creative writing level 2 english

Site Search

Six writing ideas for level 2.

A stimulating set of ideas for letter writing (problem parking, TV standards, traffic, nasty neighbours) and essays (being an MP, climate change). Each topic has ideas for discussion (and often planning tips).

• Log in to post comments
• Writing ideas for L1-2
• Functional Skills writing tasks for catering students
• Problem page extra handouts for E2-L1
• Three controversial letter writing ideas
• Yesterday's Tomorrow's World L2 writing
• Four creative writing ideas
• Endless Christmas words
• St. George's Day Literacy / Functional English
• Writing a letter of complaint
• Email writing frames for Functional English

• Professional development
• Understanding learners

Creative writing for language learners (and teachers)

Creative writing normally refers to the production of texts which have an aesthetic rather than a purely informative, instrumental or pragmatic purpose.

Most often, such texts take the form of poems or stories, though they are not confined to these genres. (Letters, journal entries, blogs, essays, travelogues, etc. can also be more or less creative.) In fact, the line between creative writing (CW) and expository writing (ER) is not carved in stone. In general, however CW texts draw more heavily on intuition, close observation, imagination, and personal memories than ER texts.  

One of the chief distinguishing characteristics of CW texts is a playful engagement with language, stretching and testing its rules to the limit in a guilt-free atmosphere, where risk is encouraged. Such writing combines cognitive with affective modes of thinking. As the poet, R.S. Thomas once wrote, ‘Poetry is that which arrives at the intellect by way of the heart.’ The playful element in CW should not, however be confused with a lax and unregulated use of language. On the contrary, CW requires a willing submission on the part of the writer to the ‘rules’ of the sub-genre being undertaken. If you want to write a Limerick, then you have to follow the rules governing limericks. If not, what you produce will be something other than a limerick: obvious, perhaps, but important too. The interesting thing is that the very constraints which the rules impose seem to foster rather than restrict the creativity of the writer. This apparent paradox is explained partly by the deeper processing of thought and language which the rules require.

What are the benefits of CW for learners?

• CW aids language development at all levels: grammar, vocabulary, phonology and discourse. It requires learners to manipulate the language in interesting and demanding ways in attempting to express uniquely personal meanings. In doing so, they necessarily engage with the language at a deeper level of processing than with most expository texts. (Craik and Lockhart 1972) The gains in grammatical accuracy and range, in the appropriacy and originality of lexical choice, in sensitivity to rhyme, rhythm, stress and intonation, and in the way texts hang together are significant.
• As mentioned above, a key characteristic of CW is a willingness to play with the language. In recent years there has been a resurgence of interest in the role of play in language acquisition. (Carter 2004, Cook 2000, Crystal 1998) In some ways, the tsunami of the Communicative Approach has done a disservice to language teaching  by its insistence on the purely communicative functions of language. Proponents of ‘play’ point out, rightly, that in L1 acquisition, much of the language encountered by and used by children is in the form of rhythmical chants and rhymes, word games, jokes and the like. Furthermore, such playfulness survives into adulthood, so that many social encounters are characterized by language play (punning, spontaneous jokes, ‘funny voices’, metathesis, and a discourse which is shaped by quasi-poetic repetition (Tannen 1989)). These are precisely the kinds of things L2 learners are encouraged to do in CW activities. This playful element encourages them to play creatively with the language, and in so doing, to take the risks without which learning cannot take place in any profound sense.  As Crystal (1998) states, ‘Reading and writing do not have to be a prison house. Release is possible. And maybe language play can provide the key.’
• Much of the teaching we do tends to focus on the left side of the brain, where our logical faculties are said to reside. CW puts the emphasis on the right side of the brain, with a focus on feelings, physical sensations, intuition and musicality. This is a healthy restoration of the balance between logical and intuitive faculties. It also affords scope for learners whose hemisphere dominance or learning-style preferences may not be intellectual or left brain dominant, and who, in the normal process of teaching are therefore at a disadvantage.
• Perhaps most notable is the dramatic increase in self-confidence and self-esteem which CW tends to develop among learners. Learners also tend to discover things for themselves about the language… and about themselves too, thus promoting personal as well as linguistic growth. Inevitably, these gains are reflected in a corresponding growth in positive motivation. Among the conditions for promoting motivation, Dornyei (2001: 138-144) cites:  
• “5. Create a pleasant and supportive atmosphere.
•  6. Promote the development of group cohesiveness.
• 13. Increase the students’ expectation of success in particular tasks and in learning in general.
• 17. Make learning more stimulating and enjoyable by breaking the monotony of classroom events.
• 18. Make learning stimulating and enjoyable by increasing the attractiveness of tasks.
• 19. Make learning stimulating and enjoyable for learners by enlisting them as active task participants.
• 20. Present and administer tasks in a motivating way.
• 23. Provide students with regular experiences of success.
• 24. Build your learners’ confidence by providing regular encouragement.
• 28. Increase student motivation by promoting cooperation among the learners.
• 29. Increase student motivation by actively promoting learner autonomy.
• 33. Increase learner satisfaction.
• 34. Offer rewards in a motivational manner.”   
• All these conditions are met in a well-run CW class. The exponential increase in motivation is certainly supported by my own experience in teaching CW. Learners suddenly realize that they can write something in a foreign language that has never been written by anyone else before, and which others find interesting to read. (Hence the importance of ‘publishing’ students’ work in some form.)  And they experience not only a pride in their own products but also a joy in the ‘flow’ of the process. (Czsikszentmihaly 1997).  
• Finally, CW feeds into more creative reading. It is as if, by getting inside the process of creating the texts, learners come to understand intuitively how such texts function, and this makes similar texts easier to read.  Likewise, the development of aesthetic reading skills ( Kramsch  1993, Rosenblatt 1978), provides the learner with a better understanding of textual construction, and this feeds into their writing.

And teachers? I argued in the first article that teachers, as well as learners, should engage with extensive reading.  In the same spirit, I would argue that there are significant benefits to teachers if they participate in CW.

• There is little point in exhorting learners to engage in CW unless we do so too.  The power of the teacher as model, and as co-writer is inestimable.
• CW is one way of keeping teachers’ English fresh and vibrant.  For much of our professional lives we are in thrall to the controlled language of textbook English and the repeated low level error-laden English of our students.  As teachers of language, we surely have a responsibility to keep our primary resource alive and well.
• CW seems to have an effect on the writer’s level of energy in general.  This tends to make teachers who use CW more interesting to be around, and this inevitably impacts on their relationships with students.
• The experimental stance with regard to writing in general appears to fee back into the teaching of writing.  Teachers of CW tend also to be better teachers of writing in general                

My evidence for these assertions is largely anecdotal, backed by a survey of writing teachers I conducted in 2006.  One of the interesting facts to emerge was a widespread belief among teachers of writing that CW had a positive effect on students’ writing of Expository texts and helped them develop that much- desired but rarely-delivered ‘authentic voice’. Space does not allow me to expand on these findings, nor on some of the possible activities teachers might try.  I will attempt to make good these omissions in some of my blogs during the month of December. I will also make reference there to ways in which CW intersects with some of our major current concerns. Meantime, anyone interested could sample some of the books from the list below: Fry (2007), Koch (1990), Matthews (1994), Spiro (2004, 2007), Whitworth (2001) and Wright and Hill (2009)

• Carter, Ronald.  (2004)  Language and creativity: the art of common talk.  London: Routledge.
• Cszikszentmihalyi. M. ( 1997) Creativity: Flow and the psychology of discovery and invention.  New York: Harper Perennial
• Cook, Guy (2000)  Language Play: Language Learning.  Oxford: Oxford University Press.
• Craik, F.I.M  and R.S Lockhart   (1972)  ‘Levels of processing: a framework for memory research’  Journal of  Verbal Learning and Verbal Behaviour.  11.  671-685
• Crystal, David (1998) Language Play. London: Penguin
• Dornyei, Zoltan (2001)  Motivational Strategies in the Language Classroom.  Cambridge: Cambridge University Press.
• Fry, Stephen (2007)  The Ode Less Travelled.  London: Arrow Books.
• Koch, Kenneth. (1990)  Rose, where did you get that red?  New York: Vintage Books.
• Kramsch, Claire (1993)  Context and Culture in Language Teaching.  Oxford: Oxford University Press.
• Matthews, Paul (1994)  Sing Me the Creation.  Stroud: Hawthorne Press.
• Rosenblatt, Louise  (1978)  The Reader, the Text, the Poem. Carbondale, Illinois: Southern Illinois University Press.
• Spiro, Jane (2004)  Creative Poetry Writing.  Oxford: Oxford University Press.
• Spiro, Jane (2007)  Storybuilding. Oxford: Oxford University Press.
• Tannen, Deborah. (1989)  Talking Voices: Repetition, dialogue, and imagery in conversational discourse.  Cambridge: Cambridge University Press.
• Whitworth, John.  (2001)  Writing Poetry.  London: A and C Black.
• Wright, Andrew and David S.Hill.  (2009) Writing Stories.  Innsbruck: Helbling

By Alan Maley

Please note Alan's now finished writing on the site and will not be able to reply personally to your comments.

CW- not an easy task

• Log in or register to post comments

All about Creative writing

                         Thank you very much for your extremely useful and highly productive article On creative writing for learners and teachers. In fact I am looking for a great person of your stature who will guide me in my poetic and writing pursuits. I have already requested you to have a look at my poems and you have read them but not offered me suggestions or compliments. I hope you will read my other 2 poems The street children and the typical Indian railway journey and send your comments either to my e-mail or express them in your comments as response.

You have given a detailed information about creative writings and expository writings,how they are useful to the students and teachers,which books they should refer to and which activities they should attempt very clearly and lucidly. I hope you will talk more about in your ensuing blogs.

I believe in constructivism and so your articles appeal to my art. Language acquisition is the need of the hour in non native english speaking countries like India. Since I am text book writer for Andhrapradesh, I would like to interact with you further. I hope you will help me improve my poetic and creative writing skills.

