Creative Primer

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

Brooks Manley

As we delve into the world of writing, it becomes apparent that not all writing is the same. One form that stands out due to its unique approach and focus on imagination is creative writing. This section will explore the question, “ what is creative writing ” and highlight its key characteristics.

Definition of Creative Writing

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

Creative writing can take on various forms such as poetry, novels, short stories, plays, screenplays, and more. It’s a way for writers to express their thoughts, feelings, and ideas in a creative, often symbolic, way. It’s about using the power of words to transport readers into a world created by the writer.

Key Characteristics of Creative Writing

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

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

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

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

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

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

Remember, creative writing is not just about producing a work of art. It’s also a means of self-expression and a way to share one’s perspective with the world. Whether you’re considering it as a hobby or contemplating a career in it, understanding the nature and characteristics of creative writing can help you hone your skills and create more engaging pieces. For more insights into creative writing, check out our articles on creative writing jobs and what you can do with a creative writing degree and is a degree in creative writing worth it .

Styles of Creative Writing

To fully understand creative writing , one must be aware of the various styles involved. Creative writing explores a multitude of genres, each with its own unique characteristics and techniques. The styles we’ll explore in this section are poetry , short stories , novels , screenplays , and plays .

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

Short Stories

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

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

Screenplays

Screenplays are written works intended for the screen, be it television, film, or online platforms. They require a specific format, incorporating dialogue and visual descriptions to guide the production process. Screenwriters must also consider the practical aspects of filmmaking, making this an intricate and specialized form of creative writing. For those interested in this style, understanding creative writing jobs and what you can do with a creative writing degree can provide useful insights.

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

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

Importance of Creative Writing

Understanding what is creative writing involves recognizing its value and significance. Engaging in creative writing can provide numerous benefits, including developing creativity and imagination , enhancing communication skills , and exploring emotions and ideas .

Developing Creativity and Imagination

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

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

Enhancing Communication Skills

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

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

Exploring Emotions and Ideas

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

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

In conclusion, the importance of creative writing extends beyond the realm of literature and academia. It fosters creativity, enhances communication skills, and provides a platform for self-expression and exploration. Whether you’re a seasoned writer or just starting out, the benefits of creative writing are vast and varied. For those interested in developing their creative writing skills, check out our articles on creative writing prompts and how to teach creative writing . If you’re considering a career in this field, you might find our article on is a degree in creative writing worth it helpful.

Steps to Start Creative Writing

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

Finding Inspiration

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

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

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

Planning Your Piece

Once you have an idea, the next step is to plan your piece . Start by outlining the main points, characters, settings, and plot. This can serve as a roadmap to guide your writing process.

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

Writing Your First Draft

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

Don’t worry about making it perfect in the first go. The first draft is about getting your ideas down on paper. You can always refine and polish your work later.

And if you don’t have a great place to write that first draft, consider a journal for writing .

Editing and Revising Your Work

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

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

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

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

Tips to Improve Creative Writing Skills

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

Reading Widely

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

Practicing Regularly

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

Attending Writing Workshops and Courses

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

Joining Writing Groups and Communities

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

Seeking Feedback on Your Work

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

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

Brooks Manley

Brooks Manley

creative writing taught me

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

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

Here’s my favorite journal for 2024: 

the five minute journal

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

Inspiring Ink: Expert Tips on How to Teach Creative Writing

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How to Learn Creative Writing

Last Updated: October 21, 2021 References

This article was co-authored by Melessa Sargent . Melessa Sargent is the President of Scriptwriters Network, a non-profit organization that brings in entertainment professionals to teach the art and business of script writing for TV, features and new media. The Network serves its members by providing educational programming, developing access and opportunity through alliances with industry professionals, and furthering the cause and quality of writing in the entertainment industry. Under Melessa's leadership, SWN has won numbers awards including the Los Angeles Award from 2014 through 2021, and the Innovation & Excellence award in 2020. There are 7 references cited in this article, which can be found at the bottom of the page. This article has been viewed 50,455 times.

Creative writing is any form of writing intended for entertainment, although it may also inform or persuade. It encompasses fiction, poetry, song lyrics, scripts, biographies, and anything that combines these elements. Although creative writing is an innate skill, it can be taught, and its techniques must be learned in order to develop as a writer. There are a number of ways to learn creative writing; the steps below cover some of these ways.

Step 1 Decide what form of creative writing interests you most.

  • To determine where to start, consider what interests you most. If you enjoy a particular genre of fiction, such as science fiction, and imagine how you would write the story differently, you may want to begin by learning to write in that genre. If you find yourself paying particular attention to the choice of words in your favorite songs, you may want to learn how to write song lyrics.
  • You may also wish to tackle a smaller project within the form of writing that interests you most, such as a short story or novella instead of an epic trilogy, or a few good songs instead of a concept album, for example.

Step 2 Take creative writing classes.

  • College campuses. Many colleges and universities offer the opportunity to major or minor in creative writing as part of a fine arts degree, or as an elective class for credits to count toward a degree in something else. These classes are usually taught by tenured or adjunct professors, with classes lasting an entire semester.
  • Community colleges. Many community colleges offer a variety of non-credit, continuing education classes for those who want to learn new things. Writing classes are often among their most popular offerings. Some community college writing classes may last a full semester, while others run only a few weeks. These classes may be taught by professors at the college or by experienced writers in the community.
  • Seminars. These are short, one- or two-day classes that may be held at a community center, a civic organization, a writer's retreat, or at a convention devoted to a particular genre. These classes are usually taught by experienced writers.
  • Online. Online creative writing classes may be offered by four-year or community colleges as an outreach program or by organizations geared solely to teaching writing online. Some classes may be offered for free, while others have charges ranging from nominal to substantial.

Step 3 Read books on creative writing.

  • General how-to books teach the basics of creative writing. These books may include techniques on how to stimulate your creativity, provide suggestions on how to structure your writing time, or offer advice on dealing with agents and publishers.
  • Technique-specific how-to books teach particular writing methods that can be applied across a number of writing genres. Dwight Swain's "Techniques of the Selling Writer," for example, teaches how to structure stories to build tension.
  • Genre-specific how-to books teach how to write in a specific genre, such as mysteries, science fiction, or romance.
  • Genre-specific reference books provide information that writers need to know to create realistic settings for their stories in that genre. There are books covering life in the Middle Ages for historical fiction and fantasy writers, books on forensics for mystery writers, and books of age-appropriate words for children's book writers.

