creative writing course syllabus high school

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Our 2020-21 Writing Curriculum for Middle and High School

A flexible, seven-unit program based on the real-world writing found in newspapers, from editorials and reviews to personal narratives and informational essays.

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

Our 2019-20 Writing Curriculum is one of the most popular new features we’ve ever run on this site, so, of course, we’re back with a 2020-21 version — one we hope is useful whether you’re teaching in person , online , indoors , outdoors , in a pod , as a homeschool , or in some hybrid of a few of these.

The curriculum detailed below is both a road map for teachers and an invitation to students. For teachers, it includes our writing prompts, mentor texts, contests and lesson plans, and organizes them all into seven distinct units. Each focuses on a different genre of writing that you can find not just in The Times but also in all kinds of real-world sources both in print and online.

But for students, our main goal is to show young people they have something valuable to say, and to give those voices a global audience. That’s always been a pillar of our site, but this year it is even more critical. The events of 2020 will define this generation, and many are living through them isolated from their ordinary communities, rituals and supports. Though a writing curriculum can hardly make up for that, we hope that it can at least offer teenagers a creative outlet for making sense of their experiences, and an enthusiastic audience for the results. Through the opportunities for publication woven throughout each unit, we want to encourage students to go beyond simply being media consumers to become creators and contributors themselves.

So have a look, and see if you can find a way to include any of these opportunities in your curriculum this year, whether to help students document their lives, tell stories, express opinions, investigate ideas, or analyze culture. We can’t wait to hear what your students have to say!

Each unit includes:

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

We publish two writing prompts every school day, and we also have thematic collections of more than 1,000 prompts published in the past. Your students might consider responding to these prompts on our site and using our public forums as a kind of “rehearsal space” for practicing voice and technique.

Daily opportunities to practice writing for an authentic audience.

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

Guided practice with mentor texts .

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

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

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

A contest that can act as a culminating project .

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

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

Webinars and our new professional learning community (P.L.C.).

For each of the seven units in this curriculum, we host a webinar featuring Learning Network editors as well as teachers who use The Times in their classrooms. Our webinars introduce participants to our many resources and provide practical how-to’s on how to use our prompts, mentor texts and contests in the classroom.

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

Below are the seven units we will offer in the 2020-21 school year.

September-October

Unit 1: Documenting Teenage Lives in Extraordinary Times

This special unit acknowledges both the tumultuous events of 2020 and their outsized impact on young people — and invites teenagers to respond creatively. How can they add their voices to our understanding of what this historic year will mean for their generation?

Culminating in our Coming of Age in 2020 contest, the unit helps teenagers document and respond to what it’s been like to live through what one Times article describes as “a year of tragedy, of catastrophe, of upheaval, a year that has inflicted one blow after another, a year that has filled the morgues, emptied the schools, shuttered the workplaces, swelled the unemployment lines and polarized the electorate.”

A series of writing prompts, mentor texts and a step-by-step guide will help them think deeply and analytically about who they are, how this year has impacted them, what they’d like to express as a result, and how they’d like to express it. How might they tell their unique stories in ways that feel meaningful and authentic, whether those stories are serious or funny, big or small, raw or polished?

Though the contest accepts work across genres — via words and images, video and audio — all students will also craft written artist’s statements for each piece they submit. In addition, no matter what genre of work students send in, the unit will use writing as a tool throughout to help students brainstorm, compose and edit. And, of course, this work, whether students send it to us or not, is valuable far beyond the classroom: Historians, archivists and museums recommend that we all document our experiences this year, if only for ourselves.

October-November

Unit 2: The Personal Narrative

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

In this unit we draw on many of these resources, plus some of the 1,000-plus personal essays from the Magazine’s long-running Lives column , to help students find their own “short, memorable stories ” and tell them well. Our related mentor-text lessons can help them practice skills like writing with voice , using details to show rather than tell , structuring a narrative arc , dropping the reader into a scene and more. This year, we’ll also be including mentor text guided lessons that use the work of the 2019 student winners.

As a final project, we invite students to send finished stories to our Second Annual Personal Narrative Writing Contest .