With kind regards,

Yours sincerely,

JVL NARASIMHA RAO

Research and insight

Browse fascinating case studies, research papers, publications and books by researchers and ELT experts from around the world.

See our publications, research and insight

English exemplars, past exams, reports and schedules

Internal and external assessment resources for English

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

OCR homepage

Administration

• Active Results
• Interchange
• Submit for Assessment
• Teach Cambridge
• ExamBuilder
• Online Support Centre

Main navigation

Creative writing in english in exams and in the classroom.

Hints and Tips - 7 minute read

Isobel Woodger, OCR English Subject Advisor

Reading as a writer, writing as a reader

Our approach tries to marry students’ experiences as readers and writers. This is why the creative component for Language and Literature is called “Reading as a writer, writing as a reader”, to emphasise that students should see elements they’ve explored in their texts not just as inspiration, but as a set of tools they can use in their work.

Equally, as I saw during a recent English and Media Centre (EMC) course on teaching The Bloody Chamber , creative writing can create powerful, conceptual responses to texts as well as deepen understanding of the author’s process.

What is our approach to creative writing tasks?

Crucial to our approach, at all levels, is the dual focus on narrative and choice. We believe in offering students a choice in which narrative they are asked to create to enable better, more authentic responses. It’s important that students feel they are involved in the assessment as opposed to simply sitting it.

Additionally, we focus on narrative over pure descriptive writing as we think this helps generate truly creative, imaginative work. In Component 2 of our GCSE English Language course , students are asked to write a creative response to one of two prompts, like those below from the 2018 June series .

One is narrative based, e.g. giving a title as a prompt for a story; the other is more of a personal, reflective response, giving a scenario to develop.

From June 2018, GCSE English Language Component 2:

This links neatly to the tasks we set in A Level Language & Literature course which we co-developed with EMC. In the second part of Component 3, students choose one of two narrative prompts like these from the 2018 June series:

Students should write approximately 500 words of an opening to a narrative, clearly using some of the bullet points provided. They are, in the next question, asked to write a commentary on their work.

What are our examiners saying?

Our examiners are aware that writing creatively on demand is a complex brief to fulfil. We also know that what we respond to as readers is often the author’s control: how they guide our responses to places, people and topics, as well as play with our assumptions and expectations.

At GCSE, the mark scheme talks about Level 6 students adapting the form of their writing “to position the reader” as a way to demonstrate “sophisticated control of purpose and effect” alongside “skilfully control[ing] overall structure.” Ultimately, whatever their level, students should aim to write a piece that demonstrates a sense of narrative control over its style and is structured to direct their reader’s response.

Without taking the time to plan a response, it can be hard to demonstrate this control. As the June 2018 GCSE Examiners’ Report says, “The best work has been carefully planned and builds to a clear and effective conclusion.” Knowing what and how they want to write offers students more control over their work and gives them greater scope for inventiveness.

A crucial way to approach students’ ability to plan is to build their understanding of structural choices. Being able to choose what narrative voice they wish to use, where the story should open and close, how the story ought to progress – these are structural decisions that can enable students to write more imaginatively, without a dependence solely on vocabulary extension. Naturally, exposing students to a wide range of texts of different kinds is what aids this understanding.

Some consideration of time can be a great way for students to be more formally and structurally inventive, as outlined in the same report: “The use of flashback, flash forward, starting at the linear conclusion and working back to the beginning […] can all bring a great deal of creative originality to straightforward or even rather mundane content.”

Creative writing strategies for the classroom and the exam:

Use analogies both as instructions and models. For example, ask students to think of perspective as being like directing a film scene, where your decisions about where the camera should be and who it should focus on can change how the audience feels.

Don’t be afraid to use creative writing as tool for understanding other texts or ideas. Teaching students to write creatively only in response to examination prompts isn’t the way to broaden their ideas. Instead, use creative writing as a way for them to respond to a Literature text; use it as a way for them to express their thoughts about a concept like inequality, or relationships.

Using style models is underrated. Get students to write in the style of a range of authors, so they can learn from the inside out how voice is constructed in different ways depending on the writer.

Exploratory writing could form part of the planning process. Often students think planning means coming up with a list straight away. It’s worth asking students to write in an exploratory way about a text or a task before getting them to consider which of those ideas might form a road map for their own writing.

Effective description moves beyond modifiers. Adjectives and adverbs are important but should be used with judgement. Having a wider range of descriptive, precise verbs will give students more control over their work.

Plan to write something ‘real’. This isn’t a plea for realist fiction, but rather, responses that have a sense of emotional reality. This can help ground writing, giving it depth and direction. This can be easy to miss when trying to plan for something dramatic or surprising.

In short, we want students to write pieces that demonstrate control and consideration, which show they can choose words with care to craft a planned narrative. We think the more students are aware that their experiences as readers can be used or adapted for themselves in their own work, the wider range of tools students have at their fingertips.

Stay connected

Have you got any creative writing strategies you’d like to share? Or perhaps there’s a particular area of the subject you’d like us to talk about. In either case, do submit your comments below or email us at [email protected] . You can also sign up to receive email updates or follow us on Twitter at @OCR_English .

About the author

Isobel joined OCR as a member of the English subject team, with particular responsibility for A and AS Level English Literature and A and AS Level English Language and Literature (EMC).

She previously worked as a classroom teacher in a co-educational state secondary school, with three years as second-in-charge in English with responsibility for Key Stage 5. In addition to teaching all age groups from Key Stage 3 to 5, Isobel worked with the University of Cambridge’s Faculty of Education as a mentor to PGCE trainees. Prior to this, she studied for an MA in film, television and screen media with Birkbeck College, University of London while working as a learning support assistant at a large state comprehensive school.

By the same author

• Clarifying context in GCSE and A Level English Literature
• English: Tips and tricks for tackling the A Level Literature NEA
• English ‘subject terminology’ - precision or complication? How might it help rather than hinder?

VIDEO COURSE

Finish your draft in our 3-month master class. Sign up now to watch a free lesson!

Learn How to Write a Novel

Finish your draft in our 3-month master class. Enroll now for daily lessons, weekly critique, and live events. Your first lesson is free!

Guides • Perfecting your Craft

Last updated on Feb 14, 2023

10 Types of Creative Writing (with Examples You’ll Love)

A lot falls under the term ‘creative writing’: poetry, short fiction, plays, novels, personal essays, and songs, to name just a few. By virtue of the creativity that characterizes it, creative writing is an extremely versatile art. So instead of defining what creative writing is , it may be easier to understand what it does by looking at examples that demonstrate the sheer range of styles and genres under its vast umbrella.

To that end, we’ve collected a non-exhaustive list of works across multiple formats that have inspired the writers here at Reedsy. With 20 different works to explore, we hope they will inspire you, too. 

People have been writing creatively for almost as long as we have been able to hold pens. Just think of long-form epic poems like The Odyssey or, later, the Cantar de Mio Cid — some of the earliest recorded writings of their kind. 

Poetry is also a great place to start if you want to dip your own pen into the inkwell of creative writing. It can be as short or long as you want (you don’t have to write an epic of Homeric proportions), encourages you to build your observation skills, and often speaks from a single point of view . 

Here are a few examples:

“Ozymandias” by Percy Bysshe Shelley

Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.

This classic poem by Romantic poet Percy Shelley (also known as Mary Shelley’s husband) is all about legacy. What do we leave behind? How will we be remembered? The great king Ozymandias built himself a massive statue, proclaiming his might, but the irony is that his statue doesn’t survive the ravages of time. By framing this poem as told to him by a “traveller from an antique land,” Shelley effectively turns this into a story. Along with the careful use of juxtaposition to create irony, this poem accomplishes a lot in just a few lines. 

“Trying to Raise the Dead” by Dorianne Laux

 A direction. An object. My love, it needs a place to rest. Say anything. I’m listening. I’m ready to believe. Even lies, I don’t care.

Poetry is cherished for its ability to evoke strong emotions from the reader using very few words which is exactly what Dorianne Laux does in “ Trying to Raise the Dead .” With vivid imagery that underscores the painful yearning of the narrator, she transports us to a private nighttime scene as the narrator sneaks away from a party to pray to someone they’ve lost. We ache for their loss and how badly they want their lost loved one to acknowledge them in some way. It’s truly a masterclass on how writing can be used to portray emotions. 

If you find yourself inspired to try out some poetry — and maybe even get it published — check out these poetry layouts that can elevate your verse!

Song Lyrics

Poetry’s closely related cousin, song lyrics are another great way to flex your creative writing muscles. You not only have to find the perfect rhyme scheme but also match it to the rhythm of the music. This can be a great challenge for an experienced poet or the musically inclined. 

To see how music can add something extra to your poetry, check out these two examples:

“Hallelujah” by Leonard Cohen

 You say I took the name in vain I don't even know the name But if I did, well, really, what's it to ya? There's a blaze of light in every word It doesn't matter which you heard The holy or the broken Hallelujah 

Metaphors are commonplace in almost every kind of creative writing, but will often take center stage in shorter works like poetry and songs. At the slightest mention, they invite the listener to bring their emotional or cultural experience to the piece, allowing the writer to express more with fewer words while also giving it a deeper meaning. If a whole song is couched in metaphor, you might even be able to find multiple meanings to it, like in Leonard Cohen’s “ Hallelujah .” While Cohen’s Biblical references create a song that, on the surface, seems like it’s about a struggle with religion, the ambiguity of the lyrics has allowed it to be seen as a song about a complicated romantic relationship. 

“I Will Follow You into the Dark” by Death Cab for Cutie

 ​​If Heaven and Hell decide that they both are satisfied Illuminate the no's on their vacancy signs If there's no one beside you when your soul embarks Then I'll follow you into the dark

You can think of song lyrics as poetry set to music. They manage to do many of the same things their literary counterparts do — including tugging on your heartstrings. Death Cab for Cutie’s incredibly popular indie rock ballad is about the singer’s deep devotion to his lover. While some might find the song a bit too dark and macabre, its melancholy tune and poignant lyrics remind us that love can endure beyond death.