Step 4 Attend writing workshops.

  • Most writing workshops will require you to have a piece of writing to share with the other writers attending the workshop.

Step 5 Follow writing blogs and podcasts.

  • You can find writers' groups in your area by using an Internet search engine or through Meetup.com.

Step 7 Practice.

  • If you write fiction, one way to practice is to take part in National Novel Writing Month (NaNoWiMo), held informally during the month of November. The goal is to start and finish a writing a novel during those 30 days.

Expert Q&A

Melessa Sargent

  • As you learn more about how to write, you'll find yourself looking at published writing with a more critical eye to see how other writers apply a given technique to bring their stories to life. When you do this, read as widely in your chosen area as you can to expose yourself to a number of different styles to help you develop your own individual style. Thanks Helpful 3 Not Helpful 0
  • Be aware that some online writing programs are not on the up-and-up. This is usually not a problem with programs affiliated with a recognized institution of higher education but may be with a private organization. If you're not familiar with the organization behind a writing program, take the time to investigate that organization before committing your time and money. Thanks Helpful 6 Not Helpful 1

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  • ↑ Melessa Sargent. Professional Writer. Expert Interview. 14 August 2019.
  • http://www.dailywritingtips.com/creative-writing-101/
  • http://www.guardian.co.uk/books/2013/jan/18/what-creative-writing-course-taught-me
  • http://www.writersbureau.com/
  • http://learn.utoronto.ca/courses-programs/creative-writing
  • http://www.ed.ac.uk/studying/postgraduate/degrees?id=770&cw_xml=details.php
  • Rodney Ruff, Omaha, NE; experienced writer and editor

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Illustration Jill Calder

So you want to be a writer …

Philip hensher.

Good writing is a mixture of the calculated and the instinctual. No one writes through pure dazed inspiration; questions of craft and calculation enter in quite quickly. Last week, speaking at the Bath festival, Hanif Kureishi cast some doubt on the existence of transferable, teachable craft in writing by witheringly classifying 99.9% of his students as "untalented" and saying that writing a story is "a difficult thing to do and it's a great skill to have. Can you teach that? I don't think you can." (Kureishi teaches creative writing at Kingston University, apparently ineffectually).

What lies, or ought to lie, beneath the growth of creative writing as a subject is the conviction that a good deal of the best writing derives from conscious craft, if not all of it. Commentators sometimes say that writing can't be taught; that beginning writers either have "it", in which case they don't need to be taught, or they don't have "it", in which case money and time is being wasted by the exercise. But writers can perfectly well have native ability, a feel for language, an inventiveness and a keen eye towards the world and still not quite understand how they can do something well, not once, but repeatedly. A good creative writing course will explore underlying principles of good writing – not to impose invented "rules" on writing, but to introduce ways of thinking about writing that are strong and purposeful. You could teach yourself how to make a chair by taking a lot apart, and experimenting with joists. A furniture-making course might school you in some unsuspected skills, and save you some time.

A bad creative writing class will look like this. A student has submitted some work with the words: "I don't think it's very good." The class has (mostly) read it. After a long silence, one of the student's best friends, primed, says: "I really like the way you … " The student says: 'Thank you." Another one says: "I didn't quite understand about the bit where …" The student explains. Half the class stay silent; the student leaves with ego intact and work unimproved.

I've seen the experience of becoming a writer from both sides. When I began, it didn't occur to me to go on a creative writing course – there were few in the late 1980s, and it seemed more pressing to do an academic PhD. I taught myself to write. I still think, for a writer who is also an insatiable reader, there is a lot to be said for the self-taught route. But since 2005, I've started teaching creative writing in universities, and now teach at Bath Spa . When I look at my first novels, they seem to me to have no idea about some technical features of the novel. I don't think I really had a solid novelistic technique until I wrote my third or fourth novel, and in today's publishing world, that would be a serious disadvantage in a career.

Adam Gale 3

Creative writing, as a discipline, may not be entirely selfless, despite any beneficial results. It is no accident that it started expanding at precisely the moment when traditional financial props of the writers' trade such as the Net Book Agreement were abolished; when traditional supports of writers' incomes such as book reviews started being eroded by budget cuts; when publishers, under their own pressures, started savagely cutting away at their standard advances for authors of all levels. The days when VS Pritchett could run a house in a Regent's Park terrace on the proceeds from short stories and book reviews are long gone. In 2014, a professorial salary may be anything, financially, from a useful support to an absolute necessity.

Forced into the academy, a writer might run a good seminar something like this. We would probably talk about an exercise of street observation undertaken in the previous days – how people groom themselves, or attract the attention of strangers. We might discuss an aspect of technique with reference to a passage from a published piece of fiction – last week we talked about character from the outside, looking at a page of Elizabeth Bowen . We might look at a classic book, or an absolutely new novel – it's an obligation on a creative writing course to keep up with new work, and we're investing not just in new work, but in new digital techniques for writing.

Other ways of thinking about humanity might prove relevant. There are writers' statements or thoughts about what they do as writers – Arnold Bennett's glorious book on the subject, or Virginia Woolf 's counter-statement about the exterior and interior world of the mind, or any number of interviews with present-day authors. Or we could have a look at sociologists' analysis, like that of Erving Goffman , or psychologists', or anything else that seems interesting and relevant. When student work is discussed, it has to be a safe but rigorous process. Constructive comments are insisted on; not ego-massaging niceness, but specific comments on where something has gone wrong and how it might be improved. The focus is on technique as well as emotion and experience. Is the presiding consciousness the right one? Does he need to filter everything through his awareness? Is this the right tense? What is this thing called free indirect style? Does enough happen? Do students say: "I really like the part where you …"? You bet your sweet bippy they don't.

Classes, at Bath Spa and elsewhere, differ greatly. With a faculty that includes very varied authors, there is never going to be a uniform approach. But we often find ourselves addressing recurrent issues. How can I create characters that are memorable and engaging? (Top tip – introduce them in small groups, and out of their customary context.) There doesn't seem to be enough happening – my characters just keep telling each other how they feel about each other, and then they have an affair or kill each other or have a baby. But then what? (Top tip; incident has to keep coming from outside, and the unexpected illuminates character. Try experimentally dropping a giant block of frozen piss through the ceiling of their room and see what they do.)

