creative writing english level 1

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The vital presence of creative writing in the English Department is reflected by our many distinguished authors who teach our workshops. We offer courses each term in fiction, poetry, nonfiction, screenwriting, playwriting, and television writing. Our workshops are small, usually no more than twelve students, and offer writers an opportunity to focus intensively on one genre. 

Apply to Creative Writing Workshops

Workshops are open by application to Harvard College undergraduates, graduate students, staff, and students from other institutions eligible for cross registration. Submission guidelines for workshops can be found under individual course listings; please do not query instructors.  Review all departmental rules and application instructions before applying.  

Fall 2024 Application Deadline: 11:59 pm ET on Sunday, April 7, 2024. Spring 2025 Application Deadline: TBD

Please visit our course listings for all the Fall 2024 workshops.

Our online submission manager (link below) will open for Fall 2024 applications on Friday, March 22 , 2024.

Students who have questions about the creative writing workshop application process should contact Case Q. Kerns at [email protected] .

Featured Faculty

Teju Cole  is a novelist, critic, and essayist, and is the first Gore Vidal Professor of the Practice. "Among other works, the boundary-crossing author is known for his debut novel “Open City” (2011), whose early admirers included Harvard professor and New Yorker critic James Wood." 

Faculty Bookshelf

Cooked by michael pollan (2013).

The Mountain: Stories by Paul Yoon (2017)

Sea Change by Jorie Graham

In Defense of Food by Michael Pollan (2008)

Creative Writing Workshops

• Spring 2024

English CACD. The Art of Criticism

Instructor: Maggie Doherty Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.

English CACW. Advanced Fiction Workshop

Instructor: Paul Yoon TBD | Location: TBD Enrollment: Limited to 12 students Advanced fiction workshop for students who have already taken a workshop at Harvard or elsewhere. The goal of the class is to continue your journey as a writer. You will be responsible for participating in discussions on the assigned texts, the workshop, engaging with the work of your colleagues, and revising your work. Supplemental Application Information:   * Please note: previous creative writing workshop experience required. * Please submit ONLY a cover letter telling me your previous creative writing workshop experience, either at Harvard or elsewhere; then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Again, please no writing samples.

English CBBR. Intermediate Poetry: Workshop

Instructor:  Josh Bell   Monday, 12:00-2:45pm | Location: Barker 018 Enrollment: Limited to 12 students Course Site

Initially, students can expect to read, discuss, and imitate the strategies of a wide range of poets writing in English; to investigate and reproduce prescribed forms and poetic structures; and to engage in writing exercises meant to expand the conception of what a poem is and can be. As the course progresses, reading assignments will be tailored on an individual basis, and an increasing amount of time will be spent in discussion of student work. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a portfolio including a letter of interest, ten poems, and a list of classes (taken at Harvard or elsewhere) that seem to have bearing on your enterprise.

English CCEP. Ekphrastic Poetry: Workshop

Instructor: Tracy K. Smith Wednesday, 3:00-5:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site What can a poem achieve when it contemplates or even emulates a work of art in another medium? In this workshop, we'll read and write poems that engage with other art forms--and we'll test out what a foray into another artistic practice allows us to carry back over into the formal methods and behaviors of poetry. With poems by Keats, Rilke, Auden, Hughes, and Brooks, as well as Kevin Young, Evie Shockley, Ama Codjoe and other contemporary voices. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCFC. Poetry Workshop: Form & Content

Instructor: Tracy K. Smith Tuesday, 12:00-2:45pm | Location: Sever 112 Enrollment: Limited to 12 students Course Site

In this workshop, we’ll look closely at the craft-based choices poets make, and track the effects they have upon what we as readers are made to think and feel. How can implementing similar strategies better prepare us to engage the questions making up our own poetic material? We’ll also talk about content. What can poetry reveal about the ways our interior selves are shaped by public realities like race, class, sexuality, injustice and more? Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)   

Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCIJ. Intermediate Fiction Workshop

Instructor: Jesse McCarthy Thursday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site This is an intermediate course in the art of writing literary fiction. Previous experience with workshopping writing is encouraged but not required. The emphasis of the course will be learning how to read literature as a writer, with special attention given to the short story, novella, or short novel. We will read these works from the perspective of the writer as craftsperson and of the critic seeking in good faith to understand and describe a new aesthetic experience. We will be concerned foremost with how literary language works, with describing the effects of different kinds of sentences, different uses of genre, tone, and other rhetorical strategies. Together, we will explore our responses to examples of literature from around the world and from all periods, as well as to the writing you will produce and share with the class. As a member of a writing community, you should be prepared to respectfully read and respond to the work of others—both the work of your peers and that of the published writers that we will explore together. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  This course is by application only but there are no prerequisites for this course and previous experience in a writing workshop is not required . In your application please submit a short letter explaining why you are interested in this class. You might tell me a bit about your relationship to literature, your encounter with a specific author, book, or even a scene or character from a story or novel. Please also include a writing sample of 2-5 pages (5 pages max!) of narrative prose fiction.

English CCFS. Fiction Workshop

Instructor: Teju Cole Spring 2024: Tuesday, 6:00-8:45pm | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD This reading and writing intensive workshop is for students who want to learn to write literary fiction. The goal of the course would be for each student to produce two polished short stories. Authors on the syllabus will probably include James Joyce, Eudora Welty, Toni Morrison, Alice Munro, Jhumpa Lahiri, and Diane Williams.

Supplemental Application Information:   Please submit a cover letter saying what you hope to get out of the workshop. In the cover letter, mention three works of fiction that matter to you and why. In addition, submit a 400–500 word sample of your fiction; the sample can be self-contained or a section of a longer work.

English CLPG. Art of Sportswriting

Instructor: Louisa Thomas Spring 2024: Tuesday, 9:00-11:45am | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD

In newsrooms, the sports section is sometimes referred to as the “toy department” -- frivolous and unserious, unlike the stuff of politics, business, and war. In this course, we will take the toys seriously. After all, for millions of people, sports and other so-called trivial pursuits (video games, chess, children’s games, and so on) are a source of endless fascination. For us, they will be a source of stories about human achievements and frustrations. These stories can involve economic, social, and political issues. They can draw upon history, statistics, psychology, and philosophy. They can be reported or ruminative, formally experimental or straightforward, richly descriptive or tense and spare. They can be fun. Over the course of the semester, students will read and discuss exemplary profiles, essays, articles, and blog posts, while also writing and discussing their own. While much (but not all) of the reading will come from the world of sports, no interest in or knowledge about sports is required; our focus will be on writing for a broad audience.  Supplemental Application Information:  To apply, please write a letter describing why you want to take the course and what you hope to get out of it. Include a few examples of websites or magazines you like to read, and tell me briefly about one pursuit -- football, chess, basketball, ballet, Othello, crosswords, soccer, whatever -- that interests you and why.

English CALR. Advanced Screenwriting: Workshop

Instructor: Musa Syeed Spring 2024: Wednesday, 12:00-2:45pm | Location: TBA Enrollment: Limited to 12 students Course Site Spring 2025: TBD

The feature-length script is an opportunity to tell a story on a larger scale, and, therefore, requires additional preparation. In this class, we will move from writing a pitch, to a synopsis, to a treatment/outline, to the first 10 pages, to the first act of a feature screenplay. We will analyze produced scripts and discuss various elements of craft, including research, writing layered dialogue, world-building, creating an engaging cast of characters. As an advanced class, we will also look at ways both mainstream and independent films attempt to subvert genre and structure. Students will end the semester with a first act (20-30 pages) of their feature, an outline, and strategy to complete the full script.

Supplemental Application Information:  Please submit a 3-5 page writing sample. Screenplays are preferred, but fiction, creative non-fiction, poetry, and plays are acceptable as well. Also, please write a short note to introduce yourself. Include a couple films/filmmakers that have inspired you, your goals for the class, as well as any themes/subject matter/ideas you might be interested in exploring in your writing for film.