Plays and Screenplays

From the short form of poetry, we move into the world of drama — also known as the play. This form is as old as the poem, stretching back to the works of ancient Greek playwrights like Sophocles, who adapted the myths of their day into dramatic form. The stage play (and the more modern screenplay) gives the words on the page a literal human voice, bringing life to a story and its characters entirely through dialogue. 

Interested to see what that looks like? Take a look at these examples:

All My Sons by Arthur Miller

“I know you're no worse than most men but I thought you were better. I never saw you as a man. I saw you as my father.” 

Arthur Miller acts as a bridge between the classic and the new, creating 20th century tragedies that take place in living rooms and backyard instead of royal courts, so we had to include his breakout hit on this list. Set in the backyard of an all-American family in the summer of 1946, this tragedy manages to communicate family tensions in an unimaginable scale, building up to an intense climax reminiscent of classical drama. 

💡 Read more about Arthur Miller and classical influences in our breakdown of Freytag’s pyramid . 

“Everything is Fine” by Michael Schur ( The Good Place )

“Well, then this system sucks. What...one in a million gets to live in paradise and everyone else is tortured for eternity? Come on! I mean, I wasn't freaking Gandhi, but I was okay. I was a medium person. I should get to spend eternity in a medium place! Like Cincinnati. Everyone who wasn't perfect but wasn't terrible should get to spend eternity in Cincinnati.” 

A screenplay, especially a TV pilot, is like a mini-play, but with the extra job of convincing an audience that they want to watch a hundred more episodes of the show. Blending moral philosophy with comedy, The Good Place is a fun hang-out show set in the afterlife that asks some big questions about what it means to be good. 

It follows Eleanor Shellstrop, an incredibly imperfect woman from Arizona who wakes up in ‘The Good Place’ and realizes that there’s been a cosmic mixup. Determined not to lose her place in paradise, she recruits her “soulmate,” a former ethics professor, to teach her philosophy with the hope that she can learn to be a good person and keep up her charade of being an upstanding citizen. The pilot does a superb job of setting up the stakes, the story, and the characters, while smuggling in deep philosophical ideas.

Personal essays

Our first foray into nonfiction on this list is the personal essay. As its name suggests, these stories are in some way autobiographical — concerned with the author’s life and experiences. But don’t be fooled by the realistic component. These essays can take any shape or form, from comics to diary entries to recipes and anything else you can imagine. Typically zeroing in on a single issue, they allow you to explore your life and prove that the personal can be universal.

Here are a couple of fantastic examples:

“On Selling Your First Novel After 11 Years” by Min Jin Lee (Literary Hub)

There was so much to learn and practice, but I began to see the prose in verse and the verse in prose. Patterns surfaced in poems, stories, and plays. There was music in sentences and paragraphs. I could hear the silences in a sentence. All this schooling was like getting x-ray vision and animal-like hearing. 

This deeply honest personal essay by Pachinko author Min Jin Lee is an account of her eleven-year struggle to publish her first novel . Like all good writing, it is intensely focused on personal emotional details. While grounded in the specifics of the author's personal journey, it embodies an experience that is absolutely universal: that of difficulty and adversity met by eventual success. 

“A Cyclist on the English Landscape” by Roff Smith (New York Times)

These images, though, aren’t meant to be about me. They’re meant to represent a cyclist on the landscape, anybody — you, perhaps. 

Roff Smith’s gorgeous photo essay for the NYT is a testament to the power of creatively combining visuals with text. Here, photographs of Smith atop a bike are far from simply ornamental. They’re integral to the ruminative mood of the essay, as essential as the writing. Though Smith places his work at the crosscurrents of various aesthetic influences (such as the painter Edward Hopper), what stands out the most in this taciturn, thoughtful piece of writing is his use of the second person to address the reader directly. Suddenly, the writer steps out of the body of the essay and makes eye contact with the reader. The reader is now part of the story as a second character, finally entering the picture.

Short Fiction

The short story is the happy medium of fiction writing. These bite-sized narratives can be devoured in a single sitting and still leave you reeling. Sometimes viewed as a stepping stone to novel writing, that couldn’t be further from the truth. Short story writing is an art all its own. The limited length means every word counts and there’s no better way to see that than with these two examples:

“An MFA Story” by Paul Dalla Rosa (Electric Literature)

At Starbucks, I remembered a reading Zhen had given, a reading organized by the program’s faculty. I had not wanted to go but did. In the bar, he read, "I wrote this in a Starbucks in Shanghai. On the bank of the Huangpu." It wasn’t an aside or introduction. It was two lines of the poem. I was in a Starbucks and I wasn’t writing any poems. I wasn’t writing anything. 

This short story is a delightfully metafictional tale about the struggles of being a writer in New York. From paying the bills to facing criticism in a writing workshop and envying more productive writers, Paul Dalla Rosa’s story is a clever satire of the tribulations involved in the writing profession, and all the contradictions embodied by systemic creativity (as famously laid out in Mark McGurl’s The Program Era ). What’s more, this story is an excellent example of something that often happens in creative writing: a writer casting light on the private thoughts or moments of doubt we don’t admit to or openly talk about. 

“Flowering Walrus” by Scott Skinner (Reedsy)

I tell him they’d been there a month at least, and he looks concerned. He has my tongue on a tissue paper and is gripping its sides with his pointer and thumb. My tongue has never spent much time outside of my mouth, and I imagine it as a walrus basking in the rays of the dental light. My walrus is not well. 

A winner of Reedsy’s weekly Prompts writing contest, ‘ Flowering Walrus ’ is a story that balances the trivial and the serious well. In the pauses between its excellent, natural dialogue , the story manages to scatter the fear and sadness of bad medical news, as the protagonist hides his worries from his wife and daughter. Rich in subtext, these silences grow and resonate with the readers.

Want to give short story writing a go? Give our free course a go!

FREE COURSE

How to Craft a Killer Short Story

From pacing to character development, master the elements of short fiction.

Perhaps the thing that first comes to mind when talking about creative writing, novels are a form of fiction that many people know and love but writers sometimes find intimidating. The good news is that novels are nothing but one word put after another, like any other piece of writing, but expanded and put into a flowing narrative. Piece of cake, right?

To get an idea of the format’s breadth of scope, take a look at these two (very different) satirical novels: 

Convenience Store Woman by Sayaka Murata

I wished I was back in the convenience store where I was valued as a working member of staff and things weren’t as complicated as this. Once we donned our uniforms, we were all equals regardless of gender, age, or nationality — all simply store workers. 

Keiko, a thirty-six-year-old convenience store employee, finds comfort and happiness in the strict, uneventful routine of the shop’s daily operations. A funny, satirical, but simultaneously unnerving examination of the social structures we take for granted, Sayaka Murata’s Convenience Store Woman is deeply original and lingers with the reader long after they’ve put it down.

Erasure by Percival Everett

The hard, gritty truth of the matter is that I hardly ever think about race. Those times when I did think about it a lot I did so because of my guilt for not thinking about it.  

Erasure is a truly accomplished satire of the publishing industry’s tendency to essentialize African American authors and their writing. Everett’s protagonist is a writer whose work doesn’t fit with what publishers expect from him — work that describes the “African American experience” — so he writes a parody novel about life in the ghetto. The publishers go crazy for it and, to the protagonist’s horror, it becomes the next big thing. This sophisticated novel is both ironic and tender, leaving its readers with much food for thought.

Creative Nonfiction

Creative nonfiction is pretty broad: it applies to anything that does not claim to be fictional (although the rise of autofiction has definitely blurred the boundaries between fiction and nonfiction). It encompasses everything from personal essays and memoirs to humor writing, and they range in length from blog posts to full-length books. The defining characteristic of this massive genre is that it takes the world or the author’s experience and turns it into a narrative that a reader can follow along with.

Here, we want to focus on novel-length works that dig deep into their respective topics. While very different, these two examples truly show the breadth and depth of possibility of creative nonfiction:

Men We Reaped by Jesmyn Ward

Men’s bodies litter my family history. The pain of the women they left behind pulls them from the beyond, makes them appear as ghosts. In death, they transcend the circumstances of this place that I love and hate all at once and become supernatural. 

Writer Jesmyn Ward recounts the deaths of five men from her rural Mississippi community in as many years. In her award-winning memoir , she delves into the lives of the friends and family she lost and tries to find some sense among the tragedy. Working backwards across five years, she questions why this had to happen over and over again, and slowly unveils the long history of racism and poverty that rules rural Black communities. Moving and emotionally raw, Men We Reaped is an indictment of a cruel system and the story of a woman's grief and rage as she tries to navigate it.

Cork Dork by Bianca Bosker

He believed that wine could reshape someone’s life. That’s why he preferred buying bottles to splurging on sweaters. Sweaters were things. Bottles of wine, said Morgan, “are ways that my humanity will be changed.” 

In this work of immersive journalism , Bianca Bosker leaves behind her life as a tech journalist to explore the world of wine. Becoming a “cork dork” takes her everywhere from New York’s most refined restaurants to science labs while she learns what it takes to be a sommelier and a true wine obsessive. This funny and entertaining trip through the past and present of wine-making and tasting is sure to leave you better informed and wishing you, too, could leave your life behind for one devoted to wine. 

Illustrated Narratives (Comics, graphic novels)

Once relegated to the “funny pages”, the past forty years of comics history have proven it to be a serious medium. Comics have transformed from the early days of Jack Kirby’s superheroes into a medium where almost every genre is represented. Humorous one-shots in the Sunday papers stand alongside illustrated memoirs, horror, fantasy, and just about anything else you can imagine. This type of visual storytelling lets the writer and artist get creative with perspective, tone, and so much more. For two very different, though equally entertaining, examples, check these out:

Calvin & Hobbes by Bill Watterson

"Life is like topography, Hobbes. There are summits of happiness and success, flat stretches of boring routine and valleys of frustration and failure." 

