing from his extensive experience, including his role in chairing the What Works Clearinghouse Practice Guides on writing, Dr. Graham shares valuable insights into supporting student writing, overcoming obstacles in writing development, and emphasizing the significance of teaching handwriting skills.

KeystoLiteracy.com. (n.d.). Training Book: Keys to Early Writing, 2nd Edition (2020). Retrieved from https://keystoliteracy.com/product/training-book-keys-to-early-writing-2nd-edition-2020/

Institute of Education Sciences. (n.d.). Foundational Skills to Support Reading for Understanding in Kindergarten Through 3rd Grade (NCEE 2016-4008). Retrieved from https://ies.ed.gov/ncee/WWC/PracticeGuide/17

826 National. (n.d.). Retrieved from https://826national.org/

Graham, S., MacArthur, C. A., & Hebert, M. (n.d.). Best Practices in Writing Instruction: Second Edition. Guilford Press. Retrieved from https://www.guilford.com/books/Best-Practices-in-Writing-Instruction/Graham-MacArthur-Hebert/9781462537969

The Reading League. (n.d.). Curriculum Evaluation Guidelines. Retrieved from https://www.thereadingleague.org/curriculum-evaluation-guidelines/

Mosby, A. (2024, March 15). 5 High-Impact Writing Strategies for the Elementary Grades. Edutopia. Retrieved from https://www.edutopia.org/article/high-impact-writing-strategies-elementary-students

Henley, J. (2024, March 27). The Writing Rope Book Club: A Spotlight on Explicit Writing Instruction [Blog Post]. Retrieved from https://heggerty.org/resources/blog-post/the-writing-rope-book-club/

Troia, G. A. (2023, November 2). A Guide to Effective Writing Instruction [Blog Post]. Retrieved from https://heggerty.org/resources/blog-post/a-guide-to-effective-writing-instruction/

PaTTAN Literacy Symposium. (2022, August 26). The Syntax Attuned Educator [Webinar]. YouTube. Retrieved from https://www.youtube.com/watch?v=JE1LFsDS7j8

AIM Institute. (2024, March 11). 2024 Symposium Recordings: The Intersection of Reading and Writing [Conference Session]. Retrieved from https://institute.aimpa.org/programs-research/research-to-practice-symposium/2024symposium/2024recordings?utm_campaign=2024%20Symposium&utm_medium=email&_hsmi=299155430&_hsenc=p2ANqtz-_2Mwhxo4h2zTp5A1zJMW9we3d_o-BvaIw8nMYzNk-OCNhGiOM6mH5LIQNYXm-OyNLmYi5kYMfhLwqaMv1rBboVrYldfQ&utm_content=299155430&utm_source=hs_email

PaTTAN Literacy Symposium. (2022). Writing Strand: 2022 Literacy Symposium [Webinar Collection]. Retrieved from https://sites.google.com/pattan.net/pattan-literacy/2022-pattan-literacy-symposium/writing-strand?authuser=0

Murray, J., & Beverine-Curry, L. (2020, July 13). An Introduction to a Simple View of Writing [Webinar]. Retrieved from https://www.youtube.com/watch?v=G4oX81uJwmQ

VanHekken, A. (Host). (n.d.). Navigating Writing Instruction in the Elementary Classroom [Webinar]. Heggerty. Retrieved from https://heggerty.org/downloads/webinar-navigating-writing-instruction-in-the-elementary-classroom/

The Science of Writing Round Table. (n.d.). [Audio podcast episode]. In Apple Podcasts. Retrieved from https://podcasts.apple.com/us/podcast/the-science-of-writing-round-table/id1448225801?i=1000647603501

Graham, S. (Guest). (n.d.). Writing your way to better reading [Audio podcast episode]. In Science of Reading: The Podcast (Season 7, Episode 8). Amplify. Retrieved from https://amplify.com/episode/science-of-reading-the-podcast/season-7/episode-8-writing-your-way-to-better-reading/

Janine Henley, M.Ed

Janine is currently a Literacy Specialist at Heggerty. Before joining Heggerty, she served as a classroom teacher, reading specialist, and literacy coach. Janine holds a Master’s degree in Elementary Education from the University of Mary Washington and earned her reading specialist endorsement from the University of Virginia. Trained in Orton Gillingham, she has worked with diverse grade levels, spanning from K-8, showcasing her passion for education.

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Students read a nonfiction text and build their comprehension through writing prompts, supporting a series of claims with evidence sourced from the text. Quill challenges students to write responses that are precise, logical, and based on textual evidence, with Quill coaching the student through custom, targeted feedback on each revision so that students strengthen their reading comprehension and hone their writing skills.

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Teachers control interactive slides that contain writing prompts, and the entire class responds to each prompt. Each Quill Lessons activity provides a lesson plan, writing prompts, discussion topics, and a follow up independent practice activity.

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Quickly determine which skills your students need to work on with our diagnostics.

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Writing Matters

Voices from the Middle, December 2015

Composing and Creating Writing in Classrooms

Talking Points , October 2017

Writing Is Power: Helping Students Craft Their Wor(l)ds

English Journa l, January 2018

For this revised edition, Dean worked with high school teachers to refine, reorganize, and update the material to better support classroom teachers dedicated to teaching not just the process of writing but also the strategies that help students learn to write effectively throughout their lives.

Read the first chapter from this book. 

Check out her post for the NCTE blog , “Becoming Strategic Writers—and Teachers of Strategic Writing.”

In this book from the Principles in Practice Imprint, Van Sluys demonstrates how to (re)claim our professional practice to ensure that young people have the opportunity to become competent, constantly growing writers who use writing to think, communicate, and pose as well as solve problems.

Read the sample chapter, “Writers for Today and Tomorrow’s World.”

Listen to author Katie Van Sluys talk about her book with imprint editor Cathy Fleischer.

Shop Writing Books

Articles on Teaching Writing

“Deserting the Narrative Line: Teaching the Braided Form”

Teaching English in the Two-Year College , December 2014

This essay describes an approach to teaching the braided essay, highlighting the rewards and difficulties.

“Writing 2.0: How English Teachers Conceptualize Writing with Digital Technologies”

English Education, October 2016

This article examines how a group of secondary English teachers conceptualized writing process pedagogy and digital tool use after a week-long professional development program.

“Cloud-Based Tools for Teaching Writing as a Process”

English Leadership Quarterly, April 2016

The author provides readers with resources to enrich writing instruction but also underscores the importance of being intentional about the choices we make for our students.