English CNFR. Creative Nonfiction: Workshop

Instructor: Darcy Frey Fall 2024: Wednesday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

Whether it takes the form of literary journalism, essay, memoir, or environmental writing, creative nonfiction is a powerful genre that allows writers to break free from the constraints commonly associated with nonfiction prose and reach for the breadth of thought and feeling usually accomplished only in fiction: the narration of a vivid story, the probing of a complex character, the argument of an idea, or the evocation of a place. Students will work on several short assignments to hone their mastery of the craft, then write a longer piece that will be workshopped in class and revised at the end of the term. We will take instruction and inspiration from published authors such as Joan Didion, James Baldwin, Ariel Levy, Alexander Chee, and Virginia Woolf. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with creative/literary nonfiction; what excites you about nonfiction in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of creative/literary nonfiction (essay, memoir, narrative journalism, etc, but NOT academic writing) or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CKR. Introduction to Playwriting: Workshop

Instructor: Sam Marks TBD | Location: TBD Enrollment: Limited to 12 students This workshop is an introduction to writing for the stage through intensive reading and in-depth written exercises. Each student will explore the fundamentals and possibilities of playwriting by generating short scripts and completing a one act play with an eye towards both experimental and traditional narrative styles. Readings will examine various ways of creating dramatic art and include work from contemporary playwrights such as Ayad Aktar, Clare Barron, Aleshea Harris, Young Jean Lee, and Taylor Mac, as well established work from Edward Albbe, Caryl Churchill, Suzan Lori-Parks, and Harold Pinter. Supplemental Application Information:  No experience in writing the dramatic form is necessary. Please submit a 5-10 page writing sample (preferably a play or screenplay, but all genres are acceptable and encouraged). Also, please write a few sentences about a significant theatrical experience (a play read or seen) and how it affected you.

English CACF. Get Real: The Art of Community-Based Film

Instructor: Musa Syeed Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 student Course Site

“I’ve often noticed that we are not able to look at what we have in front of us,” the Iranian director Abbas Kiarostami said, “unless it’s inside a frame.” For our communities confronting invisibility and erasure, there’s an urgent need for new frames. In this workshop, we’ll explore a community-engaged approach to documentary and fiction filmmaking, as we seek to see our world more deeply. We’ll begin with screenings, craft exercises, and discussions around authorship and social impact. Then we each will write, develop, and shoot a short film over the rest of the semester, building off of intentional community engagement. Students will end the class with written and recorded materials for a rough cut. Basic equipment and technical training will be provided.

Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a brief letter explaining why you're interested to take this class. Please also discuss what participants/communities you might be interested in engaging with for your filmmaking projects. For your writing sample, please submit 3-5 pages of your creative work from any genre (screenwriting, poetry, fiction, non-fiction, etc.)

English CAFR. Advanced Fiction Workshop: Writing this Present Life

Instructor: Claire Messud Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site Intended for students with prior fiction-writing and workshop experience, this course will concentrate on structure, execution and revision. Exploring various strands of contemporary and recent literary fiction – writers such as Karl Ove Knausgaard, Rachel Cusk, Chimamanda Adichie, Douglas Stuart, Ocean Vuong, etc – we will consider how fiction works in our present moment, with emphasis on a craft perspective. Each student will present to the class a published fiction that has influenced them. The course is primarily focused on the discussion of original student work, with the aim of improving both writerly skills and critical analysis. Revision is an important component of this class: students will workshop two stories and a revision of one of these. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:  Please submit 3-5 pages of prose fiction, along with a substantive letter of introduction. I’d like to know why you’re interested in the course; what experience you’ve had writing, both in previous workshops and independently; what your literary goals and ambitions are. Please tell me about some of your favorite narratives – fiction, non-fiction, film, etc: why they move you, and what you learn from them.

English CAKV. Fiction Workshop: Writing from the First-Person Point of View

Instructor:  Andrew Krivak Tuesday, 9:00-11:45 1m | Location: TBD Enrollment: Limited to 12 students Course Site This course is a workshop intended for students who are interested in writing longer form narratives from the first-person point of view. The “I” at the center of any novel poses a perspective that is all at once imaginatively powerful and narratively problematic, uniquely insightful and necessarily unreliable. We will read from roughly twelve novels written in the first-person, from Marilynne Robinson and W.G. Sebald, to Valeria Luiselli and Teju Cole, and ask questions (among others) of why this form, why this style? And, as a result, what is lost and what is realized in the telling? Primarily, however, students will write. Our goal will be to have a student’s work read and discussed twice in class during the semester. I am hoping to see at least 35-40 pages of a project —at any level of completion—at the end of term.  Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a substantive letter telling me why you’re interested in taking this class, what writers (classical and contemporary) you admire and why, and if there’s a book you have read more than once, a movie you have seen more than once, a piece of music you listen to over and over, not because you have to but because you want to. Students of creative nonfiction are also welcome to apply.

English CCSS. Fiction Workshop: The Art of the Short Story

Instructor: Laura van den Berg Tuesday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site This course will serve as an introduction to the fundamentals of writing fiction, with an emphasis on the contemporary short story. How can we set about creating “big” worlds in compact spaces? What unique doors can the form of the short story open? The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Ted Chiang, Lauren Groff, Carmen Maria Machado, and Octavia Butler. This workshop welcomes writers of all levels of experience. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. Please also include a very brief writing sample (2-3 pages). The sample can be in any genre (it does not have to be from a work of fiction). 

Write an Honors Creative Thesis

Students may apply to write a senior thesis or senior project in creative writing, although only English concentrators can be considered. Students submit applications in early March of their junior year, including first-term juniors who are out of phase. The creative writing faculty considers the proposal, along with the student's overall performance in creative writing and other English courses, and notifies students about its decision in early mid-late March. Those applications are due, this coming year, on TBA . 

Students applying for a creative writing thesis or project must have completed at least one course in creative writing at Harvard before they apply. No student is guaranteed acceptance. It is strongly suggested that students acquaint themselves with the requirements and guidelines well before the thesis application is due. The creative writing director must approve any exceptions to the requirements, which must be made in writing by Monday, February 7, 2022. Since the creative writing thesis and project are part of the English honors program, acceptance to write a creative thesis is conditional upon the student continuing to maintain a 3.40 concentration GPA. If a student’s concentration GPA drops below 3.40 after the spring of the junior year, the student may not be permitted to continue in the honors program.

Joint concentrators may apply to write creative theses, but we suggest students discuss the feasibility of the project well before applications are due. Not all departments are open to joint creative theses.

Students who have questions about the creative writing thesis should contact the program’s Director, Sam Marks .

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Creative Writing: Exploring Different Writing Styles (Level 1)

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British Council India

Creative writing for adults - module i.

Whether you are a scribbler, a secret diarist, or a would-be journalist, come find your unique writing style with British Council’s Creative Writing course - Module I . Two batches have been scheduled. Batch 1 is starting from  Saturday, 22 July 2023 and batch 2 is starting from  Saturday, 29 July 2023.

This course will help you:

• Develop your unique writer’s voice and perspective
• Help your creativity find expression
• Enhance your knowledge of literature
• Help you structure your thoughts
• Develop a critical appreciation of different writing styles

Required English language level:  Above upper-intermediate level (Level B2).

Course duration: 36 hours I 9 weeks I weekend online classes | all the participants will receive a digital certificate upon completion of the course.

Course fee:  INR 10,000 per participant Click here to register

Special offer to British Council library members - 10% discount on the course fee Click here to register

About the Course

Our Creative Writing- Module I course offers the opportunity to learn a variety of techniques to improve your writing process and enhance creativity.

The course content covers plot, characters, dialogue and setting when writing fiction. You will also learn how to travel write and blog, learn to differentiate between news reports and feature articles, be introduced to screenwriting and writing memoirs. You will explore the tools of a poet and learn to write poetry. In addition, you will be introduced to experimental writing and children’s fiction. The syllabus is specifically designed to guide those who wish to write creatively and explore their writing talent to realise their dreams of becoming a writer.

Our experienced teachers will help you find your unique writer’s voice through this enjoyable writing course. You will receive feedback on your writing to help you know your prospects as a future writer. Once you join our Creative Writing course, you will realize that lively and interactive sessions are exactly what you need to begin your journey as a writer.  The course is, however, not aimed at those wishing to improve their academic or technical writing skills.

Schedule for July 2023

Course delivery.

36 hours of learning will happen through online classes and 14 hours of interaction and peer-learning will be facilitated through our online interactive learning platform.

There will be assessments by the teacher during the mid and end of the course

Participants should use laptop/desktop to attend the session. 

• Recording/taking screenshot/photos of the course is strictly prohibited.

Course Fee: INR 10,000 per participant.

Special offer: British Council library members can avail a special discount of 10% on the course fee.

How to ascertain your English language level and register?

Step 1: Ascertain your language level (required English Language level)

The course is open for all. However, English Language level suitable for the course is above upper-intermediate level (B2) and advanced level (C1 and C2).

• You are at Elementary level(A1) if you can say simple things about your day. For example:  I wake up at 7 am every day.
• You are at Pre-intermediate level(A2) if you can communicate in simple and routine tasks on familiar topics and activities. For example: I like exercising early in the morning if I sleep on time. 
• You are an Intermediate level(B1) if you can share your thoughts, opinions, and views. For example:  She must be really tired. She’s worked late every night this week.
• You are at Upper intermediate level(B2) if you can present clear, detailed descriptions on a wide range of subjects related to your field of interest. For example: Unfortunately for him, the situation turned out to be opposite to what he thought it was.
• You are at Advanced level (C1 & C2) if you can present clear, detailed descriptions of complex subjects. For example: Being born and raised in India, I believe her to be the country’s best ambassador in the world.