This beloved comic strip follows Calvin, a rambunctious six-year-old boy, and his stuffed tiger/imaginary friend, Hobbes. They get into all kinds of hijinks at school and at home, and muse on the world in the way only a six-year-old and an anthropomorphic tiger can. As laugh-out-loud funny as it is, Calvin & Hobbes ’ popularity persists as much for its whimsy as its use of humor to comment on life, childhood, adulthood, and everything in between. 

From Hell by Alan Moore and Eddie Campbell 

"I shall tell you where we are. We're in the most extreme and utter region of the human mind. A dim, subconscious underworld. A radiant abyss where men meet themselves. Hell, Netley. We're in Hell." 

Comics aren't just the realm of superheroes and one-joke strips, as Alan Moore proves in this serialized graphic novel released between 1989 and 1998. A meticulously researched alternative history of Victorian London’s Ripper killings, this macabre story pulls no punches. Fact and fiction blend into a world where the Royal Family is involved in a dark conspiracy and Freemasons lurk on the sidelines. It’s a surreal mad-cap adventure that’s unsettling in the best way possible. 

Video Games and RPGs

Probably the least expected entry on this list, we thought that video games and RPGs also deserved a mention — and some well-earned recognition for the intricate storytelling that goes into creating them. 

Essentially gamified adventure stories, without attention to plot, characters, and a narrative arc, these games would lose a lot of their charm, so let’s look at two examples where the creative writing really shines through: 

80 Days by inkle studios

"It was a triumph of invention over nature, and will almost certainly disappear into the dust once more in the next fifty years." 

Named Time Magazine ’s game of the year in 2014, this narrative adventure is based on Around the World in 80 Days by Jules Verne. The player is cast as the novel’s narrator, Passpartout, and tasked with circumnavigating the globe in service of their employer, Phileas Fogg. Set in an alternate steampunk Victorian era, the game uses its globe-trotting to comment on the colonialist fantasies inherent in the original novel and its time period. On a storytelling level, the choose-your-own-adventure style means no two players’ journeys will be the same. This innovative approach to a classic novel shows the potential of video games as a storytelling medium, truly making the player part of the story. 

What Remains of Edith Finch by Giant Sparrow

"If we lived forever, maybe we'd have time to understand things. But as it is, I think the best we can do is try to open our eyes, and appreciate how strange and brief all of this is." 

This video game casts the player as 17-year-old Edith Finch. Returning to her family’s home on an island in the Pacific northwest, Edith explores the vast house and tries to figure out why she’s the only one of her family left alive. The story of each family member is revealed as you make your way through the house, slowly unpacking the tragic fate of the Finches. Eerie and immersive, this first-person exploration game uses the medium to tell a series of truly unique tales. 

Fun and breezy on the surface, humor is often recognized as one of the trickiest forms of creative writing. After all, while you can see the artistic value in a piece of prose that you don’t necessarily enjoy, if a joke isn’t funny, you could say that it’s objectively failed.

With that said, it’s far from an impossible task, and many have succeeded in bringing smiles to their readers’ faces through their writing. Here are two examples:

‘How You Hope Your Extended Family Will React When You Explain Your Job to Them’ by Mike Lacher (McSweeney’s Internet Tendency)

“Is it true you don’t have desks?” your grandmother will ask. You will nod again and crack open a can of Country Time Lemonade. “My stars,” she will say, “it must be so wonderful to not have a traditional office and instead share a bistro-esque coworking space.” 

Satire and parody make up a whole subgenre of creative writing, and websites like McSweeney’s Internet Tendency and The Onion consistently hit the mark with their parodies of magazine publishing and news media. This particular example finds humor in the divide between traditional family expectations and contemporary, ‘trendy’ work cultures. Playing on the inherent silliness of today’s tech-forward middle-class jobs, this witty piece imagines a scenario where the writer’s family fully understands what they do — and are enthralled to hear more. “‘Now is it true,’ your uncle will whisper, ‘that you’ve got a potential investment from one of the founders of I Can Haz Cheezburger?’”

‘Not a Foodie’ by Hilary Fitzgerald Campbell (Electric Literature)

I’m not a foodie, I never have been, and I know, in my heart, I never will be. 

Highlighting what she sees as an unbearable social obsession with food , in this comic Hilary Fitzgerald Campbell takes a hilarious stand against the importance of food. From the writer’s courageous thesis (“I think there are more exciting things to talk about, and focus on in life, than what’s for dinner”) to the amusing appearance of family members and the narrator’s partner, ‘Not a Foodie’ demonstrates that even a seemingly mundane pet peeve can be approached creatively — and even reveal something profound about life.

We hope this list inspires you with your own writing. If there’s one thing you take away from this post, let it be that there is no limit to what you can write about or how you can write about it. 

In the next part of this guide, we'll drill down into the fascinating world of creative nonfiction.

Join a community of over 1 million authors

Reedsy is more than just a blog. Become a member today to discover how we can help you publish a beautiful book.

We have an app for that

Build a writing routine with our free writing app.

1 million authors trust the professionals on Reedsy. Come meet them.

Enter your email or get started with a social account:

Home › Study Tips › Creative Writing Resources For Secondary School Students

Creative Writing Examples: 9 Types Of Creative Writing

• Published July 28, 2022

Creative writing takes a lot of brainpower. You want to improve your creative writing skills, but you feel stuck. And nothing’s worse than feeling dry and wrung out of ideas! 

But don’t worry. When our creative writing summer school students feel they’re in a rut, they expand their horizons. Because sometimes, all you need is to try something new . 

And this article will give you a glimpse into what you need to thrive at creative writing.

Here you’ll find creative writing examples to help give you the creative boost you’re looking for. Are you dreaming of writing a novel but can’t quite get there yet? 

No worries! Maybe you’d want to try your hand writing short stories first, or maybe flash fiction. You’ll know more about these in the coming sections.

9 Scintillating Creative Writing Examples

Let’s go through the 9 examples of creative writing and some of their famous pieces penned under each type.

There is hardly a 21st-century teenager who hasn’t laid their hands on a novel or two. A novel is one of the most well-loved examples of creative writing.

It’s a fictional story in prose form found in various genres, including romance, horror, Sci-Fi, Fantasy and contemporary. Novels revolve around characters whose perspectives in life change as they grow through the story. They contain an average of 50,000 to 70,000 words. 

Here are some of the most famous novels:

• To Kill a Mockingbird by Harper Lee
• Pride and Prejudice by Jane Austen
• Harry Potter by J.K. Rowling
• The Chronicles of Narnia by C.S. Lewis
• Lord of the Rings by J.R.R. Tolkien

2. Flash Fiction

Flash Fiction is similar to a novel in that it offers plot development and characters. But unlike novels, it’s less than 1000 words. Some even contain fewer than 100 words! Legend has it that the shortest story ever told was Ernest Hemmingway’s six-word story, which goes like this, “For Sale: Baby shoes, never worn.”

Do you know that there are sub-categories of Flash Fiction? There’s the “Sudden Fiction” with a maximum of 750 words. “Microfiction” has 100 words at most. And the “six-word story” contains a single-digit word count. 

Remarkable Flash Fiction include: 

• The Long and Short of It by Michael A. Arnzen
• Chapter V Ernest Hemingway
• Gasp by Michael A. Arnzen
• Angels and Blueberries by Tara Campbell
• Curriculum by Sejal Shah

3. Short Story

What’s shorter than a novel but longer than flash fiction? Short story. It’s a brief work of fiction that contains anywhere from 1,000 to 10,000 words. Whereas a novel includes a complex plot, often with several characters interacting with each other, a short story focuses on a single significant event or mood. It also has fewer characters. 

The best short stories are memorable and evoke strong emotions. They also contain a twist or some type of unexpected resolution.

Check out these famous short stories:

• The Lottery by Shirley Jackson
• The Cask of Amontillado by Edgar Allan Poe
• The Gift of the Magi by O. Henry
• The Sniper by Liam OFlaherty
• A Good Man is Hard to Find by Flannery O’Connor

4. Personal Essay

In a personal essay, you write about your personal experience. What lesson did the experience teach you? And how does it relate to the overarching theme of the essay? Themes can be about anything! From philosophical questions, political realizations, historical discussions, you name it.

Since writing a personal essay involves talking about actual personal events, it’s often called “autobiographical nonfiction.” Its tone is informal and conversational.

Have you observed that applications at universities and companies usually involve submitting personal essays? That’s because having the capability to write clear essays displays your communication and critical thinking skills.

Some of the most famous personal essays include:

• Self-Reliance by Ralph Waldo Emerson
• Once More To The Lake by E.B. White
• What I Think and Feel at 25 by F. Scott Fitzgerald
• Ticket to the Fair by David Foster Wallace

Memoirs and personal essays are autobiographical. But while you use your experiences in a personal essay to share your thoughts about a given theme, a memoir focuses on your life story. What past events do you want to share? And how has your life changed?

In a word, a memoir is all about self-exploration. 

Here are among the most famous memoirs:

• I Know Why the Caged Bird Sings by Maya Angelou
• West with the Night by Beryl Markham
• Personal Memoirs of Ulysses S. Grant by Ulysses Grant
• Night By Elie Wiesel
• A Long Way Gone By Ishmael Beah

6. Poetry 

Poetry is one of the oldest examples and types of creative writing . Did you know that the oldest poem in the world is the Epic of Gilgamesh, which is known to be 4,000 years old? Poetry is a type of literature that uses aesthetic and rhythmic qualities of language—such as sound, imagery, and metaphor—to evoke meaning. 

There are 5 types of rhythmic feet common in poetry: trochee, anapest, dactyl, iamb, and anapest.

The most beloved poems include:

• No Man Is An Island by John Donne
• Still I Rise by Maya Angelou
• Ode to a Nightingale by John Keats
• If You Forget Me by Pablo Neruda
• Fire And Ice by Robert Frost

7. Script (Screenplay)

A script is a type of creative writing (a.k.a. screenwriting) that contains instructions for movies. Instructions indicate the characters’ movements, expressions, and dialogues. In essence, the writer is giving a visual representation of the story.