Adam Gale

There are also possibilities that writers just haven't perceived. You don't have to present action as a one-off series of events; actions can be beautifully recurrent in a sentence running: "Whenever Amir visited Brenda, he always took the second-cheapest box of milk chocolates from the newsagents for her. She would always thank him effusively." You don't induce emotions by talking about those emotions; you are much more likely to do so by describing facts of the world, quite objectively. Go out into the street and watch human beings attentively; you will probably realise with a shock that your vocabulary of gestures – which now runs, in its entirety "he shrugged, she grinned, he frowned, she shook her head, he rolled his eyes, she sighed" – is totally inadequate. (And how rude and rare is shrugging, anyway?)

Personally, I like to irritate as well as inspire a class, sometimes by saying sagely: "A short story consists of an introduction, five OR seven episodes, and a coda in which the weather changes." (Worked for Chekhov , anyway.) Or: "If you're going to have an animal in a story, have a dog and not a cat." (Dogs are easier structural principles, running up to strangers in parks, and so on.)

Your students are not, thank heaven, going to be much like you as writers. They are going to react against you with their own thoughts and creative principles. Yes, there are courses where people who write present-tense historical novels, apparently about 21st-century women in a crinoline, produce students who do exactly the same thing. But a good creative writing course will produce independent-thinking, craftsmanlike innovators with critical, widely curious and energetic minds. I don't know why this goal isn't more common in universities, anyway.

Philip Hensher is a professor of creative writing at Bath Spa University.

Jeanette Winterson

Jeanette Winterson

1) I don't give a shit what's in your head. By which I mean if it isn't on the page it doesn't exist. The connection between your mind and the reader's mind is language. Reading is not telepathy.

2) I don't care whether you like the texts we study or you don't. Like or dislike is a personal thing and tells me something about you, but nothing about the text. If you don't think something is well written, convince me. If you do think so, convince me. Learn from everything you read and understand how to learn from everything you read. And above all read! My classes use texts I am pretty sure they won't know because I want them to see how wide is the world of books and thought and imagination. I am trying to reposition them in relation to, in response to, language.

3) Writing is a love affair not a solitary pleasure. You can write about anything you like but there must be a connection between you and the material.

4) Do not take any "advice" on how to write from anyone who has not written and published a significant piece of work. (Ezra Pound was right.)

Jeanette Winterson is a professor of creative writing at Manchester University.

Rachel Cusk

Rachel Cusk

Many creative writing students start with the belief that writing is entirely the operation of point of view; in other words, that the world only exists in so far as it is perceived by a human personality. Most of what I teach involves encouraging students to exteriorise their subjective world by fixing it to objects, instead of routing everything through the persona of Jane or John. For the reader, being trapped in the head of Jane or John, and dependent on them for every scrap of information, is the precise opposite of their own experience of existence. A story that starts with "Jane looked out of the kitchen window and thought about her life" – despite the fact that it may be perfectly true – will always be struggling to free itself from a basic unreality.

Many students find this idea counterintuitive, but the easier and more effortless something looks, the more thoroughly it is underpinned by technique. The desire to write comes easily; writing itself is technical and hard. I give my students exercises in which a certain object has to feature. I choose the object myself: the more alien it is to their subjective processes the better. The object represents the impingement of reality, and it nearly always has the effect of turning their writing inside out. Over time I've learned which objects work the best: some of the things I've used – a violin, a pair of scissors – have been too easily conscripted into the student's subjective world. Others – a lawnmower, a new pair of shoes – unfailingly make the writing more objective. The narrative has to find a way around it, like water has to flow around an obstacle, and the result is that the whole enterprise is given form.

Rachel Cusk is professor of creative writing at Kingston University.

Michael Cunningham

Michael Cunningham

I teach a class on the craft of fiction-writing at Yale, which is a hybrid of a literature course and a writing workshop. If a more traditional literature course has to do with why we're interested in writers like Henry James and James Joyce, my class focuses on how they did what they did, using only ink, paper, and the same vocabulary available to everyone.

If a more traditional workshop is largely based on trial and error – write a story and we'll tell you what's wrong with it – my course is based at least partly on why writers write as they do; on the basis for their decisions.

I do remind my students, periodically, that fiction contains an element of ineluctable mystery along with its elements of craft, and that a great story or novel is great in certain ways we can elucidate, and certain ways in which we cannot. We don't dissect great literature in the belief that once all its organs are spread out on the table before us, we've got it figured out.

We read extensively and, each week, do our best to determine how certain effects were achieved by a different writer. How did James build his characters in The Aspern Papers ? How did Joyce structure "The Dead"?

The students perform writing exercises as we go along. During the week we spend on character, for instance, I ask them to write a single paragraph that conveys the appearance and essential nature of a character. During the week on structure, I give them an impossible welter of information – seven different people, with twice that many interconnected dramas and conflicts – and ask them to sketch out a story, with the understanding that they can omit as much, or include as much, as they like.

During the final third of the semester I simply tell my students to take what they've learned, and write a story. Any story they like. Which can be anywhere from one to 25 pages long (though I encourage them to lean more toward single-digit page counts) – I stress economy and precision throughout the semester. The stories they come up with are often surprisingly good.

Michael Cunningham is a senior lecturer in creative writing at Yale University.

Tessa Hadley

Adam Gale 2

Last week we spent half an hour or more looking in minute detail at two versions of a paragraph from Jean Rhys's Wide Sargasso Sea . She seems to achieve the compression and electric intensity of her final version through minimising the connective engineering of the syntax in her sentences, taking out explanations, excising the mediating voice from around the things seen. The students went home to work on a paragraph of their own, cutting and intensifying in that way, taking out what's flabby and banal.

In the short-story class, we spent lots of time thinking about endings. Why do the endings of short stories carry so much more weight, in proportion to the whole, than the endings of novels? We wrangle over the endings of particular stories we've been reading together – Dubliners , Eudora Welty, Agnes Owens and others. What satisfies, what doesn't? How can the writer tell when it's enough? Why has taste turned against endings that clinch too tightly, or have too much twist in the tail? The students are working on their own stories: with that reading and discussion behind them they can think with more scope and more audacity about where to go, how to sign off. Rehearsing these things collectively loosens the tight fit of fear and inhibition, imagination relaxes.