Step 2 : Once you have ascertained your English language level, please proceed for the course registration.

Course fee: INR 10,000 per participant. Click here   to register.

Special offer to British Council library members - 10% discount on the course fee. Click here  to register.

Terms and Conditions

• Participants must be over 18 years of age.
• Non-refundable fee is payable in full prior to the commencement of course.
• If obliged to cancel the course, the British Council reserves the right to do so without further liability, subject to the return of any fee already paid. 
• The course schedule is subject to change. Participants will be notified the changes, if any.

For any query, please email us at [email protected] .

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Essentials in Writing

Where learning to write well has never been so easy

Essentials in Writing Level 1 Second Edition

EIW™ Level 1 features a slow, systematic approach to introducing writing skills. This homeschool writing program is for elementary students and is a steppingstone to help your student develop the necessary tools to write clearly and confidently. We use a step-by-step approach with small, daily assignments so that the student doesn’t feel overwhelmed.

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Students completing Level 1 Writing will learn and practice grammar and writing skills. This list is non-exhaustive but rather serves as a quick insight into the subjects that students will learn – writing sentences, identifying parts of speech, applying parts of speech, writing lists, paragraphs, personal letters, personal narratives, imaginative narratives.

Unit One: Grammar

Identify and apply activities for writing sentences:

• Letter, word, and sentence formation
• Spacing, capitalization, and punctuation of sentences – period, question mark, and exclamation mark
• Introduction to complete sentences – subjects and predicates
• Types of sentences – declarative, interrogative, exclamatory, imperative

Identify and apply activities for parts of speech

• Common nouns
• Proper nouns
• Singular and plural nouns
• Action verbs

Tools for Effective Communication: Apply Parts of Speech

• Adjectives in action

Unit Two: Composition

Introduction to Writing:

• Personal Letters
• Personal Narratives
• Imaginative Narratives

Additional Composition Skills:

•  Parts of a paragraph
• Staying on topic
• Parts of a personal letter
• Writing the date
• Chronological order
• Parts of a personal and an imaginative narrative

Sample Lesson Video – Level 1

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Frequently Asked Questions About Level 1 Writing Curriculum

How old are level 1 students.

The general age for students completing Level 1 is 6 or 7 years old. The age can vary depending on if a child has started school early, on time, or is repeating a grade. The age of the student does not delegate if a child can complete this writing course. Instead, we recommend that students have a basic understanding of phonetic spelling and letter formation before beginning.

What students are ideal for Level 1?

Level 1 learners are determined by knowledge and writing skill rather than their age. Students should have a basic understanding of phonetic spelling and letter formation before beginning this writing curriculum.

What is taught in 1st grade homeschool writing?

Students will learn the basics of language arts including grammar and writing. In Unit One, students engage in identifying and applying activities for writing sentences and parts of speech. Unit Two focuses on the introduction to composition. Students will learn several tools to become effective writers focusing on quality sentences, paragraphs, letters, and narratives.

What is included in the Workbook and Assessment/Resource Booklet?

Level 1 is the introduction to writing courses offered by Essentials in Writing and features a student book as well as a video component.

1st Grade Writing Workbook

• Lesson content that accompanies the video lesson

• Lesson activities that accompany the video lesson

• Writing graphic organizers that accompany the video lesson

• Separate parent/teacher handbook

◦ How to use the program

◦ Sample lesson planning

◦ Writing icon descriptions

◦ Sample answers for each lesson

1st Grade Writing Assessment (A) / Resource Book (R)

• (A) Multiple choice, underline, and fill-in-the-blank assessments

• (A) Composition assessments for each composition completed in the workbook

• (R) Extra graphic organizers

• (R) Extra writing checklists

• (R) Level 1 spelling dictionary (word lists)

*Assessment/Resource Book will provide students with the opportunity to show what information they are retaining. Although some parents/teachers use the assessments as actual evaluations, others use them as extra practice. The additional word lists are valuable in improving student vocabulary.

Identify and Apply Activities for Writing Sentences

• Letter, word, and sentence formation

• Spacing, capitalization, and punctuation of sentences – period, question mark, and exclamation mark

• Introduction to complete sentences – subjects and predicates

• Types of sentences – declarative, interrogative, exclamatory, and imperative

Identify and Apply Activities for Parts of Speech

• Common nouns

• Proper nouns

• Singular and plural nouns

• Adjectives

• Action verbs

• Adjectives in action

Introduction to Writing

• Paragraphs

• Personal letters

• Personal narratives

• Imaginative narratives

Additional Composition Skills

• Parts of a paragraph

• Staying on topic

• Parts of a personal letter

• Writing the date

• Chronological order

• Parts of a personal and an imaginative narrative

What if I have multiple students?

Additional 1st grade writing workbooks can be purchased to provide a workbook for another child/student. The workbook does not have additional information and is just another core workbook for another student so that each student has their own workbook to use.

How are tests and assignments graded?

An answer key is presented in the back of the included parent/teacher handbook. For compositions, sample answers for each step of the writing process and a final sample composition are presented to parents/teachers for comparison purposes. Checklists are included to be sure that the student met the composition requirements. Parents/teachers use the checklists and sample compositions to “grade” their student’s work.

What is included in Unit One and Two?

Unit One covers basic grammar instruction with activities where students learn to identify and apply basic parts of speech, to identify and apply the basics of writing sentences, and to use adjectives and sentences effectively in written communication.

Unit Two introduces several multi-sentence compositions as well as how to communicate effectively in written language and in a variety of styles and formats.

How much time will students need to complete this course?

The time needed to complete the 1st grade writing curriculum is a typical academic year (34 weeks). If students follow the 34-week plan included, they will complete individual lessons and activities during the week; however, because the lessons are broken up into small, daily mini-lessons, students can double up on some lessons and activities and complete the entire course sooner. Each day, students will spend 10-15 minutes on writing.

Does the workbook include a daily/weekly curriculum planner?

Each level of Essentials in Writing includes a 34-week suggested, yet optional, lesson planner.

Is online help available for additional workbook questions?

Essentials in Writing offers 100% free curriculum support through texting, Facebook Messenger, online chat, email, and phone calls.

The Difference Between Digital and Print Student Book

The online version of the curriculum includes all of the required materials for completing a level of Essentials in Writing or Essentials in Literature, but in a digital format. With the online version, all of your materials are in one spot within the member’s dashboard for you to view and print! The required online materials include:

• Student Book
• Lesson Videos
• Teacher Handbook (EIW Levels 1-8 and EIL 7-9)

For EIW Levels 1-8, you can get a digital Assessment/Resource Booklet as well!

How does this compare to the print version? The print version of the curriculum includes all the online access to the digital materials AND the printed, physical, tangible version of the textbooks. The printed books are great for students who prefer to complete their assignments directly within an organized, bound book.

It simply comes down to personal preference. Now, families have the added convenience of being able to access their materials in different formats.

Additional Student Level Textbook/Workbook

Additional Workbook is compatible only with second edition Essentials in Writing video instruction. This is only a student workbook for an ADDITIONAL student using the same level of video instruction. Please note that the Workbook is not functional without the related video instruction.

(Assessment/Resource Booklet is compatible only with second edition Essentials in Writing curriculum)

• Assessments 10 grammar assessments, 4 composition assessments, and 2 comprehensive unit tests
• Resources A personal spelling dictionary with common hard-to-spell words and space to add more words, and multiple graphic organizers.

Essentials in Writing comes with Online Streaming Video Instruction

• ONLINE STREAMING 12 month access to ONLINE lesson-by-lesson video instruction (Free renewals upon request)
• DVD DVD video lessons can be added for $15.00 plus shipping (This includes access to online streaming as well)

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Creative Writing Lesson Plans: Week One

Looking for creative writing lesson plans? I am developing creative writing lesson ideas! 

I’ve written and revamped my creative writing lesson plans and learned that the first week is vital in establishing a community of writers, in outlining expectations, and in working with a new class.

What are some good creative writing exercises?

Some good creative writing exercises include writing prompts, free writing, character development exercises, and fun writing games.

The first week, though, we establish trust—and then we begin powerful creative writing exercises to engage young writers and our community.

How can add encouragement in creative writing lesson plans?

I’ve found students are shy about writing creatively, about sharing pieces of themselves. A large part of the first week of class is setting the atmosphere, of showing everyone they are free to create. And! These concepts will apply to most writing lesson plans for secondary students.

Feel free to give me feedback and borrow all that you need! Below, find my detailed my day-by-day progression for creative writing lesson plans  for week one.