When a novel says , “Lucy aches for the love she lost,” a script must show . What is the actress of Lucy doing? How can she portray that she is aching for her lost love? All these must be included in screenwriting.

The following are some of the most brilliant scripts:

• Citizen Kane by Herman J. Mankiewicz and Orson Welles
• The Godfather by Mario Puzo and Francis Ford Coppola
• Pulp Fiction by Quentin Tarantino
• The Silence of the Lambs by Ted Tally
• Taxi Driver by Paul Schrader

8. Play (Stageplay) 

If screenplay is for movies, stageplay is for live theatre. Here’s another distinction. A screenplay tells a story through pictures and dialogues, whereas a stageplay relies on the actors’ performances to bring the story to life.

That’s why dialogue is THE centre of live performance. A play doesn’t have the benefit of using camera angles and special effects to “show, don’t tell.”

Some of the most renowned plays are:

• Hamlet by William Shakespeare
• The Crucible by Arthur Miller
• A Streetcar Named Desire by Tennessee Williams
• Romeo and Juliet by William Shakespeare
• The Importance of Being Earnest by Oscar Wilde

What was the best speech you heard that moved you to action? Speeches are among the most powerful examples of creative writing. It’s meant to stir the audience and persuade them to think and feel as you do about a particular topic.

When you write a speech, you intend to present it orally. So not only do you have to consider the words you choose and the phrasing. But you also have to think about how you’ll deliver it.

Will the sentences flow smoothly onto each other so as to roll off the tongue? Do the words give you the confidence and conviction you need to express your thoughts and beliefs?

Here are some of the most stirring speeches in history:

• I Have A Dream by Martin Luther King Jr.
• The Gettysburg Address by Abraham Lincoln
• First Inaugural Address by Franklin D. Roosevelt
• I Choose To Live by Sabine Herold
• Address to the Nation on the Challenger by Ronald Reagan

What Are The Elements of Creative Writing?

You’re now familiar with the various examples of creative writing. Notice how creative writing examples fall under different categories. Can you guess what they are? That’s right! Poetry and Prose .

The Prose section can be broken down further into Prose Fiction and Prose Nonfiction.

Where do the Elements of Creative Writing come in? For Prose fiction . If there’s one word that can describe all forms of prose fiction, it’s STORY. So what are the Elements of a Story (Creative Writing?)

The character is a being (person, animal, thing) through which the reader experiences the story. They speak, act, and interact with the environment and other characters.

• Elizabeth Bennet in Pride & Prejudice
• Simba in Lion King
• Woody in Toy Story

The two most essential types of characters are the Protagonist and Antagonist. Who is the Protagonist? They’re the main character, and the story revolves around them. Elizabeth, Simba, and Woody are the protagonists in their stories. 

And who is the Antagonist? The one who causes conflict for the protagonist.

The setting answers the question, “when and where does the story set place?” It’s the story’s time and location. Providing context that helps the reader visualise the events in clearer detail. 

What is the Plot? It’s the sequence of events in the story. If you break it down, the plot looks like this:

Exposition – you can also call this the introduction. Where you first catch a glimpse of the characters and setting. In the Lion King (Part 1), this is where Simba is introduced to all the animals on top of Pride Rock as the future King. 

Rising Action – the story gets complicated. The tension builds, and you see the conflict arise. It’s a time of crisis for the main characters. So what’s the Rising Action for Lion King? It would be when Simba’s uncle Scar murders his father and tells him to “Run away and NEVER return.” 

Climax – you’re at the edge of your seat as the story reaches its crescendo. The most defining (and intense) moment arrives when the protagonist faces the conflict (enemy/challenge) head-on. Simba finally goes back to Pride Rock to confront his wicked uncle Scar. And an epic fight begins. Simba even almost falls off a cliff! *gasp

Falling Action – here you catch your breath as the story starts to calm down. The characters unwind and work towards their respective conclusions. Simba didn’t fall off the cliff. Instead, he won the fight. And he roars atop Pride Rock to reclaim his rightful place as King. The lionesses proclaim their joyful acceptance by roaring back. 

Resolution – remaining conflict concludes, and the story ends. In Lion King, Pride Land is once again lush and peaceful. And Simba looks on with pride as he introduces his daughter Kiara on top of Pride Rock.

You can think of the theme as the main idea. What meaning is the writer trying to express in the story? The other elements, such as setting, plot, and characters, work together to convey the theme.

Point of View

Through what lens or “eye” does the narrating voice tell the story? There are three points of view common in writing stories:

First Person

In the first person point of view, the narrating voice is the main character. Much of the lines talk of “I” and “me.” Everything you know about the other characters, places, and dialogues in the story comes from the main character’s perspective. 

Third Person 

From the third person point of view, the narrating voice is separate from the main character. Meaning the narrator uses “he/she/they” when following the main character in the story. There are generally two types of third-person points of view. 

Limited. In a third-person limited point of view, the narrator only knows about the main character’s inner world – their thoughts and feelings. But they have no idea about the thoughts and feelings of other characters. 

Omniscient. What does “omniscient” mean? All-knowing. So in the Third Person Omniscient point of view, the narrator knows about the feelings and thoughts of all the characters. Not just that of the main character. 

In a story that uses a third-person omniscient point of view, the all-knowing narrator sometimes follows the story from multiple characters’ perspectives. 

There you have it! By now, you’ve learned about creative writing examples, plus creative elements should you want to write a story. Browse our creative writing tips if you’re looking for a bit of help to engage your audience.

Still feel like you need more heavy-lifting? If it’s a talented Oxford, Cambridge, or Ivy League tutor you need to help you master creative writing, check out these creative writing online courses .

• I'm a Parent
• I'm a Student
• Hidden Name * First Last
• Full Name *
• School SF ID
• Which subjects interest you? (Optional) Architecture Artificial Intelligence Banking and Finance Biology Biotechnology Business Management Chemistry Coding Computer Science Computer Science and Artificial Intelligence Creative Writing Creative Writing and Film Criminology Data Science and Analytics Earth Science Economics Encryption and Cybersecurity Engineering English Literature Entrepreneurship Fashion and Design Female Future Leaders Film Studies Fine Arts Global Society and Sustainability Health and Biotechnology History International Relations Law Marketing and Entertainment Mathematics Medicine Medicine and Health Sciences Nanotechnology Natural Sciences Philosophy Philosophy Politics and Economics Physics Psychology Software Development and AI Software Development and Gaming Veterinary Studies Online Research Programme
• Yes. See Privacy Policy
• First Name *
• Family Name *
• Phone Number

Would you like to receive anything else?

• Prospectuses
• Residential Syllabus Overviews (ages 13-15)
• Residential Syllabus Overviews (ages 15-18)
• Residential Syllabus Overviews (ages 16-18)
• Online Syllabus Overviews (ages 13-18)
• Immerse Education Prospectus 2024
• Career Insights - London Course Guide
• Career Insights New York
• Career Insights San Francisco
• Online Insights Prospectus
• Online Research Programme Prospectus
• Academic Insights - Cambridge & Oxford Prospectus
• Academic Insights Sydney
• Academic Insights Toronto
• Female Future Leaders
• Dates & Fees
• Architecture
• Artificial Intelligence
• Business Management
• Business Management (Sydney)
• Business Management (Career Insights)
• Computer Science
• Creative Writing
• Creative Writing (Sydney)
• Creative Writing & Film (Career Insights)
• Earth Sciences
• Engineering
• Engineering (Career Insights)
• Engineering (Sydney)
• Film Studies
• International Relations
• International Relations (Sydney)
• Medicine (Career Insights)
• Medicine (Sydney)
• Natural Sciences
• Psychology (Sydney)
• Veterinary Studies (Sydney)
• Banking & Finance (New York)
• Business Management (London)
• Data Science & Analytics (San Francisco)
• Creative Writing & Film (London)
• Entrepreneurship (San Francisco)
• Engineering (London)
• Fashion & Design (New York)
• Health Tech & Biotechnology (San Francisco)
• Marketing & Entertainment (New York)
• Medicine (London)
• Law (New York)
• Software Development & AI (San Francisco)
• Architecture & Design (Career Insights)
• Biotechnology
• Business Management (Toronto)
• Computer Science & AI (Toronto)
• Criminology
• Engineering (Toronto)
• English Literature
• Fine Art (Career Insights)
• Game Design (Career Insights)
• Law (Career Insights)
• Mathematics
• Medicine (Toronto)
• Nanotechnology
• Computer Science & AI
• Sustainability

Complete Your Request

• Yes. See Privacy Policy.

Secure priority enrolment for our new summer school location with a small refundable deposit.

" * " indicates required fields

Receive priority enrolment for new summer school locations by registering your interest below.

Our programme consultant will contact you to talk about your options.

Subject is unavailable at location

You have selected a subject that is not available at the location that you have previously chosen.

The location filter has been reset, and you are now able to search for all the courses where we offer the subject.