“The Good Writer: Virtue Ethics and the Teaching of Writing”

College English, January 2017

The author argues that the tradition of the virtues has much to offer teachers and students and can clarify what it means, in an ethical sense, to be a “good writer” in a skeptical, postmodern moment.

“Writing as Relationship”

English Journal, January 2016

This article examines relationships in the writing process and offers some strategies to address student needs on both the cognitive and affective domains.

“Slay the Monster! Replacing Form-First Pedagogy with Effective Writing Instruction”

English Journal, July 2016

This article provides concrete suggestions for teaching purpose, audience, context; invention strategies; text structures; genres; revision; and writer’s craft.

“Guide on the Side: Collaboratively Writing and Revising with Students”

The authors contend that by writing alongside students educators have the opportunity to serve as mentors for all stages of the writing process, especially during revision.

“Designing Writing Instruction that Matters”

Voices from the Middle , December 2015

In this article the authors present two tools teachers have been using to ensure their writing instruction is balanced, engaging, and authentic.

“Fostering ‘Good’ Writers: Making Writing Meaningful”

Voices from the Middle , May 2016

In order to address the misconception that “good” writing equals errorfree writing, this article reports the need for students to create meaningful works of writing.

“‘Everybody Have Their Own Ways of Talking’: Designing Writing Instruction That Honors Linguistic Diversity”

Voices from the Middle , March 2017

The author describes instruction that was specifically designed to align with the concepts of code-meshing and constructivism.

“Because Writing Is Never Just Writing: 2017 CCCC Chair’s Address”

College Composition and Communication,  December 2017

“Our research, our teaching, our discussions of what we do and why we do it are suffused with illustrations of how writing is never just writing.” —Linda Adler-Kassner

Review: ”Teaching Writing in the 21st Century: Composition Methodologies, Reading, and Transfer”

College English , March 2016

The five books reviewed call for care in understanding students and the many ways that they are positioned in the world and for more attention to reading pedagogy in conjunction with writing.

“Resources Preservice Teachers Use to Think about Student Writing”

Research in the Teaching of English , August 2016

This article identifies five categories of resources that preservice teachers drew on as they considered student writing and planned their own approaches to assessing and teaching writing.

“Writing to Change the World: Teaching Social Justice through Writer’s Workshop”

Language Arts , November 2017

Lily Diamond, 2016 winner of the Donald H. Graves Award for Excellence in the Teaching of Writing, discusses ways in which she integrates issues of social justice during writer’s workshop.

Reframing Readiness: “The Framework for Success as Writing Comprehension”

English Journal , July 2017

This column highlights examples of the values espoused by the  Framework for Success  in Postsecondary Writing and aims to increase understanding of this statement, advocating for its rich conception of writing.

Lesson Plans on Writing

These classroom-tested lesson plans from ReadWriteThink provide ready resources for teachers working with students from kindergarten to high school.

Blog Posts on Writing

NCTE members and staff have published writing-related blog posts on a variety of subjects, from using NCTE and ReadWriteThink materials in the classroom to writing for civic action, and more.

National Day on Writing

The National Day on Writing (October 20) was founded by NCTE on the premise that writing is critical to literacy but needs greater attention and celebration.

#WhyIWrite Podcasts

The #WhyIWrite podcast features interviews with authors about their writing process, what inspires them, and the challenges they’ve faced.

Writing-Related Professional Development

Perspectives on Practice: “Writing as Teachers: The Power of Place”

Language Arts, March 2017

Places can be powerful catalysts for writing, inviting us to explore and understand our individual and collective relationships with one another and the world.

“Looking Back to Look Forward: The Transformative Power of Ongoing, Collaborative, Teacher-Driven Professional Development”

Voices from the Middle , September 2017

Collectively, teachers have the power to leverage their voices and empower their students. They must continue to expand and enhance their skills by demanding professional development.

“More Than Skin Deep: Professional Development that Transforms Teachers”

In this article, four teachers of various levels of instruction share what makes the National Writing Project summer institute experience so valuable to them in their teaching lives and in the lives of their student writers.

“Take Time to Write!: A Teacher’s Story of Writing within a Community of Teacher Writers”

English Leadership Quarterly, October 2017

The authors explore the questions of whether and how ELA teachers can or even should add writing to their skill sets by following a teacher as she participates in a National Writing Project Advanced Summer Institute.

“Transforming Instruction: How Collaborative Professional Development Changed the Teaching of Argumentative Writing”

English Leadership Quarterly, October 2015

This article explores questions about how to create meaningful PD experience related to the effective teaching of argumentative writing.

NEW VOICES: “Where Early-Career Educators Learn to Teach Writing”

In this column, we meet three early career educators who are finding strength and possibility in the teaching of writing through mentorship, reflection, and writing alongside their students.

English Education , October 2016

“Teacher Empowerment through Partnerships: A Sustaining Model of Professional Development”

English Journal , March 2018

This article describes a state-level partnership with the goal of empowering teacher leaders to implement a professional learning project at their individual schools.

“Developing Readers and Writers with a Districtwide Literacy Strategy Set”

English Journa l , March 2018

This article describes an approach to professional development that capitalized on investments in expertise among English language arts teachers to support literacy across the district.

“Global Leaders’ Views on the Teaching of Writing”

Leaders have the opportunity to inspire, to motivate, and to make a positive difference in the lives of teachers and adolescents. This article focuses on international literacy leaders and their views of the teaching of writing.

Becoming Strategic Teachers, Teaching Strategic Writers

In this interactive session, teacher and author Debbie Dean will help participants enhance their writing instruction by considering process as a strategy and genre as an approach to teaching writing.

Write This Way: How Modeling Transforms the Writing Classroom

Modeling is one of the most effective of all teaching strategies, and yet many teachers overlook this powerful tool in writing instruction.

Revision: How to Teach it, Learn it, Love it!

In this Web Seminar, Barry Lane focuses on tools to aid revision including growing leads from questions, digging for details using binoculars, and more.

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Anchor your writing instruction in big ideas students can remember

Years later, when one of my journalism students won a Los Angeles Times award for news writing, I thought more deeply about the instructional changes I had made. I also thought about the social and emotional factors that likely enabled this once-timid reporter to tackle tough issues and blossom into an adept writer. What I realized from this exercise is that many of my instructional shifts had more to do with “leaning in” and getting to know my student as a writer, along with “letting go” of some outdated notions about what good writing is.