Creative Writing Lesson Day One: Sharing my vision

Comfort matters for young writers. I’m not a huge “ice breaker” type of teacher—I build relationships slowly. Still, to get student writing, we must establish that everyone is safe to explore, to write, to error.

Here are some ideas.

Tone and attitude

For day one with any lesson plan for creative writing, I think it is important to set the tone, to immediately establish what I want from my creative writing students. And that is…

them not to write for me, but for them. I don’t want them writing what they think I want them to write.

Does that make sense? Limitations hurt young writers. My overall tone and attitude toward young writers is that we will work together, create and write together, provide feedback, and invest in ourselves. Older kiddos think that they must provide teachers with the “correct” writing. In such a course, restrictions and boundaries largely go out the window.

Plus, I specifically outline what I believe they can produce in a presentation to set people at ease.

The presentation covers expectations for the class. As the teacher, I am a sort of writing coach with ideas that will not work for everyone. Writers should explore different methods and realize what works for them. First, not everyone will appreciate every type of writing—which is fine. But as a writing community, we must accept that we may not be the target audience for every piece of work.

Therefore, respect is a large component of the class. Be sure to outline what interactions you find acceptable within your classroom community.

Next, as their writing coach, I plan to provide ideas and tools for use. Their job is to decide what tools work for their creative endeavors. My overall message is uplifting and encouraging.

Finally, when we finish, I share the presentation with students so they can consult it throughout the semester. The presentation works nicely for meet-the-teacher night, too!

After covering classroom procedures and rules, I show students a TED Talk. We watch The Danger of a Single Story by Chimamanda Adichie. My goal is to show students that I don’t have a predetermined idea concerning what they should write. This discussion takes the rest of the class period.

Establishing comfort and excitement precedents my other creative writing activities. Personalize your “vision” activities for your lessons in creative writing. Honestly, doing this pre-work builds relationships with students and creates a positive classroom atmosphere.

Creative Writing Lesson Day Two: Activating prior knowledge

Students possess prior knowledge concerning creative writing, but they might not consider that. Students should realize that they know what constitutes a great story. They might not realize that yet. An easy lesson plan for creative writing that will pay off later is to activate prior knowledge. Brainstorm creative, memorable, unforgettable stories with students. Share your thoughts too! You will start to build relationships with students who share the same tastes as you (and those that are completely different!).

Activation activity

During this activity, I want to see how students work together, and I want to build a rapport with students. Additionally, activating prior knowledge provides a smooth transition into other creative writing activities.

This creative writing activity is simple:

I ask students to tell me memorable stories—books, play, tv shows, movies—and I write them on the board. I add and veto as appropriate. Normally doing these classroom discussions, we dive deeper into comedies and creative nonfiction. Sometimes as we work, I ask students to research certain stories and definitions. I normally take a picture of our work so that I can build creative writing lessons from students’ interests.

This takes longer than you might think, but I like that aspect. This information can help me shape my future lessons.

With about twenty minutes left in class, I ask students to form small groups. I want them to derive what makes these stories memorable. Since students complete group and partner activities in this class, I also watch and see how they interact.

Students often draw conclusions about what makes a story memorable:

• Realistic or true-to-life characters.
• Meaningful themes.
• Funny or sad events.

All of this information will be used later as students work on their own writing. Many times, my creative writing lessons overlap, especially concerning the feedback from young writers.

Creative Writing Lesson Day Three: Brainstorming and a graphic organizer

From building creative writing activities and implementing them, I now realize that students think they will sit and write. Ta-da!  After all, this isn’t academic writing. Coaching creative writing students is part of the process.

Young writers must accept that a first draft is simply that, a first draft. Building a project requires thought and mistakes. (Any writing endeavor does, really.) Students hear ‘creative writing’ and they think… easy. Therefore, a first week lesson plan for creative writing should touch on what creativity is.

Really, creativity is everywhere. We complete a graphic organizer titled, “Where is Creativity?” Students brainstorm familiar areas that they may not realize have such pieces.

The ideas they compile stir all sorts of conversations:

• Restaurants
• Movie theaters
• Amusement parks

By completing this graphic organizer, we discuss how creativity surrounds us, how we can incorporate different pieces in our writing, and how different areas influence our processes.

Creative Writing Lesson, Days Four and Five: Creative Nonfiction

Students need practice writing, and they need to understand that they will not use every word they write. Cutting out lines is painful for them! Often, a lesson plan for creative writing involves providing time for meaningful writing.

For two days, we study and discuss creative nonfiction. Students start by reading an overview of creative nonfiction . (If you need mentor texts, that website has some as well.) When I have books available, I show the class examples of creative nonfiction.

We then continue through elements of a narrative . Classes are sometimes surprised that a narrative can be nonfiction.

The narrative writing is our first large project. As we continue, students are responsible for smaller projects as well. This keeps them writing most days.

Overall, my students and I work together during the first week of any creative writing class. I encourage them to write, and I cheer on their progress. My message to classes is that their writing has value, and an audience exists for their creations.

And that is my week one! The quick recap:

Week One Creative Writing Lesson Plans

Monday: Rules, procedures, TED Talk, discussion.

Tuesday: Prior knowledge—brainstorm the modeling of memorable stories. Draw conclusions about storytelling with anchor charts. Build community through common knowledge.

Wednesday: Graphic organizer.

Thursday and Friday: Creative nonfiction. Start narrative writing.

Students do well with this small assignment for the second week, and then we move to longer creative writing assignments . When classesexperience success with their first assignment, you can start constructive editing and revising with them as the class continues.

These creative writing activities should be easy implement and personalize for your students.

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Are you interested in more creative writing lesson ideas? My Facebook page has interactive educators who love to discuss creative writing for middle school and high school creative writing lesson plans. Join us!

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English (Creative Writing)

English majors with a creative writing concentration develop the skills to launch invigorating careers in the arts.

Why Choose This Program?

The English major with a creative writing concentration allows students to earn a 33-credit English Bachelor of Arts degree with a creative writing focus. It is perfect for students who want to formally study and develop the craft of writing in poetry, fiction, or non-fiction.

What Will You Learn?

The program builds on the English department’s literary offerings. It also provides a structure for creative work in a supportive community. As an English major with a creative writing concentration, students experience the powerful ways literary reading and writing inter-animate each other and set students up for success as writers, editors, agents, and vital members of publishing and writing communities.

Students that select an English major with a creative writing concentration must complete the following coursework to earn their degree:

• ENGL 240: Introduction to Creative Writing (3 credits) 
• ENGL 306: Introduction to Literary Studies (3 credits) 

3 Courses (9 credits) out of 4 in major level Creative Writing coursework :

• ENGL 340: Studies in Creative Writing Poetry Workshop (3 credits) 
• ENGL 350: Studies in Creative Writing Fiction Workshop (3 credits) 
• ENGL 355: Studies in Creative Writing Non-Fiction Workshop (3 credits)
• ENGL 360: The Little Magazine: Contemporary Literary Publishing (3 credits) 

3 Courses (9 credits) in Literature at the major level : 

• 1 course in Pre-18th Century Literature (3 credits) 
• 2 Additional Literature Courses (Student choice) (6 credits) 
• 1 Writing/Editorial Internship: ENGL 475 (3 credits) 
• 1 ENGL 300-level Elective–Writing or Literature (Student choice) (3 credits) 
• ENGL 395: Senior Seminar (3 credits)

What Will You Do?

Students in this program may pursue these and other careers:

• Read and write

Writing practice

Do you like writing in English? In this section you can practise writing different types of texts with an example to help you. Read, write, play games, print activities and post comments!

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Home › University › A Level Requirements For Popular University Degrees (An A-Z) › A Level Requirements for Creative Writing

A Level Requirements for Creative Writing

• Published October 31, 2022

Table of Contents

Are you trying to figure our what a-levels to take for creative writing? There are so many combinations of A-Levels that it can be hard to know which one is right combo for you. 

And if you get it wrong, you might miss your dream university course.

That’s why we ensure that our creative writing summer course students have 1:1 personalised tutorials with world-renowned tutors. So they’ll have the best guidance in deciding their next steps in education. 

We’ve also done the research for you and have come up with the A-Level requirements of the best Creative Writing universities in the UK. Plus, we’ve given practical tips to help you become a better Creative Writer. 

Read on to find out more!

What Is Creative Writing?

Creative writing is a form of writing that expresses emotions, feelings, and thoughts in an imaginative way. Types of creative writing include:

• Short stories
• Screenplays
• Television scripts
• Personal Essays
• Journals/Personal memoirs

It’s different from academic or technical writing, which requires one to stick to the facts without personal additions.