• My Account |
• StudentHome |
• TutorHome |
• IntranetHome |
• Contact the OU Contact the OU Contact the OU |
• Accessibility hub Accessibility hub

Postgraduate

• International
• News & media
• Business & apprenticeships
• Contact Contact Contact
• A to Z of subjects
• Course types
• Honours degrees
• Integrated masters degrees
• Foundation degrees
• Diplomas of Higher Education
• Certificates of Higher Education
• Open University certificates
• Open qualifications
• Higher Technical Qualifications
• Microcredentials
• Short courses
• All courses
• Student stories
• Accountancy
• Counselling
• Engineering
• Environment
• IT and computing
• Mental health
• Social work
• Working with children
• Employability and the OU
• International recognition
• Apprenticeships
• What is distance learning?
• A guide to our qualifications
• How long will my qualification take?
• How will I study?
• Tutors and tutorials
• How will I be assessed?
• Support and the OU community
• Ask a student
• Our global reputation
• Can I do it?
• Finding time to study
• Is my English good enough?
• Computing skills
• Am I ready tool
• Fees and funding
• Tuition fee loan
• Tuition fee grants and loans
• Part-time fee grant
• Support for living costs

Employer sponsorship

• Credit or debit card
• Enhanced learning credits

Mixed payments

• Study costs funding
• Carers' Scholarship
• Carers' Bursary
• Care Experienced Bursary
• Care Experienced Scholarship
• Scholarship for Black Students
• Disabled Veterans' Scholarships
• Sanctuary Scholarship
• How to apply
• Transferring your study

Creative writing

This module takes a student-centred approach to creative writing, offering a range of strategies to help you develop as a writer. The emphasis is highly practical, with exercises and activities designed to ignite and sustain the writing impulse. The five-part module starts by showing ways to use your memory and experience in your writing and build a daily discipline for your work. This is followed by the demonstration and practice of the three most popular forms of writing – fiction, poetry and life writing (which includes autobiography, biography and travel writing). The concluding part aims to demystify the world of agents and publishers, teaching you how to revise and present your work to a professional standard.

Modules count towards OU qualifications

OU qualifications are modular in structure; the credits from this undergraduate module could count towards a certificate of higher education, diploma of higher education, foundation degree or honours degree.

Browse qualifications in related subjects

Module code.

• Credits measure the student workload required for the successful completion of a module or qualification.
• One credit represents about 10 hours of study over the duration of the course.
• You are awarded credits after you have successfully completed a module.
• For example, if you study a 60-credit module and successfully pass it, you will be awarded 60 credits.

Study level

Study method

Module cost, entry requirements, student reviews.

Fully enjoyed every moment. It has given me a better understanding of the creative process - structuring, editing, and how... Read more

This is a great module, with some excellent tutors. There is plenty of good material in the coursebook to help... Read more

Request your prospectus

Explore our subjects and courses, what you will study.

This module is suitable for new writers, as well as for those with some experience who would like to develop their skills. It will help you to identify your strengths and interests as a writer by giving you the opportunity to write in a range of genres: fiction, poetry, and life writing. The emphasis is on finding your own direction and style through experiment, practice and constructive feedback. The module is designed not only for aspiring writers but for anyone with a strong interest in reading and writing who would like to deepen their understanding of the creative process.

The module is structured as follows: The introductory part, The Creative Process , focuses on developing a habit of writing. It examines a range of strategies to help you get started, including clustering, morning pages, and keeping a writer’s notebook, as well as discussions by writers about their own approaches and practices.

Part 2, Writing Fiction , explores the main aspects of narrative, including story structure and time; showing and telling; character and setting; point of view; and editing.

Part 3, Writing Poetry , introduces you to the basics of contemporary poetry, covering a variety of techniques for beginning poets. Topics include image and figurative language; the line in free verse; voice and diction; structure; rhyme and metre; the sonnet; and revising poems.

Part 4, Life Writing , looks at autobiography (or memoir), biography and travel writing. Some of the central issues raised by life writing are discussed, including the nature of memory and forgetting, the performance of the self, and the representation of others. Finding and researching subject matter and suitable forms are also explored.

The final part, Going Public , outlines the professional presentation of manuscripts and submissions to agents and editors, as well as finding outlets for publication.

At the core of the module is the module book Creative Writing: A Workbook with Readings: 2nd edition , which takes you week-by-week through the five parts. The emphasis is on practice through guided activities, supported by literary examples by a diverse range of authors, including prose extracts, stories, and poems illustrating particular methods or strategies. The online study material contains audios, videos, animations and other interactive exercises to enhance your learning, such as interviews with writers discussing their inspirations and techniques and discussions with publishing industry professionals. Online tutorials offer additional opportunities to receive guidance and support from tutors.

Teaching and assessment

Support from your tutor.

You'll have a tutor to help you with the study material and to mark and comment on your written work. You can ask your tutor for advice and guidance both in online forums and by email or phone. Your tutor also offers general support as you progress through the module book, which is the principal guide to your learning.

Your tutor will use a blend of methods that will include moderated online discussion forums and a number of real-time online tutorials that you are encouraged, but not obliged, to attend. Recordings of these tutorials will be available if you can't attend.

Contact us  if you want to know more about study with The Open University before you register.

The assessment details for this module can be found in the facts box.

Future availability

Creative writing starts once a year – in October. This page describes the module that will start in October 2024. We expect it to start for the last time in October 2033.

Regulations

Course work includes:.

No prior experience of creative writing study is necessary. This is an OU level 2 module and builds on the OU level 1 modules  Discovering the arts and humanities (A111)  and Cultures (A112) or The arts past and present (AA100) and Voices, texts and material culture (A105) (the latter two now discontinued). These OU level 1 introductory modules develop skills such as logical thinking, clear expression, essay writing and the ability to select and interpret relevant materials.

If you have not studied at university level before, you are strongly advised to study at OU level 1 before progressing to OU level 2 study.

If you're unsure about your English language skills and would like some additional support, you might like to try our Developing Academic English tutorials before registering on this module.

If you have any doubt about the suitability of the module, please speak to an  adviser .

Additional Costs

Study costs.

There may be extra costs on top of the tuition fee, such as set books, a computer and internet access.

If your income is not more than £25,000 or you receive a qualifying benefit, you might be eligible for help with some of these costs after your module has started.

Ways to pay for this module

Open university student budget account.

The Open University Student Budget Accounts Ltd (OUSBA) offers a convenient 'pay as you go' option to pay your OU fees, which is a secure, quick and easy way to pay. Please note that The Open University works exclusively with OUSBA and is not able to offer you credit facilities from any other provider. All credit is subject to status and proof that you can afford the repayments.

You pay the OU through OUSBA in one of the following ways:

• Register now, pay later – OUSBA pays your module fee direct to the OU. You then repay OUSBA interest-free and in full just before your module starts. 0% APR representative. This option could give you the extra time you may need to secure the funding to repay OUSBA.
• Pay by instalments – OUSBA calculates your monthly fee and number of instalments based on the cost of the module you are studying. APR 5.1% representative.

Joint loan applications

If you feel you would be unable to obtain an OUSBA loan on your own due to credit history or affordability issues, OUSBA offers the option to apply for a joint loan application with a third party. For example, your husband, wife, partner, parent, sibling or friend. In such cases, OUSBA will be required to carry out additional affordability checks separately and/or collectively for both joint applicants who will be jointly and severally liable for loan repayments.

As additional affordability checks are required when processing joint loan applications, unfortunately, an instant decision cannot be given. On average the processing time for a joint loan application is five working days from receipt of the required documentation.

Read more about  Open University Student Budget Accounts (OUSBA) .

Studying with The Open University can boost your employability. OU courses are recognised and respected by employers for their excellence and the commitment they take to complete. They also value the skills that students learn and can apply in the workplace.

More than one in ten OU students are sponsored by their employer, and over 30,000 employers have used the OU to develop staff so far. If the module you’ve chosen is geared towards your job or developing your career, you could approach your employer to see if they will sponsor you by paying some or all of the fees. 

• Your employer just needs to complete a simple form to confirm how much they will be paying and we will invoice them.
• You won’t need to get your employer to complete the form until after you’ve chosen your module.  

Credit/debit card

You can pay part or all of your tuition fees upfront with a debit or credit card when you register for each module. 

We accept American Express, Mastercard, Visa and Visa Electron. 

We know that sometimes you may want to combine payment options. For example, you may wish to pay part of your tuition fee with a debit card and pay the remainder in instalments through an Open University Student Budget Account (OUSBA) .

For more information about combining payment options, speak to an  adviser  or book a  call back at a time convenient to you.

Can you study an Access module for free?

Depending on eligibility and availability of places, you could apply to study your Access module for free.

To qualify, you must:

• be resident in England
• have a household income of not more than £25,000 (or be in receipt of a qualifying benefit)
• have not completed one year or more on any full-time undergraduate programme at FHEQ level 4 or above or successfully completed 30 credits or more of OU study within the last 10 years

How to apply to study an Access module for free

Once you've started the registration process , either online or over the phone, we'll contact you about your payment options. This will include instructions on how you can apply to study for free if you are eligible and funded places are still available.

If you're unsure if you meet the criteria to study for free, you can check with one of our friendly advisers on +44 (0)300 303 0069 , or you can request a call back .

Not eligible to study for free?

Don't worry! We offer a choice of flexible ways to help spread the cost of your Access module. The most popular options include:

• monthly payments through OUSBA
• part-time tuition fee loan (you'll need to be registered on a qualification for this option)

To explore all the options available to you, visit Fees and Funding .

What's included

You’ll have access to a module website, which includes:

• a week-by-week study planner
• module materials, including the Introduction to the Module guide
• audio, video and interactive content
• assignment details and submission section
• online forums and tutorial access
• online exercises and activities
• electronic versions of the module book in various formats
• further links to online resources.

You’ll also be provided with a printed copy of the module book Creative Writing: A Workbook with Readings: 2nd edition , which is the principal guide to your learning.

Computing requirements

You’ll need broadband internet access and a desktop or laptop computer with an up-to-date version of Windows (10 or 11) or macOS Ventura or higher.

Any additional software will be provided or is generally freely available.

To join in spoken conversations in tutorials, we recommend a wired headset (headphones/earphones with a built-in microphone).

Our module websites comply with web standards, and any modern browser is suitable for most activities.

Our OU Study mobile app will operate on all current, supported versions of Android and iOS. It’s not available on Kindle.

It’s also possible to access some module materials on a mobile phone, tablet device or Chromebook. However, as you may be asked to install additional software or use certain applications, you’ll also require a desktop or laptop, as described above.

If you have a disability

The OU strives to make all aspects of study accessible to everyone and this  Accessibility Statement  outlines what studying A215 involves. You should use this information to inform your study preparations and any discussions with us about how we can meet your needs.