The writing course offers an audience. Everyone lifts their game in response to the exacting readers they'll face next Tuesday. Student writers are under pressure to learn to hear themselves, to hear how they sound, to make essential judgments about tone and pace and transition. Of course, all writers have always had to learn this; a good writing course just crystallises the opportunity. In the past apprentice writers practised with a coterie of friends, or with their family, or with a mentor. Writing courses aren't free; but I'm sure they do help to widen the circle of opportunity, beyond the metropolitan and university cliques.

Tessa Hadley is a professor of creative writing at Bath Spa University.

Gary Shteyngart

It helps to be clean and presentable when teaching. Students react to sharp odours. It can't be like the University of Iowa during John Cheever's time when you could just wander in drunk and fall asleep for two hours. Today's MFA students expect you to be awake. I also try to get students to bring in snacks because I have low-blood sugar. But the snacks are really for everyone.

Gary Shteyngart is associate professor of creative writing at Columbia University.

Naomi Alderman

1) The most useful thing you can do is read someone's work and give them specific advice regarding what is and isn't working in their particular book. That is what goes on. It's the non-universal stuff that is the most useful. Are you using description to cover the fact that you don't really know your characters? Have you given your particular character a motivation that makes sense? It's not general, it's specific.

2) Another key thing you can help with is finding the writing routine that works best for each student. For me, when I'm working on a book, it's around 800 words a day every single day . Five hundred words a day is too few. A thousand is too many. I can't take the weekend off; if I do the book has dissolved to mush when I get back. So a teacher can talk to you about your process. Suggest different ways of working, different times, places, different rituals to get you in the right mental place for it. Again, this is very particular to the individual.

3) If you're a responsible teacher, you talk to your students about money. You say: most novelists earn around £5,000 a year from their writing. You watch them blench. You say: so if you're going to do this, you have to think about how you're going to support yourself. I tell my students about journalism, about other kinds of writing, about crowdfunding, about grants, about balancing the day job with the novels, and the pitfalls of all of these. Most people can't make a living only from selling their art, but almost anyone can put together a life in and around the artform they love if that's what they really want. You help them work out how to do that.

Naomi Alderman is a professor of creative writing at Bath Spa University.

Don Paterson

At St Andrews, we tend to teach that most problems writers encounter have already been solved by other writers: students learn to be good readers first. Often the most useful exercise is just to compare some bad writing with some good, and then learn how to articulate the difference between the two. This is most bracing when the bad writing is your own. Here's Robert Frost; here's you. What's the difference? Ouch. I teach in three ways: seminars on poetic composition (I take a fairly technical and linguistic approach, but not everyone does); workshops, where students can hone their editorial and critical skills; and one-to-one sessions, which address the very personal business of "art practice". There are many useful textbooks that can help with the first two, though very few of those are about "creative writing" (a term I try to avoid anyway). Almost no books I've read address "practice" very satisfactorily, though many students have benefited from reading (ex-marine!) Steven Pressfield's The War of Art , which is basically the Allen Carr method for writers: just do it already.

Don Paterson is a professor of poetry at the University of St Andrews.

Chang-Rae Lee

Chang-Rae Lee

My classes are undergraduates only. Our primary activity in the workshop is to read very closely both the workshop material and a published story, which is assigned weekly. It's as simple as that. No use of "exercises" or discussion of "technique". While what the pieces might "mean" to us will no doubt arise, we first and foremost pay zealous attention to the words, going sentence by sentence, considering what's being instituted by each clause in every way possible (language, idea, structure, trope, tonality, perspective etc), appraising how the prose is developing its world and characters as well as shaping our apprehension of them.

Chang-Rae Lee is a professor of creative writing at Princeton University .

Kathryn Hughes

1) Lots of people can write beautiful prose, it's structure that's tricky. Novelists can afford to just start writing and see where it takes them, writers of non-fiction need to have a plan. Draw up a list of "landing places", points in your narrative where your reader can have a bit of a sit down and admire the view so far. Your job as narrator is to lead them from one landing place to the next, neither chivvying them along nor allowing them to lag behind. Make sure, though, that you don't come over like a drill sergeant. The trick of good narrative non-fiction is to allow the reader to feel that they have worked it all out for themselves.

2) Just because you are trying to learn how to write, it doesn't mean that you need to employ an entirely new vocabulary. Be ruthless about cutting out any word that you wouldn't use naturally in everyday speech. In real life no one calls a book "a tome" or says "she descended the stairs" or refers to "my companion". A book is a book, people walk down the stairs and a companion is actually a friend, or a lover, or a colleague or someone you were standing next to at the bus stop. Be specific and be real.

3) It is entirely normal – in fact, it is entirely right – to feel despair during the writing process. At some point in the relationship between a creative writing tutor and a student, there will be a conversation that runs exactly like the closing lines of Samuel Beckett's 1953 novel, The Unnamable :

You must go on.

I can't go on.

I'll go on.

When you hear these words coming out of your mouth, the best thing to do is shut up shop for the day and go and read someone who is writing the kind of stuff that you would like to. You'll start work the next day with a better pair of ears. And good ears, actually, are what good writing is all about.

Kathryn Hughes is director of UEA's MA programme in biography and creative non-fiction.

Adam Gale 1

Although we give classes on the technical aspects of writing, one of the most important things we give is more basic. It's permission. Permission, for example, for a student on the MA to say, "I'm sorry, I really can't come out on Friday night – I have coursework." Because however supportive of a partner's or friend's or relative's ambition to become a writer people are, they often aren't very good at granting them the necessary time. And, for most of us, it's easier to say, "I have coursework" than "I'm writing a novel – it'll take me about five years, and might not get published."

We also give students permission to experiment, and encouragement to try things that they think might fail. Even quite late on in the course, when I'm advising students about what to write for their final dissertation, they will ask me, "Can I try this?" They know it's what they should do, they just need permission to do it. If they didn't have someone they respected (because that person is a tutor, because they've been published) to say this, they might never dare – and much of their best work wouldn't happen.