These are the three most important lessons I learned that I’d like to pass along.

Lesson #1: Writing instruction begins with a shared language for talking about writing and a shared understanding of the purposes for writing

Anchoring your instruction in a few big ideas that students can remember helps simplify the experience for everyone—and writing is always an experience.

As a new English language arts teacher, I often made writing more complicated than it needed to be. In my journalism classes, things were simple: we focused on the 5Ws and H (who? What? When? Where? Why? How?). It was easy for every student to remember and internalize these guiding questions.

If only there were a similar list of questions I could apply to other writing tasks! Over time, I found that there was. And at NWEA, I’ve had the opportunity to collaborate with current and former teachers to hone that list of essential questions down to the following five.

If anchoring your instruction in big ideas students can remember resonates with you, like it did for me, I encourage you to try incorporating these five essential questions into your writing curriculum.

We’ve even compiled these big ideas for growing writers into a free resource aimed at building a shared language for talking about writing with students. To that end, we’ve created a student version , too.

1. Why am I writing?

This question encourages students to ponder their purpose for writing. Often, their immediate response to this question is, “I’m writing because my teacher assigned me this essay/report/research paper.”

If we can get students to push past the idea of writing as an assignment and toward writing as a form of communication, we may see a dramatic increase in their motivation and writing quality. “What do you want to accomplish with this piece of writing?” becomes the question, not “What kind of writing does your teacher want from you?”

Writing is always the intellectual product of the writer, and the more we can encourage students to see themselves as writers and to take ownership of their writing, the better the results. Before students write, it’s critical they know and understand their purpose for writing, as this purpose informs so many other choices they will make.

2. Who are my readers?

This question forces students to consider their audience . When writers can anticipate the needs of their audience, they increase the effectiveness of their communication.

If the only audience a student ever has for their writing is a teacher, they lose the opportunity to make writerly decisions based on different audiences, such as considering their unique feelings and opinions about a topic, their different vocabularies (e.g., familiarity with code switching, idioms, or jargon), and their varying degrees of background knowledge. This is why giving students authentic writing tasks is so important . Authentic writing engages students in the same cognitive processes they use to write for real-world situations, such as applying for a job, taking civic action, or even communicating with family and friends.

3. What am I writing?

This question gets students to think more deeply about the task , genre , and form for their writing. While some of this information is likely included in the writing assignment, it’s still important for students to work through the task details on their own.

Students will make more informed writing decisions when they are able to clearly articulate the expectations and success criteria for a writing task . The writing genre provides another framework for students to think about their purpose for writing. Each genre’s unique features have developed over time through socially agreed-upon conventions, and experienced writers understand how to use these features to communicate more clearly with their audiences. Finally, form —or format—describes the type of text to be produced, and today’s writers have more forms to choose from—both analog and digital—than ever before.

When students put time and thought into their purpose, audience, and task, they have a greater command over their writing and what they want it to accomplish. And that’s when we get to see students’ communication skills and creativity truly shine through.

4. How am I presenting ideas in my writing?

This question addresses the myriad of choices a writer must make when they embark on a task, including decisions about writing development , organization , style , and conventions . Too often, this is where we ask students to start, and it can be overwhelming to make all these decisions before a student has wrapped their head around what they plan to write and why. In addition, while these writerly decisions are important, we may place too great an emphasis on a student’s final written product when a focus on their writing process may have more instructional utility.

My advice to students is, “Don’t sweat the small stuff when it comes to presenting ideas in your writing.” The ideas themselves are what’s most important. They’ll have numerous opportunities to practice and hone their writing development, organization, style, and conventions with every piece they write and over an entire lifetime.

5. How am I using the writing process?

This question reminds students that writing is both a product and a process . And the writing process is where much of the learning and critical thinking takes place.

Though writing is often taught as a sequence of forward-moving steps, the writing process is recursive and iterative, not linear . For example, writers go back and forth between planning, drafting, translating, reviewing, and revising to meet their writing goals, and writing goals can be self-generated or revised at any time during the writing process.

Writing itself is a work in progress that includes collaboration, self-regulation, and self-evaluation in addition to the other steps students typically learn. The more frequently students engage in and reflect on their own writing process, the more likely they are to develop productive and efficient writing habits, as well as growth mindsets that can help them overcome writing challenges in their school, career, and personal lives.

Lesson #2: Writing instruction is most impactful when it extends through professional learning communities (PLC) that offer students school-wide support for writing

As students move from grade to grade, a strong and coordinated PLC can help them build on what they already know about writing and focus on becoming even more expressive and effective writers.

In my first year of teaching, a colleague and I had an opportunity to attend a professional learning summit on writing. One session led by Harry Noden taught us how his Image Grammar could help students expand, vary, and improve their sentence structures. The majority of our student population was multilingual learners, and we rightly suspected that focused practice on writing, even at the sentence level, could increase language development in English . In part, this is because writing has a slower pace, provides a permanent record, and calls for greater precision in word choice.

We accurately assumed that sentence writing would benefit all our students , too. And once we were satisfied with the results, we leveraged our PLC to encourage a school-wide adoption of teaching grammar with Noden’s “brushstrokes.” We saw students quickly embrace the concept of “brushstrokes” because it positioned them as “artists” painting with words. This artistry was reinforced by the quality of their sentence writing. Often shared aloud, these sentences could be chill inducing they were so beautiful. For many students, this was their first proof they could be excellent writers, once they learned how.

Lesson #3: Writing outcomes can be improved through the use of common assessments and common rubrics at the school, district, or even state level

Common assessments and common rubrics help educators develop a shared understanding of how to evaluate writing. This includes providing students with meaningful feedback and grading writing more consistently across a school, district, or even state.

Coordination among teachers can help establish a school-wide writing community that all students can tap into for peer review. It can also lead to greater consistency in writing instruction and evaluation. Such consistency builds trust between students and teachers, which in turn can strengthen students’ view of themselves as learners and increase their motivation to learn .

When students don’t have to figure out individual teacher preferences for writing—and they feel confident every teacher will grade their writing for substance not style—they can focus their mental energy on becoming better writers. This includes developing their own sense of how to use language(s) effectively for personal, academic, and civic purposes.

One way to foster student-teacher collaboration is to encourage students to enter writing contests . Student writing contests can range from local to national, and it’s worth some extra effort to find ones that are a good fit for your students. Once my journalism students began entering (and winning!) writing contests, these events became an annual tradition. My students also became more willing to work on their digital portfolios throughout the year.