To find out more about what kind of support and adjustments might be available, contact us or visit our disability support pages .

The Open University

• Study with us
• Work with us
• Supported distance learning
• Funding your studies
• International students
• Global reputation
• Sustainability
• Develop your workforce
• Contact the OU

Undergraduate

• Arts and Humanities
• Art History
• Business and Management
• Combined Studies
• Computing and IT
• Creative Arts
• Creative Writing
• Criminology
• Early Years
• Electronic Engineering
• Film and Media
• Health and Social Care
• Health and Wellbeing
• Health Sciences
• International Studies
• Mathematics
• Mental Health
• Nursing and Healthcare
• Religious Studies
• Social Sciences
• Social Work
• Software Engineering
• Sport and Fitness
• Postgraduate study
• Research degrees
• Masters in Social Work (MA)
• Masters in Economics (MSc)
• Masters in Creative Writing (MA)
• Masters in Education (MA/MEd)
• Masters in Engineering (MSc)
• Masters in English Literature (MA)
• Masters in History (MA)
• Masters in International Relations (MA)
• Masters in Finance (MSc)
• Masters in Cyber Security (MSc)
• Masters in Psychology (MSc)
• A to Z of Masters degrees
• OU Accessibility statement
• Conditions of use
• Privacy policy
• Cookie policy
• Manage cookie preferences
• Modern slavery act (pdf 149kb)

Follow us on Social media

• Student Policies and Regulations
• Student Charter
• System Status
• Contact the OU Contact the OU
• Modern Slavery Act (pdf 149kb)

© . . .

Where do you live?

Please tell us where you live so that we can provide you with the most relevant information as you use this website.

If you are at a BFPO address please choose the country or region in which you would ordinarily be resident.

Paper 2: Creative Writing

Writing non fiction...

• Utility Menu

• Creative Writing

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

The autobiography of my mother: a novel by jamaica kincaid (1996).

Mr. Potter by Jamaica Kincaid (2002)

The Last Shot: City Streets, Basketball Dream by Darcy Frey (2004)

Known and Strange Things by Teju Cole (2016)

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 .

Events Gallery

• Guide for Concentrators
• Declare English
• Secondary Field
• Alumni Features and Careers
• Prizes and Fellowships
• Research, Resources, and Forms

British Council India

Creative writing for adults - module ii.

If you have a book in you and a story to tell the world, join the Online Creative Writing Course Module II  today! The course is designed for adults who've completed the introductory course in Creative Writing.

This course will help you:

• Grasp the concept of how to write a novel through a step-by-step process
• Explore elements of craft such as character, point of view, setting, scene, etc.
• Explore writing posts for different social media platforms
• Focus on poetic techniques of imagery, rhyme, rhythm and structure
• Develop an understanding of poetic voice and tone
• Structure an outline and synopsis of your novel
• Enhance your self-reflection, self-awareness, and creativity 

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

Course fee: INR 12,000 per participant. 

Special offer: As a British Council library member, you can avail a special discount of 10% on the course. 

About the course

The Creative Writing course module II is specially designed to delve deeper into the craft of writing and challenging your creativity. It offers the opportunity to convert your dream of writing a book into reality.

The course equips you with up-to-date writing trends of social media writing and blogging. It also covers children’s fiction, short story and poetry in depth. You will learn each element of fiction writing and how to craft your novel together and produce a first draft. The syllabus is specifically designed for those who have completed the introduction to creative writing and would like to sharpen their creativity further and get into serious writing.

Our teachers are skilled in helping learners develop and polish their craft. The lessons promise to be engaging with plenty of opportunities to write and discuss and critique the writing of fellow writers. You will produce a portfolio of work and get constructive and structured feedback to help you fine tune your writing.

Schedule for July batch

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.

How to ascertain your English language level and register?

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

The required English Language level for the course is 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 : Please share the certificate of completion of an introductory course in Creative Writing. If you fulfill the criteria in step 1 and step 2, then please write to [email protected] expressing your interest in the course and sharing the required information. 

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 queries, please email us at [email protected] .

Live chat for Library related enquiries

Mon - Sat, 9 a.m. to 6 p.m.

Creative writing

creative writing

Loading ad...

• Google Classroom
• Microsoft Teams
• Download PDF

Fall 2024 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 151.S01: Introduction to English Studies

Tuesday and Thursday, 11 a.m.-12:15 p.m.

Sharon Smith

ENGL 151 serves as an introduction to both the English major and the discipline of English studies. In this class, you will develop the thinking, reading, writing and research practices that define both the major and the discipline. Much of the semester will be devoted to honing your literary analysis skills, and we will study and discuss texts from several different genres—poetry, short fiction, the novel, drama and film—as well as some literary criticism. As we do so, we will explore the language of the discipline, and you will learn a variety of key literary terms and concepts. In addition, you will develop your skills as both a writer and researcher within the discipline of English.

ENGL 201.ST1 Composition II: The Mind/Body Connection

In this 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 mind, the body and the relationship between them. The topics we will discuss during the course will include the correlation between social media and body image; the efficacy of sex education programs; the degree to which beliefs about race and gender influence school dress codes; and the unique mental and physical challenges faced by college students today. In this course, you will be learning about different approaches to argumentation, analyzing the arguments of others and constructing your own arguments. At the same time, you will be honing your skills as a researcher and developing your abilities as a persuasive and effective writer.

ENGL 201.S10 Composition II: Environmental Writing   

Monday/Wednesday/Friday 1-1:50 p.m.

Gwen Horsley

English 201 will help students develop the ability to think critically and analytically and to write effectively for other university courses and careers. This course will provide opportunities to develop analytical skills that will help students become critical readers and effective writers. Specifically, in this class, students will:

• Focus on the relationships between world environments, land, animals and humankind.
• Read various essays by environmental, conservational and regional authors.
• 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 may use "The St. Martin’s Handbook," as well as other sources, to review grammar, punctuation, mechanics and usage as needed.

ENGL 201.13 Composition II: Writing the Environment

Tuesday and Thursday 9:30-10:45 a.m.

Paul Baggett

For generations, environmentalists have relied on the power of prose to change the minds and habits of their contemporaries. In the wake of fires, floods, storms and droughts, environmental writing has gained a new sense of urgency, with authors joining activists in their efforts to educate the public about the grim realities of climate change. But do they make a difference? Have reports of present and future disasters so saturated our airwaves that we no longer hear them? How do writers make us care about the planet amidst all the noise? In this course, students will examine the various rhetorical strategies employed by some of today’s leading environmental writers and filmmakers. And while analyzing their different arguments, students also will strengthen their own strategies of argumentation as they research and develop essays that explore a range of environmental concerns.

ENGL 201 Composition II: Food Writing

S17 Tuesday and Thursday 12:30-1:45 p.m.

S18 Tuesday and Thursday 2-3:15 p.m.

Jodi Andrews

In this composition class, students will critically analyze essays about food, food systems and environments, food cultures, the intersections of personal choice, market forces and policy and the values underneath these forces. Students will learn to better read like writers, noting authors’ purpose, audience organizational moves, sentence-level punctuation and diction. We will read a variety of essays including research-intensive arguments and personal narratives which intersect with one of our most primal needs as humans: food consumption. Students will rhetorically analyze texts, conduct advanced research, reflect on the writing process and write essays utilizing intentional rhetorical strategies. Through doing this work, students will practice the writing moves valued in every discipline: argument, evidence, concision, engaging prose and the essential research skills for the 21st century.

ENGL 221.S01 British Literature I

Michael S. Nagy

English 221 is a survey of early British literature from its inception in the Old English period with works such as "Beowulf" and the “Battle of Maldon,” through the Middle Ages and the incomparable writings of Geoffrey Chaucer and the Gawain - poet, to the Renaissance and beyond. Students will explore the historical and cultural contexts in which all assigned reading materials were written, and they will bring that information to bear on class discussion. Likely themes that this class will cover include heroism, humor, honor, religion, heresy and moral relativity. Students will write one research paper in this class and sit for two formal exams: a midterm covering everything up to that point in the semester, and a comprehensive final. Probable texts include the following:

• The Norton Anthology of English Literature: The Middle Ages. Ed. Alfred David, M. H. Abrams, and Stephen Greenblatt. 9th ed. New York: W. W. Norton & Company, 2012.
• The Norton Anthology of English Literature: The Sixteenth Century and Early Seventeenth Century. Ed. George M. Logan, Stephen Greenblatt, Barbara K Lewalski, and M. H. Abrams. 9th ed. New York: W. W. Norton & Company, 2012.
• The Norton Anthology of English Literature: The Restoration and the Eighteenth Century. Ed. George M. Logan, Stephen Greenblatt, Barbara K Lewalski, and M. H. Abrams. 9th ed. New York: W. W. Norton & Company, 2012.
• Gibaldi, Joseph. The MLA Handbook for Writers of Research Papers. 6th ed. New York: The Modern Language Association of America, 2003.
• Any Standard College Dictionary.

ENGL 240.S01 Juvenile Literature Elementary-5th Grade

Monday, Wednesday and Friday noon-12:50 p.m.

April Myrick

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

ENGL 240.ST1 Juvenile Literature Elementary-5th Grade

Randi Anderson

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 K-5 grade level. We will read a large range of works that fall into this category, as well as information on the history, development and genre of juvenile literature.

Readings for this course include classical works such as "Hatchet," "Little Women", "The Lion, the Witch and the Wardrobe" and "Brown Girl Dreaming," as well as newer works like "Storm in the Barn," "Anne Frank’s Diary: A Graphic Adaptation," "Lumberjanes," and a variety of picture books. 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 exposing students to various genres of writing (poetry, historical fiction, non-fiction, fantasy, picture books, 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 and gender. Students’ understanding of these works and concepts will be developed through readings, research, discussion posts, exams and writing assignments designed to get students to practice analyzing poetry, picture books, informational books and transitional/easy readers.