Finally, we – the teaching staff – give students permission to believe they might become "real" writers. Because, by being in the room with them, week after week, we help demystify what "real" writers are. Too many people write badly because they write up to their idea of what "real" writing should be or what a "real" writer should write. They put on literary airs. If someone holds writers in too much esteem, they'll never become one.

Toby Litt is a senior lecturer in creative writing at Birkbeck University of London.

Joyce Carol Oates

Students in graduate writing programmes are already seriously committed writers by the time they enrol for a workshop; prospective students must apply, and only a small number are selected. Certainly in the US, many, or most, have already published short fiction. No one "teaches" young people how to write in fiction workshops; the classes might be described as intensely focused editing sessions in which manuscripts of substance are examined with the close scrutiny with which they would be examined by editors at such magazines as the New Yorker and Harpers, or in such literary publishing houses as Ecco/HarperCollins and Farrar, Strauss & Giroux.

Joyce Carol Oates is a professor of creative writing at Princeton University.

Curtis Sittenfeld

Curtis Sittenfeld

Establish a writing schedule ahead of time for the coming week or month. This is more important the less time you have. If you work full-time, you might plan to write for an hour at 6am on Tuesday and Thursday, or at 4pm on Wednesday and Saturday. Write this commitment down in your diary or calendar, don't schedule anything that conflicts with it, and sit alone somewhere you can focus when the time comes. It's OK if you don't produce sentences during that time, but don't do anything else – don't check email, don't text, don't go online (and for heaven's sake, if you're using a computer, shut all files and windows except for the one you're working on). If some nagging errand you need to do occurs to you, write it down, but don't start doing it.

Create an outline. This will give you a roadmap to follow and make you less likely to write yourself into a corner. It's fine to deviate from the outline, but it's very useful to think about the overall structure of what you're trying to produce. Similarly, don't go back and revise until you've completed a first draft. Solutions to problems tend to reveal themselves much more clearly when the whole work is finished than they do along the way.

If you don't enjoy the process of writing in some way, you probably shouldn't do it. While there are people who make lots of money from books, most don't, and many writers I know have found the experience of having a first (or subsequent) book published disappointing and anticlimactic. I agree with some of what I understand to be Hanif Kureishi's viewpoint , but I don't think anyone knows who does or doesn't have talent without that person giving writing a try.

Curtis Sittenfeld has taught creative writing at the Iowa Writers' Workshop, Victoria University in New Zealand, and St Albans School in Washington.

Blake Morrison

On the MA at Goldsmiths, I work individually with students in a range of forms (novels, short stories, poetry, non-fiction) but also run a specialist seminar in life writing. One key strand of the seminar is memoir, and among the exercises we've done this term are:

1) Restricted point of view. Recounting an episode from the perspective of someone whose eyes are sharp but whose capacity for understanding is limited. There's a wonderful example of this in Seamus Deane's Reading in the Dark , where a small boy recounts a traumatic episode (his dying sister being taken from the house by ambulance-men) while hiding under a table – all is revealed by what he observes in the movement and appearance of adult feet.

2) Bearing witness. Working in pairs, student A speaks of an episode he or she witnessed, and student B writes it up, selecting, exaggerating or even inventing key details – an exercise in how to create authenticity and demonstrate "I was there". Orwell's essay "A Hanging" offers a brilliant precedent, as does the first chapter of Tim Lott's The Scent of Dried Roses , which reconstructs the day of his mother's suicide.

3) Narrative pace. Forget what creative-writing handbooks say: narratives can't be all showing and no telling. A 10-minute scene that runs to 50 pages might be followed by a paragraph encapsulating two years. Lorna Sage's Bad Blood , Tobias Wolff's This Boy's Life and Martin Amis's Experience are bold and inventive in the way they vary pace, and I encourage students to do the same.

All such workshop exercises have the same end in sight – to help aspirant writers find the right form for the story they want to tell. The luckiest go on to publish and win acclaim – two of our former students (Ross Raisin and Evie Wyld) made Granta's recent list of the 20 best young British novelists. But even those who don't win prizes or publishing contracts usually benefit from the course, by articulating their ideas and experiences, and by putting writing at the centre of their lives.

Blake Morrison is a professor of creative and life writing at Goldsmiths, University of London.

  • Creative writing
  • Hanif Kureishi

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Language » Writing Books

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

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

The best books on Creative Writing - Becoming a Writer by Dorothea Brande

Becoming a Writer by Dorothea Brande

The best books on Creative Writing - On Becoming a Novelist by John Gardner

On Becoming a Novelist by John Gardner

The best books on Creative Writing - On Writing: A Memoir of the Craft by Stephen King

On Writing: A Memoir of the Craft by Stephen King

The best books on Creative Writing - The Forest for the Trees by Betsy Lerner

The Forest for the Trees by Betsy Lerner

The best books on Creative Writing - Worstward Ho by Samuel Beckett

Worstward Ho by Samuel Beckett

The best books on Creative Writing - Becoming a Writer by Dorothea Brande

1 Becoming a Writer by Dorothea Brande

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

How would you describe creative writing?

Creative writing is an academic discipline. I draw a distinction between writing , which is what writers do, and creative writing. I think most people in the UK who teach creative writing have come to it via writing – they are bona fide writers who publish poems and novels and play scripts and the like, and they have found some way of supporting that vocation through having a career in academia. So in teaching aspirant writers how to write they are drawing upon their own experience of working in that medium. They are drawing upon their knowledge of what the problems are and how those problems might be tackled. It’s a practice-based form of learning and teaching.

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

It is hugely rewarding, engaging with the students, but it is hugely frustrating as well, because the larger part of it is engaging with an institution. I’m sure I’m not alone in being very ambivalent about what I do!

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

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

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

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

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

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There are two ways in which you can start to get that wrong and produce bad work. One is where you don’t allow the critic in at all. And so it is just a constant outpouring of unmediated automatic writing, which can become a kind of verbal diarrhoea. And the other side of that is where you allow the critic too much authority and the critic becomes like a bad dad who finds fault with everything and doesn’t allow the child to produce anything. And that results in a sort of self-sabotaging perfectionism, which I have suffered from. I got very blocked, and I read this book and it unblocked me.

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

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

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

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

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

And then people can move on.

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

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

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

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

Do you agree with him?