At the district level, common assessments and common rubrics can help leaders identify schools that need more support, such as more professional learning for educators or more high-dosage tutoring for students . They can also identify schools that have model instruction and can serve as resources for others. If you’re looking for a place to start in your district, the Literacy Design Collaborative offers common analytic rubrics for several writing genres , and the New York Performance Standards Consortium provides a robust set of performance-based assessments and rubrics .

Districts that use state rubrics in their common writing assessments help ensure all educators have similar expectations of student writing. If your state assesses writing, check the state department of education website for newly released writing assessments and their accompanying rubrics. And if your state doesn’t assess writing, they may still offer writing materials for teachers to use.

Finally, NWEA is often asked about the connection between MAP® Growth™ and writing. MAP Growth does not include writing prompts, so it can’t take the place of high-quality formative assessment in the classroom ; it simply wasn’t designed to assess students’ writing. But MAP Growth can provide insights into students’ strengths and opportunities for growth, and these insights are especially helpful when educators use an integrated approach to reading and writing instruction.

The MAP Growth instructional areas for reading, for example, offer some information about how well students understand literary text, informational text, and vocabulary. Students who are performing below grade-level for vocabulary would likely benefit from more explicit vocabulary instruction, including more strategic exposure to roots and affixes. This expanded vocabulary knowledge can later be applied to students’ writing. One approach is to have students “speak in synonyms,” a kind of oral rehearsal that can be done with peers or small groups and then integrated into a piece of student writing. Meanwhile, students who struggle to comprehend informational text might benefit from a self-regulated strategy development (SRSD) approach to writing . This method teaches students to recognize, internalize, and utilize important genre features in writing. And since reading and writing are related, SRSD can help improve students’ comprehension of informational texts, too.

A recap of lessons learned

Writing is hard, and teaching writing may be harder still. As educators, we continually learn new lessons about how to help our students (and ourselves) become better writers. I hope the three lessons I’ve shared here are helpful to you and bring you closer to having every student see themselves as a capable writer or, better yet, an artist painting with words.

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The Joy of Teaching

Sharing creative ideas and lessons to help children learn.

Tips to Teach Text-Based Writing: Free Writing Prompts

April 25, 2024 by Evan-Moor | 0 comments

Empower students to become proficient writers while also strengthening their ability to comprehend and analyze texts with structured writing and reading lessons. By integrating reading comprehension with evidence-based writing prompts, you can help students develop their analytical and critical thinking.

Six Tips for Teaching Text-Based Writing

• Select articles that match the reading levels of students to support students’ comprehension and engagement, promoting effective learning experiences.
• Introduce the purpose of the text prior to reading to help students understand the context and deepen their comprehension.
• Teach essential vocabulary found within the article and equip students with the tools necessary for comprehending the text.
• Engage students in reading nonfiction passages and develop critical thinking skills by highlighting key information.
• Assist students in pre-planning and organizing their writing using graphic organizers to help them structure their writing and analysis.
• Encourage critical analysis of reading passages through text-dependent writing prompts that help students express their ideas through writing.

Download free Text-Based Writing lessons for grades 2–6 here .

These free printable activities include different types of text such as:

• Argumentative
• Explanatory
• Compare and Contrast
• Cause and Effect 

The in-depth teaching units include leveled reading selections in science, social studies, and health topics. The vocabulary and reading comprehension activities help students analyze the text, while graphic organizers provide helpful planners for students to develop arguments and cite evidence. Writing prompts and evaluation rubrics help students structure their writing and refine their arguments.

Help students become confident, articulate analytical writers with Text-Based Writing for grades 2–6!

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Home Numéros 59 1 - Tisser les liens : voyager, e... 36 Views of Moscow Mountain: Teac...

36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau

L'auteur américain Henry David Thoreau est un écrivain du voyage qui a rarement quitté sa ville natale de Concorde, Massachusetts, où il a vécu de 1817 à 1862. Son approche du "voyage" consiste à accorder une profonde attention à son environnement ordinaire et à voir le monde à partir de perspectives multiples, comme il l'explique avec subtilité dans Walden (1854). Inspiré par Thoreau et par la célèbre série de gravures du peintre d'estampes japonais Katsushika Hokusai, intitulée 36 vues du Mt. Fuji (1830-32), j'ai fait un cours sur "L'écriture thoreauvienne du voyage" à l'Université de l'Idaho, que j'appelle 36 vues des montagnes de Moscow: ou, Faire un grand voyage — l'esprit et le carnet ouvert — dans un petit lieu . Cet article explore la philosophie et les stratégies pédagogiques de ce cours, qui tente de partager avec les étudiants les vertus d'un regard neuf sur le monde, avec les yeux vraiment ouverts, avec le regard d'un voyageur, en "faisant un grand voyage" à Moscow, Idaho. Les étudiants affinent aussi leurs compétences d'écriture et apprennent les traditions littéraires et artistiques associées au voyage et au sens du lieu.

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Keywords: , designing a writing class to foster engagement.

1 The signs at the edge of town say, "Entering Moscow, Idaho. Population 25,060." This is a small hamlet in the midst of a sea of rolling hills, where farmers grow varieties of wheat, lentils, peas, and garbanzo beans, irrigated by natural rainfall. Although the town of Moscow has a somewhat cosmopolitan feel because of the presence of the University of Idaho (with its 13,000 students and a few thousand faculty and staff members), elegant restaurants, several bookstores and music stores, and a patchwork of artsy coffee shops on Main Street, the entire mini-metropolis has only about a dozen traffic lights and a single high school. As a professor of creative writing and the environmental humanities at the university, I have long been interested in finding ways to give special focuses to my writing and literature classes that will help my students think about the circumstances of their own lives and find not only academic meaning but personal significance in our subjects. I have recently taught graduate writing workshops on such themes as "The Body" and "Crisis," but when I was given the opportunity recently to teach an undergraduate writing class on Personal and Exploratory Writing, I decided to choose a focus that would bring me—and my students—back to one of the writers who has long been of central interest to me: Henry David Thoreau.