DECEMBER-January

Unit 3: The Review

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

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

As a culminating project, we invite students to send us their own reviews of a book, movie, restaurant, album, theatrical production, video game, dance performance, TV show, art exhibition or any other kind of work The Times critiques.

January-February

Unit 4: Informational Writing

Informational writing is the style of writing that dominates The New York Times as well as any other traditional newspaper you might read, and in this unit we hope to show students that it can be every bit as engaging and compelling to read and to write as other genres. Via thousands of articles a month — from front-page reporting on politics to news about athletes in Sports, deep data dives in The Upshot, recipes in Cooking, advice columns in Style and long-form investigative pieces in the magazine — Times journalists find ways to experiment with the genre to intrigue and inform their audiences.

This unit invites students to take any STEM-related discovery, process or idea that interests them and write about it in a way that makes it understandable and engaging for a general audience — but all the skills we teach along the way can work for any kind of informational writing. Via our Mentor Texts series, we show them how to hook the reader from the start , use quotes and research , explain why a topic matters and more. This year we’ll be using the work of the 2020 student winners for additional mentor text lessons.

At the end of the unit, we invite teenagers to submit their own writing to our Second Annual STEM writing contest to show us what they’ve learned.

March-April

Unit 5: Argumentative Writing

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

This unit will, like our others, be supported with writing prompts, mentor-text lesson plans, webinars and more. We’ll also focus on the winning teenage writing we’ve received over the six years we’ve run our related contest.

At a time when media literacy is more important than ever, we also hope that our annual Student Editorial Contest can serve as a final project that encourages students to broaden their information diets with a range of reliable sources, and learn from a variety of perspectives on their chosen issue.

To help students working from home, we also have an Argumentative Unit for Students Doing Remote Learning .

Unit 6: Writing for Podcasts

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

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

As with all our other units, we have supported this contest with great examples from The Times and around the web, as well as with mentor texts by teenagers that offer guided practice in understanding elements and techniques.

June-August

Unit 7: Independent Reading and Writing

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

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

And we’ve used our Mentor Text feature to spotlight the work of past winners , explain why newsroom judges admired their thinking, and provide four steps to helping any student write better reader-responses.

Because this is our most open-ended contest — students can choose whatever they like, and react however they like — it has proved over the years to be a useful place for young writers to hone their voices, practice skills and take risks . Join us!

A Comprehensive High School Writing Curriculum Guide

In this comprehensive high school writing curriculum guide, I explain necessary components of planning a writing for a year. 

Writing is an essential skill that students need to develop in high school. Part of teaching this essential skill is encouraging, inspiring, and mentoring.

However, not all writing curriculums are created equal. A well-structured writing curriculum can help students understand the fundamentals of writing, improve their skills, and explore their creativity.

High School Writing Curriculum: A Comprehensive Guide

Honesty time: I do not suggest one entire curriculum but rather, pieces from several sources. Many tools can get you to meeting standards, encouraging young writers, and working through common struggles. However, as someone who has taught in various capacities for over twenty years, one set curriculum will probably not work. You will need to incorporate pieces of your own to address the learners in front of you and modify it each semester.

Therefore, in this blog post, I’ll explore the components, considerations, and requirements for high school students.

Why are you writing about a high school writing curriculum?

If you have followed me for a few years, you were with me while I finished my second master’s degree, one in English Literature . Now, I teach dual-credit writing courses at my high school in coordination with a local community college. Many of my subscribers teach a similar class for high school credit.

The previous seven years, I taught freshmen and worked with those standards. Therefore, my teaching load focuses on standards for seniors, a shift for me.

As I create and build my high school writing curriculum, these considerations come into play.

Understanding the Essentials of a High School Writing Curriculum

A comprehensive high school writing curriculum will address students’ writing skills and grammatical knowledge. Meeting language skills alongside the writing standards can happen naturally.

A well-rounded high school writing course will also address essential aspects such as argumentative writing (sometimes referenced as persuasive writing), informative, and creative/narrative writing, providing students with a holistic understanding of the writing process.

Here is my teacher’s guide to incorporate all these factors.