When writing stories, creative writers use the elements of creative writing, such as:

• Plot – series of events consisting of the introduction, rising action, climax, falling action, and resolution.
• Setting – the time and place of the story
• Characters – the ones who experience the plot and the setting 
• Point of View – the lens through which the reader experiences the story
• Theme – the idea or message the author wants to relate to the reader

Creative writers use strong verbs and adjectives to describe their characters and settings. They also use figurative language such as metaphors and similes to appeal to the readers’ emotions and imagination. 

If you want to learn more about creative writing, check out our full what is creative writing guide. 

Why Study Creative Writing?

Because when you want to persuade or entertain by appealing to the readers’ thoughts and emotions, Creative Writing is a powerful medium. When was the last time you were moved to tears when reading a character’s tragedy in a novel? What song did you listen to recently that gave you strong nostalgia, bringing up memories of a time long gone? 

In Creative Writing, the author shares their human experience that the readers can relate to. You can move hearts and minds by sharing your experiences following Creative Writing principles. 

What are real-world examples that call upon you to exercise Creative Writing?

• During university applications, when you need to submit your personal statement
• Sharing what you’ve learned from a module in an essay format as part of academic assessments in the university
• Writing a letter to your family, friend, or loved one to greet them during important milestones
• Encouraging potential customers to avail of your products or services
• Making a cover letter to convince a company to recruit you as part of the team
• Composing a song to woo a lover or attract listeners to buy your music.
• Creating a Youtube script for your vlogs
• Writing a book to promote your personal brand

Do you see how Creative Writing is everywhere?   Here are some of the many benefits of learning creative writing:

• Enhances your written communication skills for improved confidence and self-expression 
• Sharpens your critical thinking and reasoning skills
• Increases your chances of career success because many job positions require creative written work, especially in marketing and customer service
• Deepens your empathy because Creative Writing requires you to think from another person’s shoes
• Expressive writing, especially about painful life events, is a therapeutic tool. That’s why therapists encourage patients to write in their journals daily. 
• Strengthens your imagination and encourages you to think outside the box, which improves your problem-solving skills

Creative Writing is an essential skill you must learn to thrive in the hyper-information age we live in today.

Is There an A-Level for Creative Writing?

There isn’t an official A-Level for Creative Writing as there is for Maths or Chemistry. But there is an A-Level for: 

• English Language
• English Language and Literature
• English Literature

Are you looking for an A-Level for Creative Writing because you want to get a feel of what Creative Writing study is like in a school setting? Do you want to experience Creative Writing at the university level before studying it in higher education? Consider taking the Immerse Education Creative Writing summer course for 13-18 years old at the University of Cambridge, Oxford, or Sydney. 

You’ll gain 1:1 personalised tutorials from expert Creative Writing tutors from Oxford and Cambridge. So you can make well-informed decisions for your next steps in education.

Is Creative Writing an English Major? 

Yes, Creative Writing can be an English Major. You’ll often encounter it as “English Literature with Creative Writing BA” or “BA English and Creative Writing.” Top schools that offer such Creative Writing degrees include:

• English Literature with Creative Writing – University of Leeds , University of Warwick , Newcastle University , University of East Anglia UEA
• English and Creative Writing – University of Strathclyde , University of Birmingham , Royal Holloway University of London , Lancaster University , University of Nottingham  

But some universities offer Creative Writing as a standalone BA course, such as the University of Plymouth .

What Creative Writing Degrees Can You Study?

We’ve previously mentioned these undergraduate Creative Writing degrees:

• English Literature with Creative Writing
• English and Creative Writing
• Creative Writing

Others include:

• American Literature with Creative Writing – University of East Anglia UEA
• Journalism and Creative Writing – Falmouth University , University of Leicester , University of Lincoln , 
• Theatre: Writing, Directing and Performance – University of York

What A-Levels Do You Need To Apply For a Creative Writing Degree?

To determine what A-Levels you need to apply for a Creative Writing degree, let’s take a look at the entry requirements of the Top Universities for Creative Writing : 

• University of Strathclyde English and Creative Writing – ABB-BBB, with English Language or English Literature at B
• University of Birmingham English and Creative Writing – AAB with B for English Literature
• University of Leeds English Literature with Creative Writing –  AAA with English Language, or English Literature, or English Language and Literature
• University of Warwick English Literature with Creative Writing – AAA or A*AB, with A in English Literature or English Language and Literature
• Newcastle University English Literature with Creative Writing – AAB, with English Language or English Literature

Based on what the top UK Universities for Creative Writing require, English Language or English Language and Literature are common requirements. What should you take for the remaining two subjects? Anything from science/maths and arts. Taking a wide range of A-Level subjects is most preferred by a majority of schools and by a vast range of courses. It’s best to keep your options open!

What Topics Does a Creative Writing Degree Cover?

The usual topics a Creative Writing degree covers include:

• Creative Writing foundation
• English studies
• Mediaeval and Early Modern literature
• Contemporary cultures
• Modern fiction
• Poetry writing
• Prose writing
• Drama and Media Writing
• Drama, Theatre, and Performance

Creative Writing with English Literature often involves reading literature in various styles and eras, from the middle ages to modern times. 

How Will You be Assessed?

The specifics of assessments differ from one university to another. But here are the common ways Creative Writing students are assessed:

• Written work, including essays, poetry, plays, fiction, and short fiction
• Oral presentation
• Individual and group presentations
• Formal exam
• Research project
• Assignments

How To Do Creative Writing

Do you want to start your Creative Writing journey but are unsure how? We know exactly what you’re looking for. Here are 4 practical tips to help you get started:

1. Read, read, and read some more!

There’s a reason why English and Creative Writing courses require you to read tons of material. How else will you learn how to write if you do not have the inspiration to draw from? Reading gives you a wellspring of ideas. It serves as the fuel for your imagination and creativity. 

When you read something that captivates you, take note of it. Dissect it! What words and sentences made the most impact on you? What are the very first words of the text? How did it catch your attention? Study each chapter and examine how it begins and ends. What strategies did the author use to make you want to read the next chapter? 

Do you see where we’re going? You don’t have to develop a new and untried formula when doing Creative Writing. All you need to do is choose a formula that has worked throughout the centuries, tweak it according to your intention and audience, and double down on making each sentence valuable and imaginative. 

Let’s look at storytelling, for instance. Take Romeo and Juliet. Is forbidden love a new concept? Nope. Forbidden love has been a repeated theme throughout human history. But it’s the way Shakespeare crafted the characters that captured the readers’ hearts and made them feel the intense tragedy of the star-crossed lovers. 

So when you read, remember to gather notes and inspiration. And when you feel like there’s zero creativity going on, look at the writings you’ve included in your collection. You’d be surprised at how it can revive your imagination! 

2. Never Stop Writing

The classic adage “practice makes perfect” especially rings true in Creative Writing. Do you know expert writers have a habit of daily writing? They may use Creative Writing prompts and exercises to practice turning thoughts into the right words. 

Do you dream of having the ability to write in a smooth flow? Start by doing the 10-minute free-flow writing. It’s called “free-flow” because the rule is to write everything that comes to mind immediately.

It doesn’t have to make sense. And for 10 minutes, you can throw the spelling and grammar rules out the window. The goal is to remove the fear of the blank page by writing without self-judgment. Try out our creative writing prompts if you’re lacking creativity – there are over 300 of them!

You’ll be more comfortable writing when you practice this simple exercise daily. Once you reach a certain level of comfortability, begin recording random ideas that pop into your head. Maybe you had thought of writing a mystery story in a World War II setting. Perhaps you witnessed an exceptionally breathtaking sunset that inspired you to write a poem. 

It doesn’t matter if you think it’s a bad idea. Put it in your writing journal! Who knows? You might come back to it later, and it’ll become one of the most remarkable pieces of writing you’ll have the pleasure of creating.

3. Try Out Writing Courses

What better way to hit the ground running than to learn from experts who’ve been where you want to be? There are many Creative Writing courses you can try. 

Check out our creative writing summer courses . You’ll have world-class tutors from prestigious universities such as Oxford and Cambridge who are eager to share their expertise with you. 

Why is it an excellent idea to take courses? Because it’ll accelerate your learning process and boost your confidence.

4. Join Writing Communities

There’s nothing like having a group of like-minded people enthusiastic about Creative Writing as much as you are, and even more so! When you join Creative Writing communities, you’ll have the opportunity to hear other peoples’ writing stories and strategies.

In addition, you can share your struggles to receive the support you need to keep going! Some even go as far as reading each other’s works and giving constructive feedback.

What Are the Postgraduate Opportunities For Creative Writing?

Here are the common postgraduate opportunities available for Creative Writing:

• MA in Creative Writing
• MA Screenwriting
• PhD in Creative Writing

Not interested in postgraduate education? Learn about creative writing career choices that have high paying salaries.