2 One of the courses I have routinely taught during the past six years is Environmental Writing, an undergraduate class that I offer as part of the university's Semester in the Wild Program, a unique undergraduate opportunity that sends a small group of students to study five courses (Ecology, Environmental History, Environmental Writing, Outdoor Leadership and Wilderness Survival, and Wilderness Management and Policy) at a remote research station located in the middle of the largest wilderness area (the Frank Church River of No Return Wilderness) in the United States south of Alaska. In "Teaching with Wolves," a recent article about the Semester in the Wild Program, I explained that my goal in the Environmental Writing class is to help the students "synthesize their experience in the wilderness with the content of the various classes" and "to think ahead to their professional lives and their lives as engaged citizens, for which critical thinking and communication skills are so important" (325). A foundational text for the Environmental Writing class is a selection from Thoreau's personal journal, specifically the entries he made October 1-20, 1853, which I collected in the 1993 writing textbook Being in the World: An Environmental Reader for Writers . I ask the students in the Semester in the Wild Program to deeply immerse themselves in Thoreau's precise and colorful descriptions of the physical world that is immediately present to him and, in turn, to engage with their immediate encounters with the world in their wilderness location. Thoreau's entries read like this:

Oct. 4. The maples are reddening, and birches yellowing. The mouse-ear in the shade in the middle of the day, so hoary, looks as if the frost still lay on it. Well it wears the frost. Bumblebees are on the Aster undulates , and gnats are dancing in the air. Oct. 5. The howling of the wind about the house just before a storm to-night sounds extremely like a loon on the pond. How fit! Oct. 6 and 7. Windy. Elms bare. (372)

3 In thinking ahead to my class on Personal and Exploratory Writing, which would be offered on the main campus of the University of Idaho in the fall semester of 2018, I wanted to find a topic that would instill in my students the Thoreauvian spirit of visceral engagement with the world, engagement on the physical, emotional, and philosophical levels, while still allowing my students to remain in the city and live their regular lives as students. It occurred to me that part of what makes Thoreau's journal, which he maintained almost daily from 1837 (when he was twenty years old) to 1861 (just a year before his death), such a rich and elegant work is his sense of being a traveler, even when not traveling geographically.

Traveling a Good Deal in Moscow

I have traveled a good deal in Concord…. --Henry David Thoreau, Walden (1854; 4)

4 For Thoreau, one did not need to travel a substantial physical distance in order to be a traveler, in order to bring a traveler's frame of mind to daily experience. His most famous book, Walden , is well known as an account of the author's ideas and daily experiments in simple living during the two years, two months, and two days (July 4, 1845, to September 6, 1847) he spent inhabiting a simple wooden house that he built on the shore of Walden Pond, a small lake to the west of Boston, Massachusetts. Walden Pond is not a remote location—it is not out in the wilderness. It is on the edge of a small village, much like Moscow, Idaho. The concept of "traveling a good deal in Concord" is a kind of philosophical and psychological riddle. What does it mean to travel extensively in such a small place? The answer to this question is meaningful not only to teachers hoping to design writing classes in the spirit of Thoreau but to all who are interested in travel as an experience and in the literary genre of travel writing.

5 Much of Walden is an exercise in deftly establishing a playful and intellectually challenging system of synonyms, an array of words—"economy," "deliberateness," "simplicity," "dawn," "awakening," "higher laws," etc.—that all add up to powerful probing of what it means to live a mindful and attentive life in the world. "Travel" serves as a key, if subtle, metaphor for the mindful life—it is a metaphor and also, in a sense, a clue: if we can achieve the traveler's perspective without going far afield, then we might accomplish a kind of enlightenment. Thoreau's interest in mindfulness becomes clear in chapter two of Walden , "Where I Lived, and What I Lived For," in which he writes, "Morning is when I am awake and there is a dawn in me. To be awake is to be alive. I have never yet met a man who was quite awake. How could I have looked him in the face?" The latter question implies the author's feeling that he is himself merely evolving as an awakened individual, not yet fully awake, or mindful, in his efforts to live "a poetic or divine life" (90). Thoreau proceeds to assert that "We must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn…. I know of no more encouraging fact than the unquestionable ability of man to elevate his life by a conscious endeavor" (90). Just what this endeavor might be is not immediately spelled out in the text, but the author does quickly point out the value of focusing on only a few activities or ideas at a time, so as not to let our lives be "frittered away by detail." He writes: "Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; … and keep your accounts on your thumb nail" (91). The strong emphasis in the crucial second chapter of Walden is on the importance of waking up and living deliberately through a conscious effort to engage in particular activities that support such awakening. It occurs to me that "travel," or simply making one's way through town with the mindset of a traveler, could be one of these activities.

6 It is in the final chapter of the book, titled "Conclusion," that Thoreau makes clear the relationship between travel and living an attentive life. He begins the chapter by cataloguing the various physical locales throughout North America or around the world to which one might travel—Canada, Ohio, Colorado, and even Tierra del Fuego. But Thoreau states: "Our voyaging is only great-circle sailing, and the doctors prescribe for diseases of the skin merely. One hastens to Southern Africa to chase the giraffe; but surely that is not the game he would be after." What comes next is brief quotation from the seventeenth-century English poet William Habbington (but presented anonymously in Thoreau's text), which might be one of the most significant passages in the entire book:

Direct your eye sight inward, and you'll find A thousand regions in your mind Yet undiscovered. Travel them, and be Expert in home-cosmography. (320)

7 This admonition to travel the mysterious territory of one's own mind and master the strange cosmos of the self is actually a challenge to the reader—and probably to the author himself—to focus on self-reflection and small-scale, local movement as if such activities were akin to exploration on a grand, planetary scale. What is really at issue here is not the physical distance of one's journey, but the mental flexibility of one's approach to the world, one's ability to look at the world with a fresh, estranged point of view. Soon after his discussion of the virtues of interior travel, Thoreau explains why he left his simple home at Walden Pond after a few years of experimental living there, writing, "It is remarkable how easily and insensibly we fall into a particular route, and make a beaten track for ourselves" (323). In other words, no matter what we're doing in life, we can fall into a "beaten track" if we're not careful, thus failing to stay "awake."