Importance of a Structured Approach to Writing

A structured approach to writing is essential in a writing curriculum. In my teaching career, I have taught several semester-long courses like public speaking, creative writing, and English 101. My #1 learned lesson: Have an overarching project that builds community in classes. For public speaking, speakers set goals for public speaking. In creative writing, writers compile a journal with writing prompts.

In a standard writing class, we use images to write about mentor sentences and fun topics . Images help young writers envision their responses, and the images work as a form of scaffolding. An ongoing activity, a habit, allows writers to reflect on their writing process, figurative language use, and sentence structure. Take time to reflect with students.

Diverse Writing Assignments

Instilling excellence in writing skills and grammar instruction is essential for an effective writing curriculum. One research paper and one narrative alongside “drill and kill” grammar will not produce an engaging high school writing curriculum.

A few of my favorite writing assignments for high school:

• Mini-memoirs (narrative standards)
• Response to informational text (an assortment of standards)
• Argumentative RAFT (argumentative standard)
• Researched famous events (expository standards)

If you look at the mentor texts (below) and provide excerpts to your classes, you will also create diverse writing assignments from those inspired pieces.

Calendar of Writing

Map out your calendar of dates. No amount of researching and organizing will help us creators of a high school writing curriculum: We must sit down with a calendar.

My high school writing curriculum contains two large-ish type assignments, one due about six weeks into the semester and another at about fourteen weeks. I space them out so that students understand my expectations and feedback, so that we have worked through our standards together, and so that large assignments are not due when students are already overwhelmed. Spacing out assignments in this manner also provides me time to provide meaningful feedback.

If you are interested in looking at my outline for a creative writing course, you can make a copy on Canva (for free).

Grammar Excellence

If you have floated around my blog for a bit, you’ll realize that my preference is not to teach grammar with worksheets. A grammar workbook and worksheets have their place, sure. But once classes understand the basics of language, I branch into additional resources.

For instance, with my high school grammar activities , students use interactive pieces to practice punctuations, to add types of clauses to sentences, and to experiment with difficult concepts. The pieces allow writers to take their own writing and implement lessons. In doing so, they are experimenting with language.

Another addition to any writing program will be addressing grammatical errors . My suggestion is to assign paragraph writing and while grading, note common errors. Then, provide direct instruction and practice correcting the errors.

Any grammar curriculum will connect grammar to writing. One of my goals is to approach language in a positive way so that my brave writers feel empowered instead of crushed by grammar rules.

Meeting Standards with Writing

Writing standards define the expectations for what students should be able to do at each grade level. These standards aim to develop clarity, coherence, and effective communication through writing.

However, meeting these standards can sometimes be a challenge for both students and teachers. Below, I explain what helps me as my students and I work to meet writing standards.

Importance of Writing Standards

Writing standards are guidelines that outline the skills and knowledge students should acquire in writing. They provide a common framework for teaching writing skills, ensuring consistency across classrooms and grade levels.

Be prepared to breakdown standards with students in sensible ways. For instance, in my creative writing activities, I break down pieces like implementing pacing and external conflicts into smaller lessons. With those smaller activities, we can dive deep into the standards.

Overall, writing standards promote clarity, coherence, and effective communication, which are essential skills in the 21st century.

Implementation of Standards

The more you build your writing curriculum, the more engrained and natural the standards will be.

To start, align writing activities with specific standards. By doing so, you ensure that the writing skills targeted are directly tied to the standards. This alignment helps reinforce the skills and knowledge necessary for students to meet the standards effectively.

Additionally, incorporating a wide range of writing skills into lesson plans allows you to address multiple standards simultaneously, providing a comprehensive writing instruction experience for students. In the example above, pacing and external conflicts will occur in smaller activities and then implemented into larger one.

Don’t fear breaking down a standard with students. (Some teachers call this process “unpacking the standards”). The more you discuss writing expectations that derive from the standards, the more meaningful discussions you and your students will have.

Considering mentor texts.

Mentor texts are simply example texts that work well for providing example of structure, vocabulary, language use, and any other piece of writing. Below, I have included books from which I pull pieces. Included are explanations of ways I use the excerpts.

Plus, university writing courses often use excerpts, so using them is a great way to prepare classes. If you read a publication like the New York Times, keep your eyes open to pieces you can add.