Yes, I do. I think he talks an awful lot of sense. There is this question which continues to be asked of people who teach creative writing, even though it has been taught in the States for over 100 years and in the UK for over 40 years. We keep being asked, ‘Can writing be taught?’ And King says it is impossible to make a competent writer out of a bad writer, and equally impossible to make a great writer out of a good one, but what is possible, with lots of hard work and dedication and timely help, is to make a good writer out of a merely competent one. And his book is partly intended to address that, to help competent writers to become good ones. It is inspirational because he had no sense of entitlement. He is not a bookish person and yet he becomes this figurehead.

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

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

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

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

It is very entertaining and informative and it is also hugely affirming. I identified myself with each one of the six types. There is a bit in each of them that sounded just like me. And I thought, well if they can get published so can I. You do often worry that you are an impostor, that you are only pretending to be a writer and that real writers are a completely different breed, but actually this book shows they can be just like you.

Your final choice is Worstward Ho by Samuel Beckett .

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

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

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

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

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

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

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

September 27, 2012

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Andrew Cowan

Andrew Cowan

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

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

creative writing taught me

“I don’t have any ideas!”

“I can’t think of anything!”

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

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

So what does teaching creative writing effectively look like?

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

7. Create inspiring and original prompts

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

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

student writing prompts for kids

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

6. unpack the prompts together.

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

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

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

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

What happened overnight?

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

Who might “I” be?

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

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

Here students could ask:

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

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

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

5. Warm-up for writing

A quick warm-up activity will:

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

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

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

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

The Story factory in Reading Eggs

4. Start planning

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

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

Here are four ideas for planning:

Graphic organisers

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

Storyboards and illustrations

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

Voice recordings

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

Write a blurb

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

3. Produce rough drafts

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

  • a work in progress.

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

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

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

Reading Eggs Library New Books

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

2. share drafts for peer feedback.

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

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

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

Student rubrics

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

  • use of language.

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

Two positives and a focus area

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

I really liked this character because…

I found this idea interesting because it made me think…

I was a bit confused by…

I wonder why you… Maybe you could… instead.

1. The editing stage

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

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

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

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

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

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

A final word on teaching creative writing

Remember that the best writers write regularly.

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

Need more help supporting your students’ writing?

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

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

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Teaching Creative Writing: Tips for Your High School Class

Teaching Creative Writing: Tips for Your High School Class

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

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

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

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The Importance of Teaching Creative Writing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cover for It's Lit Teaching Product: Poem Writing Activities

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

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

Cover for It's Lit Teaching Product: Creative Writing Workshops Mini Lessons Bundle

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

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

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

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

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

Cover for It's Lit Teaching Resource: Haiku Poems for High School Creative Writing Activity

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

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

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

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

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

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

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

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

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

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

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

Cover for Teachers Pay Teachers product by It's Lit Teaching: Creative Writing Author Study Project

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

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

Cover for It's Lit Teaching Resource: Fairy Tale Retelling Creative Writing Project

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

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

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

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

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

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

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

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

Cover for It's Lit Teaching Resource: Show. Don't Tell Creative Writing Mini Lesson Workshop

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

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

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

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

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

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Teaching Creative Writing Tip #7: Incorporate Mentor Texts

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

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

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

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

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

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

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

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Eight Free Creative Writing Lessons

February 17, 2012 by Ami 17 Comments

creative writing taught me

I know I throw around the word favorite all the time. But this is the truth: teaching creative writing lessons is my favorite. 

I have taught creative writing enrichment for summer school students. I have taught creative writing in various homeschool settings and co-ops. I have taught big students and little students. And I love it. 

Since I love to share homeschool co-op class ideas , I have compiled the creative writing lessons from a co-op class that I taught. 

Creative Writing Lessons for a Homeschool Co-op Class

First, please remember that any teacher can use these creative writing lessons. You don’t need to be teaching homeschoolers. You can be a classroom teacher or a homeschool teacher at home with one student. You can even be a librarian who needs a fun program series.

Second, I used these creative writing lesson plans with upper elementary students (with maybe a few 7th graders thrown in). However, you can adapt and use them for older students or younger students!

Creative Writing Lesson Plans

Creative writing lesson one.

The first lesson focuses on cliché and metaphor. It prompts students to consider how words matter.

Grab lesson one here .

Creative Writing Lesson Two

The second lesson teaches students about sensory details: why they are important and how to include them in their writing. Students will begin using sensory details to evoke smells and sounds and sights.

Grab lesson two here.

Creative Writing Lesson Three

The third lesson introduces showing vs. telling. Students learn how to recognize authors who utilize showing, and students are able to articulate the difference between showing and telling.

Grab lesson three here.

Creative Writing Lesson Four

The fourth lesson teaches students how to capture images. We use examples of poetry and prose to discuss this important writing skill.

Grab lesson four here.

Creative Writing Lesson Five

The fifth lesson introduces the story elements of character and conflict.

Note: You may choose to split this lesson into two lessons since it covers two big elements. I only had nine weeks with my students, so I had to jam character and conflict together.

Grab lesson five here.

Creative Writing Lesson Six

The sixth lesson introduces the students to point of view and perspective. We have fun reading poems and using pictures to write descriptions from different points of view.

Grab lesson six here.

Creative Writing Lesson Seven

The seventh lesson puts everything we’ve learned together. I read the students some fractured fairy tales, and we watch some, too. Students then use the prewriting activities and their imaginations to begin drafting their own fractured fairy tales.

Grab lesson seven here.

Creative Writing Lesson Eight

The eighth lesson focuses on revision. After a mini-lesson, students partner up for peer editing.

Grab lesson eight here .

For our final class day, students bring revised work, and I host coffee shop readings. This is a memorable experience for students (and their teacher).

Creative Writing Lessons FAQ

Since posting these creative writing lessons, I have had lots of questions. I decided to compile them here in case you have the same question.

Q: What are copywork quotes? A: Copywork quotes are simply great quotes that students copy as part of their homework assignments. You can use any quotes about writing. I’ve included my favorites throughout the printable packs.

Q: Can I use this with a younger or older student? A: Absolutely! Just adapt it to meet the needs of your student.

Q: Can I use this for my library’s programming or my homeschool co-op class? A: Yes! I just ask that it not be used for profit.