8 As I thought about my writing class at the University of Idaho, I wondered how I might design a series of readings and writing exercises for university students that would somehow emulate the Thoreauvian objective of achieving ultra-mindfulness in a local environment. One of the greatest challenges in designing such a class is the fact that it took Thoreau himself many years to develop an attentiveness to his environment and his own emotional rhythms and an efficiency of expression that would enable him to describe such travel-without-travel, and I would have only sixteen weeks to achieve this with my own students. The first task, I decided, was to invite my students into the essential philosophical stance of the class, and I did this by asking my students to read the opening chapter of Walden ("Economy") in which he talks about traveling "a good deal" in his small New England village as well as the second chapter and the conclusion, which reveal the author's enthusiasm (some might even say obsession ) for trying to achieve an awakened condition and which, in the end, suggest that waking up to the meaning of one's life in the world might be best accomplished by attempting the paradoxical feat of becoming "expert in home-cosmography." As I stated it among the objectives for my course titled 36 Views of Moscow Mountain: Or, Traveling a Good Deal—with Open Minds and Notebooks—in a Small Place , one of our goals together (along with practicing nonfiction writing skills and learning about the genre of travel writing) would be to "Cultivate a ‘Thoreauvian' way of appreciating the subtleties of the ordinary world."

Windy. Elms Bare.

9 For me, the elegance and heightened sensitivity of Thoreau's engagement with place is most movingly exemplified in his journal, especially in the 1850s after he's mastered the art of observation and nuanced, efficient description of specific natural phenomena and environmental conditions. His early entries in the journal are abstract mini-essays on such topics as truth, beauty, and "The Poet," but over time the journal notations become so immersed in the direct experience of the more-than-human world, in daily sensory experiences, that the pronoun "I" even drops out of many of these records. Lawrence Buell aptly describes this Thoreauvian mode of expression as "self-relinquishment" (156) in his 1995 book The Environmental Imagination , suggesting such writing "question[s] the authority of the superintending consciousness. As such, it opens up the prospect of a thoroughgoing perceptual breakthrough, suggesting the possibility of a more ecocentric state of being than most of us have dreamed of" (144-45). By the time Thoreau wrote "Windy. Elms bare" (372) as his single entry for October 6 and 7, 1853, he had entered what we might call an "ecocentric zone of consciousness" in his work, attaining the ability to channel his complex perceptions of season change (including meteorology and botany and even his own emotional state) into brief, evocative prose.

10 I certainly do not expect my students to be able to do such writing after only a brief introduction to the course and to Thoreau's own methods of journal writing, but after laying the foundation of the Thoreauvian philosophy of nearby travel and explaining to my students what I call the "building blocks of the personal essay" (description, narration, and exposition), I ask them to engage in a preliminary journal-writing exercise that involves preparing five journal entries, each "a paragraph or two in length," that offer detailed physical descriptions of ordinary phenomena from their lives (plants, birds, buildings, street signs, people, food, etc.), emphasizing shape, color, movement or change, shadow, and sometimes sound, smell, taste, and/or touch. The goal of the journal entries, I tell the students, is to begin to get them thinking about close observation, vivid descriptive language, and the potential to give their later essays in the class an effective texture by balancing more abstract information and ideas with evocative descriptive passages and storytelling.

11 I am currently teaching this class, and I am writing this article in early September, as we are entering the fourth week of the semester. The students have just completed the journal-writing exercise and are now preparing to write the first of five brief essays on different aspects of Moscow that will eventually be braided together, as discrete sections of the longer piece, into a full-scale literary essay about Moscow, Idaho, from the perspective of a traveler. For the journal exercise, my students wrote some rather remarkable descriptive statements, which I think bodes well for their upcoming work. One student, Elizabeth Isakson, wrote stunning journal descriptions of a cup of coffee, her own feet, a lemon, a basil leaf, and a patch of grass. For instance, she wrote:

Steaming hot liquid poured into a mug. No cream, just black. Yet it appears the same brown as excretion. The texture tells another story with meniscus that fades from clear to gold and again brown. The smell is intoxicating for those who are addicted. Sweetness fills the nostrils; bitterness rushes over the tongue. The contrast somehow complements itself. Earthy undertones flower up, yet this beverage is much more satisfying than dirt. When the mug runs dry, specks of dark grounds remain swimming in the sunken meniscus. Steam no longer rises because energy has found a new home.

12 For the grassy lawn, she wrote:

Calico with shades of green, the grass is yellowing. Once vibrant, it's now speckled with straw. Sticking out are tall, seeding dandelions. Still some dips in the ground have maintained thick, soft patches of green. The light dances along falling down from the trees above, creating a stained-glass appearance made from various green shades. The individual blades are stiff enough to stand erect, but they will yield to even slight forces of wind or pressure. Made from several long strands seemingly fused together, some blades fray at the end, appearing brittle. But they do not simply break off; they hold fast to the blade to which they belong.

13 The point of this journal writing is for the students to look closely enough at ordinary reality to feel estranged from it, as if they have never before encountered (or attempted to describe) a cup of coffee or a field of grass—or a lemon or a basil leaf or their own body. Thus, the Thoreauvian objective of practicing home-cosmography begins to take shape. The familiar becomes exotic, note-worthy, and strangely beautiful, just as it often does for the geographical travel writer, whose adventures occur far away from where she or he normally lives. Travel, in a sense, is an antidote to complacency, to over-familiarity. But the premise of my class in Thoreauvian travel writing is that a slight shift of perspective can overcome the complacency we might naturally feel in our home surroundings. To accomplish this we need a certain degree of disorientation. This is the next challenge for our class.

The Blessing of Being Lost

14 Most of us take great pains to "get oriented" and "know where we're going," whether this is while running our daily errands or when thinking about the essential trajectories of our lives. We're often instructed by anxious parents to develop a sense of purpose and a sense of direction, if only for the sake of basic safety. But the traveler operates according to a somewhat different set of priorities, perhaps, elevating adventure and insight above basic comfort and security, at least to some degree. This certainly seems to be the case for the Thoreauvian traveler, or for Thoreau himself. In Walden , he writes:

…not until we are completely lost, or turned round,--for a man needs only be turned round once with his eyes shut in this world to be lost,--do we appreciate the vastness and strangeness of Nature. Every man has to learn the points of compass again as often as he awakes, whether from sleep or any abstraction. Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relations. (171)

15 I could explicate this passage at length, but that's not really my purpose here. I read this as a celebration of salutary disorientation, of the potential to be lost in such a way as to deepen one's ability to pay attention to oneself and one's surroundings, natural and otherwise. If travel is to a great degree an experience uniquely capable of triggering attentiveness to our own physical and psychological condition, to other cultures and the minds and needs of other people, and to a million small details of our environment that we might take for granted at home but that accrue special significance when we're away, I would argue that much of this attentiveness is owed to the sense of being lost, even the fear of being lost, that often happens when we leave our normal habitat.