ENGL 241.S01: American Literature I

Tuesday and Thursday 12:30-1:45 p.m.

This course provides a broad, historical survey of American literature from the early colonial period to the Civil War. Ranging across historical periods and literary genres—including early accounts of contact and discovery, narratives of captivity and slavery, poetry of revolution, essays on gender equality and stories of industrial exploitation—this class examines how subjects such as colonialism, nationhood, religion, slavery, westward expansion, race, gender and democracy continue to influence how Americans see themselves and their society.

Required Texts

• The Norton Anthology of American Literature: Package 1, Volumes A and B Beginnings to 1865, Ninth Edition. (ISBN 978-0-393-26454-8)

ENGL 283.S01 Introduction to Creative Writing

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 a research project. Successful completion of ENGL 101 (including by test or dual credit) is a prerequisite.

ENGL 283.S02 Introduction to Creative Writing

Jodilyn Andrews

This course introduces students to the craft of writing, with readings and practice in at least two genres (including fiction, poetry and drama).

ENGL 283.ST1 Introduction to Creative Writing

Amber Jensen, M.A., M.F.A.

This course explores creative writing as a way of encountering the world, research as a component of the creative writing process, elements of craft and their rhetorical effect and drafting, workshop and revision as integral parts of writing polished literary creative work. Student writers will engage in the research practices that inform the writing of literature and in the composing strategies and writing process writers use to create literary texts. Through their reading and writing of fiction, poetry and creative nonfiction, students will learn about craft elements, find examples of those craft elements in published works and apply these elements in their own creative work, developed through weekly writing activities, small group and large group workshop and conferences with the instructor. Work will be submitted, along with a learning reflection and revision plan in each genre and will then be revised and submitted as a final portfolio at the end of the semester to demonstrate continued growth in the creation of polished literary writing.

• 300-400 level

ENGL 424.S01 Language Arts Methods grades 7-12  

Tuesday 6-8:50 p.m.

Danielle Harms

Techniques, materials and resources for teaching English language and literature to middle and secondary school students. Required of students in the English education option.

AIS/ENGL 447.S01: American Indian Literature of the Present 

Thursdays 3-6 p.m.

This course introduces students to contemporary works by authors from various Indigenous nations. Students examine these works to enhance their historical understanding of Indigenous peoples, discover the variety of literary forms used by those who identify as Indigenous writers, and consider the cultural and political significance of these varieties of expression. Topics and questions to be explored include:

• Genre: What makes Indigenous literature indigenous?
• Political and Cultural Sovereignty: Why have an emphasis on tribal specificity and calls for “literary separatism” emerged in recent decades, and what are some of the critical conversations surrounding such particularized perspectives?
• Gender and Sexuality: What are the intersecting concerns of Indigenous Studies and Women, Gender and Sexuality Studies, and how might these research fields inform one another?
• Trans-Indigeneity: What might we learn by comparing works across different Indigenous traditions, and what challenges do such comparisons present?
• Aesthetics: How do Indigenous writers understand the dynamics between tradition and creativity?
• Visual Forms: What questions or concerns do visual representations (television and film) by or about Indigenous peoples present?

Possible Texts

• Akiwenzie-Damm, Kateri and Josie Douglas (eds), Skins: Contemporary Indigenous Writing. IAD Press, 2000. (978-1864650327)
• Erdrich, Louise, The Sentence. Harper, 2021 (978-0062671127)
• Harjo, Joy, Poet Warrior: A Memoir. Norton, 2021 (978-0393248524)
• Harjo, Sterlin and Taika Waititi, Reservation Dogs (selected episodes)
• Talty, Morgan. Night of the Living Rez, 2022, Tin House (978-1953534187)
• Wall Kimmerer, Robin. Braiding Sweet Grass, Milkweed Editions (978-1571313560)
• Wilson, Diane. The Seed Keeper: A Novel. Milkweed Editions (978-1571311375)
• Critical essays by Alexie, Allen, Cohen, Cox, King, Kroeber, Ortiz, Piatote, Ross and Sexton, Smith, Taylor, Teuton, Treuer, Vizenor, and Womack.

ENGL 472.S01: Film Criticism

Tuesdays 2-4:50 p.m.

Jason McEntee

Do you have an appreciation for, and enjoy watching, movies? Do you want to study movies in a genre-oriented format (such as those we typically call the Western, the screwball comedy, the science fiction or the crime/gangster, to name a few)? Do you want to explore the different critical approaches for talking and writing about movies (such as auteur, feminist, genre or reception)?

In this class, you will examine movies through viewing and defining different genres while, at the same time, studying and utilizing different styles of film criticism. You will share your discoveries in both class discussions and short writings. The final project will be a formal written piece of film criticism based on our work throughout the semester. The course satisfies requirements and electives for all English majors and minors, including both the Film Studies and Professional Writing minors. (Note: Viewing of movies outside of class required and may require rental and/or streaming service fees.)

ENGL 476.ST1: Fiction

In this workshop-based creative writing course, students will develop original fiction based on strong attention to the fundamentals of literary storytelling: full-bodied characters, robust story lines, palpable environments and unique voices. We will pay particular attention to process awareness, to the integrity of the sentence, and to authors' commitments to their characters and the places in which their stories unfold. Some workshop experience is helpful, as student peer critique will be an important element of the class.

ENGL 479.01 Capstone: The Gothic

Wednesday 3-5:50 p.m.

With the publication of Horace Walpole’s "The Castle of Otranto " in 1764, the Gothic officially came into being. Dark tales of physical violence and psychological terror, the Gothic incorporates elements such as distressed heroes and heroines pursued by tyrannical villains; gloomy estates with dark corridors, secret passageways and mysterious chambers; haunting dreams, troubling prophecies and disturbing premonitions; abduction, imprisonment and murder; and a varied assortment of corpses, apparitions and “monsters.” In this course, we will trace the development of Gothic literature—and some film—from the eighteenth-century to the present time. As we do so, we will consider how the Gothic engages philosophical beliefs about the beautiful and sublime; shapes psychological understandings of human beings’ encounters with horror, terror, the fantastic and the uncanny; and intervenes in the social and historical contexts in which it was written. We’ll consider, for example, how the Gothic undermines ideals related to domesticity and marriage through representations of domestic abuse, toxicity and gaslighting. In addition, we’ll discuss Gothic texts that center the injustices of slavery and racism. As many Gothic texts suggest, the true horrors of human existence often have less to do with inexplicable supernatural phenomena than with the realities of the world in which we live. 

ENGL 485.S01: Undergraduate Writing Center Learning Assistants 

Flexible Scheduling

Nathan Serfling

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.

Graduate Courses

Engl 572.s01: film criticism, engl 576.st1 fiction.

In this workshop-based creative writing course, students will develop original fiction based on strong attention to the fundamentals of literary storytelling: full-bodied characters, robust story lines, palpable environments and unique voices. We will pay particular attention to process awareness, to the integrity of the sentence and to authors' commitments to their characters and the places in which their stories unfold. Some workshop experience is helpful, as student peer critique will be an important element of the class.

ENGL 605.S01 Seminar in Teaching Composition

Thursdays 1-3:50 p.m.

This course will provide you with a foundation in the pedagogies and theories (and their attendant histories) of writing instruction, a foundation that will prepare you to teach your own writing courses at SDSU and elsewhere. As you will discover through our course, though, writing instruction does not come with any prescribed set of “best” practices. Rather, writing pedagogies stem from and continue to evolve because of various and largely unsettled conversations about what constitutes effective writing and effective writing instruction. Part of becoming a practicing writing instructor, then, is studying these conversations to develop a sense of what “good writing” and “effective writing instruction” might mean for you in our particular program and how you might adapt that understanding to different programs and contexts.

As we read about, discuss and research writing instruction, we will address a variety of practical and theoretical topics. The practical focus will allow us to attend to topics relevant to your immediate classroom practices: designing a curriculum and various types of assignments, delivering the course content and assessing student work, among others. Our theoretical topics will begin to reveal the underpinnings of these various practical matters, including their historical, rhetorical, social and political contexts. In other words, we will investigate the praxis—the dialogic interaction of practice and theory—of writing pedagogy. As a result, this course aims to prepare you not only as a writing teacher but also as a nascent writing studies/writing pedagogy scholar.

At the end of this course, you should be able to engage effectively in the classroom practices described above and participate in academic conversations about writing pedagogy, both orally and in writing. Assessment of these outcomes will be based primarily on the various writing assignments you submit and to a smaller degree on your participation in class discussions and activities.

ENGL 726.S01: The New Woman, 1880–1900s 

Thursdays 3–5:50 p.m.

Katherine Malone

This course explores the rise of the New Woman at the end of the nineteenth century. The label New Woman referred to independent women who rebelled against social conventions. Often depicted riding bicycles, smoking cigarettes and wearing masculine clothing, these early feminists challenged gender roles and sought broader opportunities for women’s employment and self-determination. We will read provocative fiction and nonfiction by New Women writers and their critics, including authors such as Sarah Grand, Mona Caird, George Egerton, Amy Levy, Ella Hepworth Dixon, Grant Allen and George Gissing. We will analyze these exciting texts through a range of critical lenses and within the historical context of imperialism, scientific and technological innovation, the growth of the periodical press and discourse about race, class and gender. In addition to writing an argumentative seminar paper, students will complete short research assignments and lead discussion.

ENGL 792.ST1 Women in War: Female Authors and Characters in Contemporary War Lit

In this course, we will explore the voices of female authors and characters in contemporary literature of war. Drawing from various literary theories, our readings and discussion will explore the contributions of these voices to the evolving literature of war through archetypal and feminist criticism. We will read a variety of short works (both theoretical and creative) and complete works such as (selections subject to change): "Eyes Right" by Tracy Crow, "Plenty of Time When We Get Home" by Kayla Williams, "You Know When the Men are Gone" by Siobhan Fallon, "Still, Come Home" by Katie Schultz and "The Fine Art of Camouflage" by Lauren Johnson.