Do you have any questions about teaching creative writing? What’s your biggest hang-up when it comes to teaching creative writing? I’d love to hear from you and help you solve the issue.

creative writing taught me

January 7, 2016 at 1:57 pm

Hi Theresa,

As long as you are not profitting from using them, they are yours to use! Enjoy! Wish I could be there to help facilitate all those young writers! 

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Can creative writing be taught therapy for the disaffected masses.

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Yes, of course, creative writing can be taught, and it is very successfully taught. It might be the most successful humanities enterprise in the American university, if success is to be measured by stated goals. As for "improvement," yes to that too, if by "improvement" we mean internalizing the principles of creative writing. Dramatic and measurable improvement are not only possible but happen all the time. Now, having gotten the provocative answer out of the way, let me be clear. Creative writing is not literary writing as has been understood for all of the history of writing. Creative writing is a subset of therapy, with the same essential modalities -- except, like everything else in our culture, it comes in a stripped, dumbed down version that partakes little of the rigors of psychotherapy. More appropriately, we might call it the Oprahfied mindset that penetrates workshop. Life lessons and living a more authentic life are always just beneath the surface of any workshop discussion.

Students "improve" in the direction of imitating their teacher and the narrow range of models -- Carver? Hemingway? Barthelme? Plath? Glück? Levine? -- she brings into workshop. Students "improve" in the output produced, compared to the beginning of workshop or the graduate program, when they start reproducing stuff that looks like the models.

Literature as we have known it through history springs from genius -- that most politically incorrect of words. By definition, no creative writing teacher can give official sanction to this terminology. And so the literary criticism of Horace or Sidney or Coleridge or Eliot is out the door. All of literary criticism is banished. Creative writing can flourish only in this enormous vacuum. Creative writing is taught with this single most important premise: no criticism, as the word is traditionally understood, can be allowed into the workshop.

In workshop, members judge each other's work according to feeling or desire. Technique is also a big part of it -- judging the story or poem according to how it works, how the plot and characters and narrative are put together to achieve a desired effect, or how a poem's rhythm and line breaks and diction serve a unified emotional purpose -- in other words "craft."

Craft is a very revealing term, as though writing were a matter of figuring out the essential components of a story or poem (the novel is typically not taught in workshop, because it's too hard a nut for craft to crack), and duplicating those elements in the comfort of your home. In that sense, creative writing can absolutely be taught. It's just that it's not literature.

Literature is about having, first of all, a broad humanist understanding of the tradition, how vastly oppositional styles of writing have sought to grapple with the same human problems over time, how history and politics have shaped national literatures, how you can not necessarily learn--for that is too reductionist a term--but be challenged by great writers like Chekhov or Tolstoy or Kafka, to create something utterly unique to yourself.

Literature is not about expressing yourself -- that all-important desideratum of sincerity, so precious in the workshop -- but about penetrating, at the deep intuitive level, what other fiction writers or poets have done in the past, as they confronted aesthetic challenges in their own milieus, and realizing what your specific aesthetic challenges are, both in collective and individual terms, and then going about it, alone and without comfort, in resolving the challenge you have set for yourself.

None of that can ever be taught in workshop, whose whole psychology militates against such an individualist, rather than industrialized, method of learning.

The psychology of the workshop has not yet been thoroughly explored. It is a mild form of hazing, an officially sanctioned sadism in which students eagerly participate. The student sits quietly while his work is read in front of him, not allowed to intervene as peers shred his work or occasionally praise it. All kinds of political, gender, class, and racial subtexts pervade such peer-to-peer "critique." Those criticizing are as ignorant of the art of writing as those whose work is being discussed. They're picking up cues from the instructor as to what is acceptable or not acceptable.

The methods of the workshop lead to "improvement" by subtraction -- since by definition the instructor can't compel the student to produce something that's not within his capability. So you work with what the student has given you, and you make that inherently flawed piece of work look a little better -- make it conform to the Carver or Glück model -- by subtracting, taking away the really egregious flourishes that make the writer appear eminently stupid.

It's not a coincidence that minimalism became so popular in the seventies, or that Carver or the domestic confessionalists became such huge national influences in the eighties; this is the period when the workshop model was getting established. All workshop writing leads to a type of minimalism, even if not strictly in the stylistic sense. For example, everything to do with politics or class must be expunged, since in the politically correct academy (as on Oprah) such subjects cannot be raised without the false consensus, the feel-good atmosphere, falling apart.

What can we agree on, and therefore teach? That you--at twenty-one or twenty-nine--have had some personal experiences: your parents divorced or you had a bad time in high school or your sister had a terrible sickness. You can make a story out of that--or creative nonfiction, that's okay too. Or a short narrative/epiphanic poem. As long as it conforms to the elements of "craft" you're being asked to upheld.

We might make the case that creative writing is what composition ought to be, in allowing idiosyncratic expression. Creative writing also functions in opposition to the rhetorics of literary theory, where everything is politicized (though in an insanely misguided manner, focused only on language) and the author as independent idea and will do not exist.

The remarkable thing--but it shouldn't be so, in our age of conformity--is how malleable, how teachable, students tend to be. All their lives long they've learned to play by the rules of socialization, and creative writing workshop is just taking the social game to a different level, where your experience is validated (but not really, because you must follow the model) and you're given the appearance of having your hands held and being consoled (even as your work is being ripped up, it's couched in the language of therapy).

It's perhaps also a refuge from self-help (which is where memoir flourishes), as you're told that we're all here to help each other. No wonder creative writing is the most popular scene on campus. Show don't tell, find your own voice, write what you know, sure, you can do that while carrying on a hectic social life and not even feel guilty you're wasting time. Come to think of it, Louise Glück, that Pulitzer winner, doesn't look all that different from what you've been doing. You just need to get the technique down a little better. Maybe in the next poem about your dog that got lost.

Yes, creative writing can be taught. And we're all fucked because of it.

This piece appears in the current issue of Boulevard magazine.

Anis Shivani has just finished a novel, Karachi Raj . His other books are My Tranquil War and Other Poems (May 2012), The Fifth Lash and Other Stories (2012), Against the Workshop: Provocations, Polemics, Controversies (2011), and Anatolia and Other Stories (2009).