16 So in my class I try to help my students "get lost" in a positive way. Here in Moscow, the major local landmark is a place called Moscow Mountain, a forested ridge of land just north of town, running approximately twenty kilometers to the east of the city. Moscow "Mountain" does not really have a single, distinctive peak like a typical mountain—it is, as I say, more of a ridge than a pinnacle. When I began contemplating this class on Thoreauvian travel writing, the central concepts I had in mind were Thoreau's notion of traveling a good deal in Concord and also the idea of looking at a specific place from many different angles. The latter idea is not only Thoreauvian, but perhaps well captured in the eighteen-century Japanese artist Katsushika Hokusai's series of woodblock prints known as 36 Views of Mt. Fuji , which offers an array of different angles on the mountain itself and on other landscape features (lakes, the sea, forests, clouds, trees, wind) and human behavior which is represented in many of the prints, often with Mt. Fuji in the distant background or off to the side. In fact, I imagine Hokusai's approach to representing Mt. Fuji as so important to the concept of this travel writing class that I call the class "36 Views of Moscow Mountain," symbolizing the multiple approaches I'll be asking my students to take in contemplating and describing not only Moscow Mountain itself, but the culture and landscape and the essential experience of Moscow the town. The idea of using Hokusai's series of prints as a focal point of this class came to me, in part, from reading American studies scholar Cathy Davidson's 36 Views of Mount Fuji: On Finding Myself in Japan , a memoir that offers sixteen short essays about different facets of her life as a visiting professor in that island nation.

17 The first of five brief essays my students will prepare for the class is what I'm calling a "Moscow Mountain descriptive essay," building upon the small descriptive journal entries they've written recently. In this case, though, I am asking the students to describe the shapes and colors of the Moscow Mountain ridge, while also telling a brief story or two about their observations of the mountain, either by visiting the mountain itself to take a walk or a bike ride or by explaining how they glimpse portions of the darkly forested ridge in the distance while walking around the University of Idaho campus or doing things in town. In preparation for the Moscow Mountain essays, we read several essays or book chapters that emphasize "organizing principles" in writing, often the use of particular landscape features, such as trees or mountains, as a literary focal point. For instance, in David Gessner's "Soaring with Castro," from his 2007 book Soaring with Fidel: An Osprey Odyssey from Cape Cod to Cuba and Beyond , he not only refers to La Gran Piedra (a small mountain in southeastern Cuba) as a narrative focal point, but to the osprey, or fish eagle, itself and its migratory journey as an organizing principle for his literary project (203). Likewise, in his essay "I Climb a Tree and Become Dissatisfied with My Lot," Chicago author Leonard Dubkin writes about his decision, as a newly fired journalist, to climb up a tree in Chicago's Lincoln Park to observe and listen to the birds that gather in the green branches in the evening, despite the fact that most adults would consider this a strange and inappropriate activity. We also looked at several of Hokusai's woodblock prints and analyzed these together in class, trying to determine how the mountain served as an organizing principle for each print or whether there were other key features of the prints—clouds, ocean waves, hats and pieces of paper floating in the wind, humans bent over in labor—that dominate the images, with Fuji looking on in the distance.

18 I asked my students to think of Hokusai's representations of Mt. Fuji as aesthetic models, or metaphors, for what they might try to do in their brief (2-3 pages) literary essays about Moscow Mountain. What I soon discovered was that many of my students, even students who have spent their entire lives in Moscow, either were not aware of Moscow Mountain at all or had never actually set foot on the mountain. So we spent half an hour during one class session, walking to a vantage point on the university campus, where I could point out where the mountain is and we could discuss how one might begin to write about such a landscape feature in a literary essay. Although I had thought of the essay describing the mountain as a way of encouraging the students to think about a familiar landscape as an orienting device, I quickly learned that this will be a rather challenging exercise for many of the students, as it will force them to think about an object or a place that is easily visible during their ordinary lives, but that they typically ignore. Paying attention to the mountain, the ridge, will compel them to reorient themselves in this city and think about a background landscape feature that they've been taking for granted until now. I think of this as an act of disorientation or being lost—a process of rethinking their own presence in this town that has a nearby mountain that most of them seldom think about. I believe Thoreau would consider this a good, healthy experience, a way of being present anew in a familiar place.

36 Views—Or, When You Invert Your Head

19 Another key aspect of Hokusai's visual project and Thoreau's literary project is the idea of changing perspective. One can view Mt. Fuji from 36 different points of views, or from thousands of different perspectives, and it is never quite the same place—every perspective is original, fresh, mind-expanding. The impulse to shift perspective in pursuit of mindfulness is also ever-present in Thoreau's work, particularly in his personal journal and in Walden . This idea is particularly evident, to me, in the chapter of Walden titled "The Ponds," where he writes:

Standing on the smooth sandy beach at the east end of the pond, in a calm September afternoon, when a slight haze makes the opposite shore line indistinct, I have seen whence came the expression, "the glassy surface of a lake." When you invert your head, it looks like a thread of finest gossamer stretched across the valley, and gleaming against the distinct pine woods, separating one stratum of the atmosphere from another. (186)

20 Elsewhere in the chapter, Thoreau describes the view of the pond from the top of nearby hills and the shapes and colors of pebbles in the water when viewed from close up. He chances physical perspective again and again throughout the chapter, but it is in the act of looking upside down, actually suggesting that one might invert one's head, that he most vividly conveys the idea of looking at the world in different ways in order to be lost and awakened, just as the traveler to a distant land might feel lost and invigorated by such exposure to an unknown place.

21 After asking students to write their first essay about Moscow Mountain, I give them four additional short essays to write, each two to four pages long. We read short examples of place-based essays, some of them explicitly related to travel, and then the students work on their own essays on similar topics. The second short essay is about food—I call this the "Moscow Meal" essay. We read the final chapter of Michael Pollan's The Omnivore's Dilemma (2006), "The Perfect Meal," and Anthony Bourdain's chapter "Where Cooks Come From" in the book A Cook's Tour (2001) are two of the works we study in preparation for the food essay. The three remaining short essays including a "Moscow People" essay (exploring local characters are important facets of the place), a more philosophical essay about "the concept of Moscow," and a final "Moscow Encounter" essay that tells the story of a dramatic moment of interaction with a person, an animal, a memorable thing to eat or drink, a sunset, or something else. Along the way, we read the work of Wendell Berry, Joan Didion, Barbara Kingsolver, Kim Stafford, Paul Theroux, and other authors. Before each small essay is due, we spend a class session holding small-group workshops, allowing the students to discuss their essays-in-progress with each other and share portions of their manuscripts. The idea is that they will learn about writing even by talking with each other about their essays. In addition to writing about Moscow from various angles, they will learn about additional points of view by considering the angles of insight developed by their fellow students. All of this is the writerly equivalent of "inverting [their] heads."