What Are Similar Subjects to Creative Writing?

Similar subjects to Creative Writing include:

If you’re pursuing a career in creative writing, it’s important to take the right A-Levels. English Language and English Literature a-level are two of the most common subjects for aspiring writers, but other options are also available.

Creative Writing courses can be found in several prestigious universities, so it’s important to have a strong foundation in your chosen subject. Taking the right A-Levels will set you up for success in your future writing career.

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Course Planning

Major in English with emphasis in Creative Writing - Planning

The course planning advice here is limited to completing this major which is just one piece of the overall Hendrix College degree requirements.  For a full description of degree requirements see the Catalog .

Possible Degree Path – starting in the first year . The following is a typical major plan. This is not the only way forward. Please consult with your advisor to create your unique path.

Possible Degree Path – starting in the second year . The following is a typical plan to complete this major. Please consult with your advisor or a member of the Department to create your unique path.

Planning Recommendations:

Two courses must focus on pre-1900 English-Literary Studies.

Travel abroad fits well with the junior year, but can occur at other times. Please consult with your English Department advisor.

Consider an internship in a field related to a potential career path in the junior or senior year.

English exemplars, past exams, reports and schedules

Internal and external assessment resources for English

New Level 1 standards 2024

NZQA will publish exemplars to support implementation of the new Level 1 standards where student samples from the pilots reflect the implemented standard. This will occur between 9 October 2023 and no later than the end of May 2024.

Where student samples reflecting the implemented standard are not available, exemplars will be made available on an ongoing basis after 2024 external moderation and marking has occurred.

Internal assessment exemplars 

AS 91924 - Demonstrate understanding of how context shapes verbal language use

AS 91925 - Demonstrate understanding of specific aspects of studied text

External assessments and exemplars

Level 1 English exams and exemplars (external link)

Assessment reports and schedules

Level 1 English assessment reports and schedules (external link)

On this page

Internal assessment exemplars.

AS 91101 - Produce a selection of crafted and controlled writing (2.4A)

AS 91101 - Produce a selection of crafted and controlled writing (2.B)

AS 91102 - Construct and deliver a crafted and controlled oral text (2.5)

AS 91103 - Create a crafted and controlled visual and verbal text (2.6)

AS 91104 - Analyse significant connections across texts, supported by evidence (2.7)

AS 91105 - Use information literacy skills to form developed conclusion(s) (2.8)

AS 91106 - Form developed personal responses to independently read texts supported by evidence (2.9)

AS 91107 - Analyse aspects of visual and/or oral text(s) through close viewing and/or listening, supported by evidence (2.10)

Level 2 English exams and exemplars (external link)

Level 2 English assessment reports and schedules (external link)

AS 91475 - Produce a selection of fluent and coherent writing which develops, sustains, and structures ideas (3.4A)

AS 91475 - Produce a selection of fluent and coherent writing which develops, sustains, and structures ideas (3.4B)

AS 91476 - Create and deliver a fluent and coherent oral text which develops, sustains, and structures ideas (3.5)

AS 91477 - Create and deliver a fluent and coherent visual text which develops, sustains, and structures ideas using verbal and visual language (3.6A)

AS 91477 - Create and deliver a fluent and coherent visual text which develops, sustains, and structures ideas using verbal and visual language (3.6B)

AS 91478 - Respond critically to significant connections across texts, supported by evidence (3.7)

AS 91479 - Develop an informed understanding of literature and/or language using critical texts (3.8)

AS 91480 - Respond critically to significant aspects of visual and/or oral text(s) through close reading, supported by evidence (3.9)

Level 3 English exams and exemplars (external link)

Level 3 English assessment reports and schedules (external link)

See all subjects

Spring 2025 Semester

Undergraduate courses.

Composition courses that offer many sections (ENGL 101, 201, 277 and 379) are not listed on this schedule unless they are tailored to specific thematic content or particularly appropriate for specific programs and majors.

• 100-200 level

ENGL 201.ST2 Composition II: The Mind/Body Connection

Dr. sharon smith.

In this online section of English 201, students will use research and writing to learn more about problems that are important to them and articulate ways to address those problems. The course will focus specifically on issues related to the body, the mind, and the relationship between them. The topics we will discuss during the course will include the correlation between social media and body image; the psychological effects of self-objectification; and the unique mental and physical challenges faced by college students today, including food insecurity and stress.

English 201 S06 and S11: Composition II with an emphasis in Environmental Writing

S06: MWF at 10:00 – 10:50 in Yeager Hall Addition 231

S11: MWF at 12:00 – 12:50 in Crothers Engineering Hall 217

Gwen Horsley

English 201 will help students develop skills to write effectively for other university courses, careers, and themselves. This course will provide opportunities to further develop research skills, to write vividly, and to share their own stories and ideas. Specifically, in this class, students will (1) focus on the relationships between world environments, land, animals and humankind; (2) read various essays by environmental, conservational, and regional authors; and (3) produce student writings. Students will improve their writing skills by reading essays and applying techniques they witness in others’ work and those learned in class. This class is also a course in logical and creative thought. Students will write about humankind’s place in the world and our influence on the land and animals, places that hold special meaning to them or have influenced their lives, and stories of their own families and their places and passions in the world. Students will practice writing in an informed and persuasive manner, in language that engages and enlivens readers by using vivid verbs and avoiding unnecessary passives, nominalizations, and expletive constructions.

Students will prepare writing assignments based on readings and discussions of essays included in Literature and the Environment and other sources. They will use The St. Martin’s Handbook to review grammar, punctuation, mechanics, and usage as needed.

Required Text: Literature and the Environment: A Reader On Nature and Culture. 2nd ed., edited by Lorraine Anderson, Scott Slovic, and John P. O’Grady.

LING 203.S01 English Grammar

TuTh 12:30-1:45

Dr. Nathan Serfling

The South Dakota State University 2023-2024 Undergraduate Catalog describes LING 203 as consisting of “[i]nstruction in the theory and practice of traditional grammar including the study of parts of speech, parsing, and practical problems in usage.”

“Grammar” is a mercurial term, though. Typically, we think of it to mean “correct” sentence structure, and, indeed, that is one of its meanings. But Merriam-Webster reminds us “grammar” also refers to “the principles or rules of an art, science, or technique,” taking it beyond the confines of syntactic structures. Grammar also evolves in practice through application (and social, historical, economic changes, among others). Furthermore, grammar evolves as a concept as scholars and educators in the various fields of English studies debate the definition and nature of grammar, including how well its explicit instruction improves students’ writing. In this course, we will use the differing sensibilities, definitions, and fluctuations regarding grammar to guide our work. We will examine the parts of speech, address syntactic structures and functions, and parse and diagram sentences. We will also explore definitions of and debates about grammar. All of this will occur in units about the rules and structures of grammar; the application of grammar rhetorically and stylistically; and the debates surrounding various aspects of grammar, including, but not limited to, its instruction.

ENGL 210 Introduction to Literature

Jodi andrews.

Readings in fiction, drama and poetry to acquaint students with literature and aesthetic form. Prerequisites: ENGL 101. Notes: Course meets SGR #4 or IGR #3.

ENGL 222 British Literature II

TuTh 9:30-10:45 a.m.

This course serves as a chronological survey of the second half of British literature. Students will read a variety of texts from the Romantic period, the Victorian period, and the twentieth and twenty-first centuries, placing these texts within their historical and literary contexts and identifying the major characteristics of the literary periods and movements that produced them.

ENGL 240.ST1 Juvenile Literature

Randi l. anderson.

A survey of the history of literature written for children and adolescents, and a consideration of the various types of juvenile literature.

ENGL 240.ST1 Juvenile Literature: 5-12 Grade

In English 240 students will develop the skills to interpret and evaluate various genres of literature for juvenile readers. This particular section will focus on various works of literature at approximately the 5th-12th grade level.

Readings for this course include works such as Night, Brown Girl Dreaming, All American Boys, Esperanza Rising, Anne Frank’s Diary: A Graphic Adaptation, Animal Farm, Fahrenheit 451, The Giver, The Hobbit, Little Women, and Lord of the Flies . These readings will be paired with chapters from Reading Children’s Literature: A Critical Introduction to help develop understanding of various genres, themes, and concepts that are both related to juvenile literature, and also present in our readings.

In addition to exploring various genres of writing (poetry, non-fiction, fantasy, historical, non-fiction, graphic novels, etc.) this course will also allow students to engage in a discussion of larger themes present in these works such as censorship, race, rebellion and dissent, power and oppression, gender, knowledge, and the power of language and the written word. Students’ understanding of these works and concepts will be developed through readings, discussion posts, quizzes, and exams.