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

Author: Rafal Reyzer

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

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

Become a Creative Writing Teacher: The Basics

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

5 Tips for Becoming a Creative Writing Teacher

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

1. Get a Degree in English or Creative Writing

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

college graduates in creative writing

2. Consider Getting a Teaching Certification

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

3. Start Your Own Writing Group or Workshop

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

4. Volunteer to Teach Creative Writing in Local Schools

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

5. Be Patient and Persistent

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

teaching excellence in creative writing

Teaching Writing With True Excellence

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

1. High Expectations

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

2. Quality Feedback

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

3. Focus on the Process

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

4. Setting an Example

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

5. Encouragement

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

creative writing teacher encouraging students

Testing Your Students Through Writing Tasks

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

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

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

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

FAQ About How to Become a Creative Writing Teacher:

1. how do i start teaching creative writing.

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

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

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

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

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

4. How Much Does a Creative Writer Make?

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

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

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Rafal Reyzer

Rafal Reyzer

Hey there, welcome to my blog! I'm a full-time entrepreneur building three small companies, an educator, digital marketer, freelance writer, editor, and content manager with 10+ years of experience. I started RafalReyzer.com to provide you with great tools and strategies you can use to become a proficient digital marketer and achieve freedom through online creativity. My site is a one-stop shop for writers, digital marketers, and content enthusiasts who want to be independent, earn more money, and create beautiful things. Dive into my journey here , and don't miss out on my AI Marketing Mastery online course.

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  2. What College-Level Creative Writing Classes Taught Me

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  4. Can Creative Writing Really Be Taught? : Resisting Lore in Creative

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  5. 70 Creative Writing Prompts

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  6. Creative Writing Tips

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COMMENTS

  1. What a creative writing course taught me

    A creative writing course gets the stuff out of your head and into the room. It turns your story into a "thing", that can be dismantled and remade. It can not, however, tell you how to remake it ...

  2. 10 Best Creative Writing Courses for 2024

    I present to you the best courses built from Class Central's catalog of 75+ Creative Writing courses and selected according to a proven methodology that you can check below. But if you want to skip the read, here are my top picks: Course Highlight. Workload. Write Fantasy and Short Stories with Brandon Sanderson.

  3. What Is Creative Writing? Types, Techniques, and Tips

    Types of Creative Writing. Examples of creative writing can be found pretty much everywhere. Some forms that you're probably familiar with and already enjoy include: • Fiction (of every genre, from sci-fi to historical dramas to romances) • Film and television scripts. • Songs. • Poetry.

  4. Creative Writing: Start Your Creative Writing Journey

    Creative writing is one of those skills you can eternally get better at, but often suck at when you start… I've been there. I've so been there. Now, we're not saying your creative writing is bad necessarily, but just that if you want to continue to push yourself in this industry, you'll need some work since literature is more competitive now than it ever has been.

  5. What is Creative Writing? A Key Piece of the Writer's Toolbox

    Brooks Manley. Creative Primer is a resource on all things journaling, creativity, and productivity. We'll help you produce better ideas, get more done, and live a more effective life. My name is Brooks. I do a ton of journaling, like to think I'm a creative (jury's out), and spend a lot of time thinking about productivity.

  6. Creative Writing 101: Everything You Need to Get Started

    Creative writing is writing meant to evoke emotion in a reader by communicating a theme. In storytelling (including literature, movies, graphic novels, creative nonfiction, and many video games), the theme is the central meaning the work communicates. Take the movie (and the novel upon which it's based) Jaws, for instance.

  7. Best Creative Writing Courses Online with Certificates [2024]

    In summary, here are 10 of our most popular creative writing courses. Creative Writing: Wesleyan University. Write Your First Novel: Michigan State University. Good with Words: Writing and Editing: University of Michigan. English Composition I: Duke University.

  8. What a Creative Writing Degree Actually Teaches You

    It was also the question I asked when I considered whether a degree in creative writing would be worth the expense. Writing for me, like I'm sure it is for a lot of writers, is a passion that I can't imagine not being in my life. ... I no longer had the 'luxury' of spending a month writing 3,000 words. What this taught me was that I had ...

  9. How to Learn Creative Writing: 7 Steps (with Pictures)

    Creative writing is any form of writing intended for entertainment, although it may also inform or persuade. It encompasses fiction, poetry, song lyrics, scripts, biographies, and anything that combines these elements. Although creative writing is an innate skill, it can be taught, and its techniques must be learned in order to develop as a writer.

  10. So you want to be a writer …

    When I began, it didn't occur to me to go on a creative writing course - there were few in the late 1980s, and it seemed more pressing to do an academic PhD. I taught myself to write.

  11. What I Wish My Creative Writing Degree Had Taught Me

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    On average, a minor takes up approximately 15-18 credits and usually helps fill up elective space in your degree. Don't fill yours with writing classes. Some minors I would recommend to someone majoring in creative writing are education, business (specifically marketing, if available), journalism, and communications.

  14. Online Courses: Creative Writing

    Stanford Continuing Studies' online creative writing courses make it easy to take courses taught by instructors from Stanford's writing community. Thanks to the flexibility of the online format, these courses can be taken anywhere, anytime—a plus for students who lead busy lives or for whom regular travel to the Stanford campus is not possible.

  15. The best books on Creative Writing

    How would you describe creative writing? Creative writing is an academic discipline. I draw a distinction between writing, which is what writers do, and creative writing.I think most people in the UK who teach creative writing have come to it via writing - they are bona fide writers who publish poems and novels and play scripts and the like, and they have found some way of supporting that ...

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    Creative Writing Certificate. Develop your skills in the genre of your choice, including fiction, creative nonfiction, poetry, and more. This customizable program culminates in a capstone project where you will make significant progress on a polished collection of work. Taught by a prestigious roster of instructors who are published writers and ...

  18. How to Teach Creative Writing

    We've outlined a seven-step method that will scaffold your students through each phase of the creative process from idea generation through to final edits. 7. Create inspiring and original prompts. Use the following formats to generate prompts that get students inspired: personal memories ("Write about a person who taught you an important ...

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  21. Eight Free Creative Writing Lessons

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  22. Can Creative Writing Be Taught? Therapy For The Disaffected Masses

    Yes, creative writing can be taught. And we're all fucked because of it. Anis Shivani has just finished a novel, Karachi Raj. His other books are My Tranquil War and Other Poems (May 2012), The Fifth Lash and Other Stories Against the Workshop: Provocations, Polemics, Controversies Anatolia and Other Stories.

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

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