Beneath the Smooth Skin of Place

22 Aside from Thoreau's writing and Hokusai's images, perhaps the most important writer to provide inspiration for this class is Indiana-based essayist Scott Russell Sanders. Shortly after introducing the students to Thoreau's key ideas in Walden and to the richness of his descriptive writing in the journal, I ask them to read his essay "Buckeye," which first appeared in Sanders's Writing from the Center (1995). "Buckeye" demonstrates the elegant braiding together of descriptive, narrative, and expository/reflective prose, and it also offers a strong argument about the importance of creating literature and art about place—what he refers to as "shared lore" (5)—as a way of articulating the meaning of a place and potentially saving places that would otherwise be exploited for resources, flooded behind dams, or otherwise neglected or damaged. The essay uses many of the essential literary devices, ranging from dialogue to narrative scenes, that I hope my students will practice in their own essays, while also offering a vivid argument in support of the kind of place-based writing the students are working on.

23 Another vital aspect of our work together in this class is the effort to capture the wonderful idiosyncrasies of this place, akin to the idiosyncrasies of any place that we examine closely enough to reveal its unique personality. Sanders's essay "Beneath the Smooth Skin of America," which we study together in Week 9 of the course, addresses this topic poignantly. The author challenges readers to learn the "durable realities" of the places where they live, the details of "watershed, biome, habitat, food-chain, climate, topography, ecosystem and the areas defined by these natural features they call bioregions" (17). "The earth," he writes, "needs fewer tourists and more inhabitants" (16). By Week 9 of the semester, the students have written about Moscow Mountain, about local food, and about local characters, and they are ready at this point to reflect on some of the more philosophical dimensions of living in a small academic village surrounded by farmland and beyond that surrounded by the Cascade mountain range to the West and the Rockies to the East. "We need a richer vocabulary of place" (18), urges Sanders. By this point in the semester, by reading various examples of place-based writing and by practicing their own powers of observation and expression, my students will, I hope, have developed a somewhat richer vocabulary to describe their own experiences in this specific place, a place they've been trying to explore with "open minds and notebooks." Sanders argues that

if we pay attention, we begin to notice patterns in the local landscape. Perceiving those patterns, acquiring names and theories and stories for them, we cease to be tourists and become inhabitants. The bioregional consciousness I am talking about means bearing your place in mind, keeping track of its condition and needs, committing yourself to its care. (18)

24 Many of my students will spend only four or five years in Moscow, long enough to earn a degree before moving back to their hometowns or journeying out into the world in pursuit of jobs or further education. Moscow will be a waystation for some of these student writers, not a permanent home. Yet I am hoping that this semester-long experiment in Thoreauvian attentiveness and place-based writing will infect these young people with both the bioregional consciousness Sanders describes and a broader fascination with place, including the cultural (yes, the human ) dimensions of this and any other place. I feel such a mindfulness will enrich the lives of my students, whether they remain here or move to any other location on the planet or many such locations in succession.

25 Toward the end of "Beneath the Smooth Skin of America," Sanders tells the story of encountering a father with two young daughters near a city park in Bloomington, Indiana, where he lives. Sanders is "grazing" on wild mulberries from a neighborhood tree, and the girls are keen to join him in savoring the local fruit. But their father pulls them away, stating, "Thank you very much, but we never eat anything that grows wild. Never ever." To this Sanders responds: "If you hold by that rule, you will not get sick from eating poison berries, but neither will you be nourished from eating sweet ones. Why not learn to distinguish one from the other? Why feed belly and mind only from packages?" (19-20). By looking at Moscow Mountain—and at Moscow, Idaho, more broadly—from numerous points of view, my students, I hope, will nourish their own bellies and minds with the wild fruit and ideas of this place. I say this while chewing a tart, juicy, and, yes, slightly sweet plum that I pulled from a feral tree in my own Moscow neighborhood yesterday, an emblem of engagement, of being here.

Bibliography

BUELL, Lawrence, The Environmental Imagination: Thoreau, Nature Writing, and the Formation of American Culture , Harvard University Press, 1995.

DAVIDSON, Cathy, 36 Views of Mount Fuji: On Finding Myself in Japan , Duke University Press, 2006.

DUBKIN, Leonard, "I Climb a Tree and Become Dissatisfied with My Lot." Enchanted Streets: The Unlikely Adventures of an Urban Nature Lover , Little, Brown and Company, 1947, 34-42.

GESSNER, David, Soaring with Fidel: An Osprey Odyssey from Cape Cod to Cuba and Beyond , Beacon, 2007.

ISAKSON, Elizabeth, "Journals." Assignment for 36 Views of Moscow Mountain (English 208), University of Idaho, Fall 2018.

SANDERS, Scott Russell, "Buckeye" and "Beneath the Smooth Skin of America." Writing from the Center , Indiana University Press, 1995, pp. 1-8, 9-21.

SLOVIC, Scott, "Teaching with Wolves", Western American Literature 52.3 (Fall 2017): 323-31.

THOREAU, Henry David, "October 1-20, 1853", Being in the World: An Environmental Reader for Writers , edited by Scott H. Slovic and Terrell F. Dixon, Macmillan, 1993, 371-75.

THOREAU, Henry David, Walden . 1854. Princeton University Press, 1971.

Bibliographical reference

Scott Slovic , “ 36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau ” ,  Caliban , 59 | 2018, 41-54.

Electronic reference

Scott Slovic , “ 36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau ” ,  Caliban [Online], 59 | 2018, Online since 01 June 2018 , connection on 26 April 2024 . URL : http://journals.openedition.org/caliban/3688; DOI : https://doi.org/10.4000/caliban.3688

About the author

Scott slovic.

University of Idaho Scott Slovic is University Distinguished Professor of Environmental Humanities at the University of Idaho, USA. The author and editor of many books and articles, he edited the journal ISLE: Interdisciplinary Studies in Literature and Environment from 1995 to 2020. His latest coedited book is The Routledge Handbook of Ecocriticism and Environmental Communication  (2019).

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