ENGL 240.ST2 Juvenile Literature Elementary-5th Grade

April myrick.

A survey of the history of literature written for children and adolescents, and a consideration of the various genres of juvenile literature. Text selection will focus on the themes of imagination and breaking boundaries.

ENGL 242.S01 American Literature II

TuTh 11:00 a.m. - 12:15 p.m.

Dr. Paul Baggett

This course surveys a range of U.S. literatures from about 1865 to the present, writings that treat the end of slavery and the development of a segregated America, increasingly urbanized and industrialized U.S. landscapes, waves of immigration, and the fulfilled promise of “America” as imperial nation. The class will explore the diversity of identities represented during that time, and the problems/potentials writers imagined in response to the century’s changes—especially literature’s critical power in a time of nation-building. Required texts for the course are The Norton Anthology of American Literature: 1865 to the Present and Toni Morrison’s A Mercy.

WMST 247.S01: Introduction to Women, Gender, and Sexuality Studies

TuTh 11:00 a.m.-12:15 p.m.

As an introduction to Women, Gender, and Sexuality studies, this course considers the experiences of women and provides an overview of the history of feminist thought and activism, particularly within the United States. Students will also consider the concepts of gender and sexuality more broadly to encompass a diversity of gender identifications and sexualities and will explore the degree to which mainstream feminism has—and has not—accommodated this diversity. The course will focus in particular on the ways in which gender and sexuality intersect with race, class, ethnicity, and disability. Topics and concepts covered will include: movements for women’s and LGBTQ+ rights; gender, sexuality, and the body; intersectionality; rape culture; domestic and gender violence; reproductive rights; Missing and Murdered Indigenous Women (MMIW); and more.

ENGL 283.S01 Introduction to Creative Writing

MWF 1:00-1:50 p.m.

Prof. Steven Wingate

Students will explore the various forms of creative writing (fiction, nonfiction, and poetry) not one at a time in a survey format—as if there were decisive walls of separation between then—but as intensely related genres that share much of their creative DNA. Through close reading and work on personal texts, students will address the decisions that writers in any genre must face on voice, rhetorical position, relationship to audience, etc. Students will produce and revise portfolios of original creative work developed from prompts and research. This course fulfills the same SGR #2 requirements ENGL 201; note that the course will involve creative research projects. Successful completion of ENGL 101 (including by test or dual credit) is a prerequisite.

English 284: Introduction to Criticism

TuTh 12:30-1:45 p.m.

This course introduces students to selected traditions of literary and cultural theory and to some of the key issues that animate discussion among literary scholars today. These include questions about the production of cultural value, about ideology and hegemony, about the patriarchal and colonial bases of Western culture, and about the status of the cultural object, of the cultural critic, and of cultural theory itself.

To address these and other questions, we will survey the history of literary theory and criticism (a history spanning 2500 years) by focusing upon a number of key periods and -isms: Greek and Roman Classicism, The Middle Ages and Renaissance, The Enlightenment, Romanticism, Realism, Formalism, Historicism, Political Criticism (Marxism, Post-Colonialism, Feminism, et al.), and Psychological Criticism. We also will “test” various theories we discuss by examining how well they account for and help us to understand various works of poetry and fiction.

• 300-400 level

ENGL 330.S01 Shakespeare

TuTh 8:00-9:15 a.m.

Dr. Michael S. Nagy

This course will focus on William Shakespeare’s poetic and dramatic works and on the cultural and social contexts in which he wrote them. In this way, we will gain a greater appreciation of the fact that literature does not exist in a vacuum, for it both reflects and influences contemporary and subsequent cultures. Text: The Riverside Shakespeare: Complete Works. Ed. Evans, G. Blakemore and J. J. M. Tobin. Boston: Houghton Mifflin, 1997.

ENGL 363 Science Fiction

MWF 11:00-11:50 a.m.

This course explores one of the most significant literary genres of the past century in fiction and in film. We will focus in particular on the relationship between science fiction works and technological and social developments, with considerable attention paid to the role of artificial intelligence in the human imagination. Why does science fiction seem to predict the future? What do readers and writers of the genre hope to find in it? Through readings and viewings of original work, as well as selected criticism in the field, we will address these and other questions. Our reading and viewing selections will include such artists as Ursula K. LeGuin, Octavia Butler, Stanley Kubrick, and Phillip K. Dick. Students will also have ample opportunity to introduce the rest of the class to their own favorite science fiction works.

ENGL 383.S01 Creative Writing I

MWF 2:00-2:50 p.m.

Amber Jensen

Creative Writing I encourages students to strengthen poetry, creative nonfiction, and/or fiction writing skills through sustained focus on creative projects throughout the course (for example, collections of shorter works focused on a particular form/style/theme, longer prose pieces, hybrid works, etc.). Students will engage in small- and large-group writing workshops as well as individual conferences with the instructor throughout the course to develop a portfolio of creative work. The class allows students to explore multiple genres through the processes of writing and revising their own creative texts and through writing workshop, emphasizing the application of craft concepts across genre, but also allows students to choose one genre of emphasis, which they will explore through analysis of self-select texts, which they will use to deepen their understanding of the genre and to contextualize their own creative work.

ENGL 475.S01 Creative Nonfiction

Mondays 3:00-5:50 p.m.

In this course, students will explore the expansive and exciting genre of creative nonfiction, including a variety of forms such as personal essay, braided essay, flash nonfiction, hermit crab essays, profiles, and more. Through rhetorical reading, discussion, and workshop, students will engage published works, their own writing process, and peer work as they expand their understanding of the possibilities presented in this genre and the craft elements that can be used to shape readers’ experience of a text. Students will compile a portfolio of polished work that demonstrates their engagement with course concepts and the writing process.

ENGL 485.S01 Writing Center Tutoring

MW 8:30-9:45 a.m.

Since their beginnings in the 1920s and 30s, writing centers have come to serve numerous functions: as hubs for writing across the curriculum initiatives, sites to develop and deliver workshops, and resource centers for faculty as well as students, among other functions. But the primary function of writing centers has necessarily and rightfully remained the tutoring of student writers. This course will immerse you in that function in two parts. During the first four weeks, you will explore writing center praxis—that is, the dialogic interplay of theory and practice related to writing center work. This part of the course will orient you to writing center history, key theoretical tenets and practical aspects of writing center tutoring. Once we have developed and practiced this foundation, you will begin work in the writing center as a tutor, responsible for assisting a wide variety of student clients with numerous writing tasks. Through this work, you will learn to actively engage with student clients in the revision of a text, respond to different student needs and abilities, work with a variety of writing tasks and rhetorical situations and develop a richer sense of writing as a complex and negotiated social process.

ENGL 492.S01 The Vietnam War in Literature and Film

Tuesdays 3:00-5:50 p.m.

Dr. Jason McEntee

In 1975, the United States officially included its involvement in the Vietnam War, thus marking 2025 as the 50 th anniversary of the conclusion (in name only) of one of the most chaotic, confusing, and complex periods in American history. In this course, we will consider how literature and film attempt to chronicle the Vietnam War and, perhaps more important, its aftermath. I have designed this course for those looking to extend their understanding of literature and film to include the ideas of art, experience, commercial products, and cultural documents. Learning how to interpret literature and movies remains the highest priority of the course, including, for movies, the study of such things as genre, mise-en-scene (camera movement, lighting, etc.), editing, sound, and so forth.

We will read Dispatches , A Rumor of War , The Things They Carried , A Piece of My Heart , and Bloods , among others. Some of the movies that we will screen are: Apocalypse Now (the original version), Full Metal Jacket , Platoon , Coming Home , Born on the Fourth of July , Dead Presidents , and Hearts and Minds . Because we must do so, we will also look at some of the more fascinatingly outrageous yet culturally significant fantasies about the war, such as The Green Berets and Rambo: First Blood, Part II .

ENGL 492.S02 Classical Mythology

Tu Th 3:30-4:45 p.m.

Drs. Michael S. Nagy and Graham Wrightson

Modern society’s fascination with mythology manifests itself in the continued success of novels, films, and television programs about mythological or quasi-mythological characters such as Hercules, the Fisher King, and Gandalf the Grey, all of whom are celebrated for their perseverance or their daring deeds in the face of adversity. This preoccupation with mythological figures necessarily extends back to the cultures which first propagated these myths in early folk tales and poems about such figures as Oðin, King Arthur, Rhiannon, Gilgamesh, and Odysseus, to name just a few. English 492, a reading-intensive course cross-listed with History 492, primarily aims to expose students to the rich tradition of mythological literature written in languages as varied as French, Gaelic, Welsh, Old Icelandic, Greek, and Sumerian; to explore the historical, social, political, religious, and literary contexts in which these works flourished (if indeed they did); and to grapple with the deceptively simple question of what makes these myths continue to resonate with modern audiences. Likely topics and themes of this course will includeTheories of myth; Mythological Beginnings: Creation myths and the fall of man; Male and Female Gods in Myth; Foundation myths; Nature Myths; The Heroic Personality; the mythological portrayal of (evil/disruptive) women in myth; and Monsters in myth.

Likely Texts:

• Dalley, Stephanie, trans. Myths from Mesopotamia: Creation, the Flood, Gilgamesh, and Others. Oxford World’s Classics, 2009
• Faulkes, Anthony, trans. Edda. Everyman, 1995
• Gregory, Lady Augusta. Cuchulain of Muirthemne: The Story of the Men of the Red Branch of Ulster. Forgotten Books, 2007
• Jones, Gwyn, Thomas Jones, and Mair Jones. The Mabinogion. Everyman Paperback Classics, 1993
• Larrington, Carolyne, trans. The Poetic Edda . Oxford World’s Classics, 2009
• Matarasso, Pauline M., trans. The Quest of the Holy Grail. Penguin Classics, 1969
• Apollodorus, Hesiod’s Theogony
• Hesiod’s Works and Days
• Ovid’s Metamorphoses, Homeric Hymns
• Virgil’s Aeneid
• Iliad, Odyssey
• Apollonius of Rhodes Argonautica
• Ovid’s Heroides
• Greek tragedies: Orestaia, Oedipus trilogy, Trojan Women, Medea, Hippoolytus, Frogs, Seneca's Thyestes, Dyskolos, Amphitryon
• Clash of the Titans, Hercules, Jason and the Argonauts, Troy (and recent miniseries), Oh Brother, Where Art Thou?

ENGL 492.ST1 Science Writing

Erica summerfield.

This course aims to teach the fundamentals of effective scientific writing and presentation. The course examines opportunities for covering science, the skills required to produce clear and understandable text about technical subjects, and important ethical and practical constraints that govern the reporting of scientific information. Students will learn to present technical and scientific issues to various audiences. Particular emphasis will be placed on conveying the significance of research, outlining the aims, and discussing the results for scientific papers and grant proposals. Students will learn to write effectively, concisely, and clearly while preparing a media post, fact sheet, and scientific manuscript or grant.

Graduate Courses

Engl 575.s01 creative nonfiction, engl 592.s01: the vietnam war in literature and film, engl 704.s01 introduction to graduate studies.

Thursdays 3:00-5:50 p.m.

Introduction to Graduate Studies is required of all first-year graduate students. The primary purpose of this course is to introduce students to modern and contemporary literary theory and its applications. Students will write short response papers and will engage at least one theoretical approach in their own fifteen- to twenty-page scholarly research project. In addition, this course will further introduce students to the M.A. program in English at South Dakota State University and provide insight into issues related to the profession of English studies.

ENGL 792.ST1 Grant Writing

This online course will familiarize students with the language, rhetorical situation, and components of writing grant proposals. Students will explore various funding sources, learn to read an RFP, and develop an understanding of different professional contexts and the rhetorical and structural elements that suit those distinct contexts. Students will write a sample proposal throughout the course and offer feedback to their peers, who may be writing in different contexts, which will enhance their understanding of the varied applications of course content. Through their work in the course, students will gain confidence in their ability to find, apply for, and receive grant funding to support their communities and organizations.

CBSE Class 12 English Syllabus 2024-25 PDF Download Updated

img src="https://img.jagranjosh.com/images/2024/April/842024/image-(34).jpg" width="1200" height="675" />

Class 12th English Syllabus 2025: The Central Board of Secondary Education (CBSE) has released its revised and updated syllabus for all students of Class 12, on its official website. The board has published Class 12 Syllabus 2025 for subjects of all streams under the ‘Curriculum’ tab. The syllabus holds immense value for students of the 2024-2025 academic session, who will be appearing for CBSE Class 12 Board Exams in 2025. Here, we have brought to you the CBSE Class 12th English Syllabus 2025 along with a PDF download link of the same. Students can also check the Marking scheme, exam pattern, and course structure in the CBSE Board Class 12th English Syllabus provided to you below. 

CBSE Class 12th English Syllabus 2025

Find the class 12th English syllabus 2024-2025 below. 

Section A  (Reading Skills)                         

1. Reading Comprehension through Unseen Passage (12+10 = 22 Marks) 

• One unseen passage to assess comprehension, interpretation, analysis and inference. Vocabulary assessment will also be assessed via inference. The passage may be factual, descriptive or literary. 
• One unseen case-based factual passage with verbal/visual inputs like statistical data, charts etc. to assess comprehension, interpretation, analysis, inference and evaluation. 

Note: The combined word limit for both the passages will be 700-750 words. Multiple Choice Questions / Objective Type Questions and Short Answer Type Questions (to be answered in 40-50 words) will be asked. 

Section B (Creative Writing Skills)

2. Creative Writing Skills

• Notice, up to 50 words. One out of the two given questions to be answered. (4 Marks: Format :1 / Content: 2 / Accuracy of Spelling and Grammar: 1)
• Formal/Informal Invitation and Reply, up to 50 words. One out of the two given questions to be answered. (4 Marks: Format: 1 / Content: 2 / Accuracy of Spelling and Grammar :1)
• Letters based on verbal/visual input, to be answered in approximately 120-150 words. Letter types include application for a job with bio data or resume. Letters to the editor (giving suggestions or opinion on issues of public interest). One out of the two given questions to be answered. (5 Marks: Format: 1 / Organisation of Ideas: 1/Content: 2 / Accuracy of Spelling and Grammar :1)
• Article/ Report Writing, descriptive and analytical in nature, based on verbal inputs, to be answered in 120-150 words. One out of the two given questions to be answered. (5 Marks: Format: 1 /Organisation of Ideas: 1/Content: 2 / Accuracy of Spelling and Grammar :1)

Section C (Literature Text Book and Supplementary Reading Text) 

3. Literature Text Book and Supplementary Reading Text

This section will have variety of assessment items including Multiple Choice Questions, Objective Type Questions, Short Answer Type Questions and Long Answer Type Questions to assess comprehension, interpretation, analysis, evaluation and extrapolation beyond the text. 

• One Poetry extract out of two, from the book Flamingo, to assess comprehension, interpretation, analysis, inference and appreciation. (6x1=6 Marks)
• One Prose extract out of two, from the book Vistas, to assess comprehension, interpretation, analysis, evaluation and appreciation. (4x1=4 Marks)
• One prose extract out of two from the book Flamingo, to assess comprehension, interpretation, analysis, inference and evaluation. (6x1=6Marks)
• Short answer type questions (from Prose and Poetry from the book Flamingo), to be answered in 40-50 words each. Questions should elicit inferential responses through critical thinking. Five questions out of the six given, are to be answered. (5x2=10 Marks)
• Short answer type questions, from Prose (Vistas), to be answered in 40- 50 words each. Questions should elicit inferential responses through critical thinking. Any two out of three questions to be done. (2x2=4 Marks)
• One Long answer type question, from Prose/Poetry (Flamingo), to be answered in 120- 150 words. Questions can be based on incident/theme/passage/extract/event as reference points to assess extrapolation beyond and across the text. The question will elicit analytical and evaluative response from the student. Any one out of two questions to be done. (1x5=5 Marks)
• One Long answer type question, based on the chapters from the book Vistas, to be answered in 120-150 words, to assess global comprehension and extrapolation beyond the text. Questions to provide analytical and evaluative responses using incidents, events, themes, as reference points. Any one out of two questions to be done. (1x5=5 Marks)

Books And Chapters  

• Flamingo: English Reader published by National Council of Education Research and Training, New Delhi 

(Prose)   

• The Last Lesson 
• Lost Spring 
• Deep Water  
• The Rattrap  
• Indigo  
• Poets and Pancakes  
• The Interview  
• Going Places 

(Poetry)  

• My Mother at Sixty-Six  
• Keeping Quiet  
• A Thing of Beauty  
• A Roadside Stand 
• Aunt Jennifer’s Tigers
• Vistas : Supplementary Reader published by National Council of Education Research and Training, New Delhi 
• The Third Level  
• The Tiger King  
• Journey to the End of the Earth  
• The Enemy  
• On the Face of It 
• Memories of Childhood  
• The Cutting of My Long Hair  
• We Too are Human Beings

Class 12 English Syllabus PDF Download

To download the CBSE Class 12 English Syllabus 2024-2025, click on the link below

CBSE Class 12 English Marking Scheme 2024-2025

Check the CBSE 12th English Marking Scheme 2025 in the table below. 

Also Check: 

CBSE Class 12 Syllabus 2024-2025 (All Subjects)