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This book might be the most loaned book from my classroom library. Dashka Slater is a journalist who wrote The 57 Bus , a story told from two perspectives of what became a hate crime.

Five Little Indians

Michelle Good’s novel portrays the lives of residential school survivors. The uses for Five Little Indians is diverse. Dialogue, setting, and pacing shine through in this story.

The Forgotten Girls

Monica Potts’ memoir weaves research into a narrative. The story covers rural women and their limited options. When older students write narratives, I encourage them to add research and use Potts’ memoir as a mentor text.

The Sun Does Shine

I’ve written about The Sun Does Shine before. Pieces from Anthony Ray Hinton’s story have been in my American literature class too. For a writing class, chapter two, “All American,” works well for modeling background and flashback.

Chapter twenty-seven, “The Symbols of Caste” works as a model for comparing two situations. Isabel Wilkerson compares America’s response to slavery to Germany’s response to the Holocaust. Her pacing and transitions serve as strong examples.

Slavery by Another Name

Douglas A. Blackmon’s book provides examples of incorporating primary sources into research. The end to the chapter, “New South Rising” has a short piece to analyze with writers.

The chapter, “Took Over the OxyContin Belt” serves as a mentor text for narrative nonfiction. From its hook to its powerful concluding paragraph, this short chapter helps me to model narratives.

Patient H.M.

Patient H. M. is about lobotomies, written by the grandson of a famous doctor who performed them decades ago. Luke Dittrich incorporates interviews into research. You can also use excerpts to model writing about delicate topics.

Excerpts from larger books provide authentic texts for young writers and if they are interested, you can loan them the book. Incorporating mentor texts into your high school writing curriculum provides young writers with inspiration and examples.

For those readers who are designing a homeschool writing curriculum, you can ask your local librarian for suggestions regarding books of varying genres.

In conclusion, a high school writing curriculum should provide a structured approach to writing that covers key components such as grammar, vocabulary, and essay writing. It should also offer options that cater to different learning styles and preferences.

While most writing curriculums have their merits, it is important to incorporate creative elements to engage and inspire today’s high schoolers with your own touch. By tailoring the curriculum to your student’s needs and interests, you can make the learning experience more enjoyable and effective.

Replace a student workbook with excerpts, webinars, and audio pieces to diversity the curriculum.

Remember, the goal is to equip them with the necessary skills to express themselves confidently and effectively in various writing formats. You can see details of my high school writing curriculum as a foundation for your classes.

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Creative Writing: Complete 9-Week Class & Curriculum for High School

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Description

Take the stress out of planning a high school Creative Writing class with this complete, 9-week elective course curriculum bundle! This Complete Creative Writing Class Bundle includes everything you need to teach creative writing skills, poetry analysis, and engage students in a variety of writing at the high school level!

In this engaging 9-week elective creative writing class, students will learn and apply literary terms, analyze mentor texts, and write their own original poems and stories. This full course bundle includes daily warm-ups, projects, individual poem writing activities, mini lessons, and more--everything you need to create a creative writing class that is low-stress and works for both you and your students.

The included bundle-only bonus calendar is flexible. Choose from two different bell ringer or warm-up activities. Move lessons and projects around to suit you or your academic calendar. Plus, most activities and lessons include a digital version, so you and your students can stay on track no matter what! (Writing mini lessons are printable only .)

These lessons and activities are the same curriculum and lessons that I've personally used with my high school creative writing students. My students are usually a mix of low-level 11th and 12th graders. Depending on your students' ability levels, these lessons could work for middle school through high school (look through resource previews to get an idea of rigor).

This Resource Includes:

• Journal Prompts
• Poem of the Week Activities
• Figurative Language Mini Unit
• Writing Workshops and Mini Lessons
• Poetry Writing Activities
• Fairy Tale Retelling Project
• Author Study Project
• 2-Sentence Horror Stories
• "Nicholas Was..." Holiday Analysis and Activity
• Literary Terms Test
• 9-week Suggested Course Calendar
• Day 1 Google Slides Presentation
• Directions for a Storytelling Game
• Create Your Own Poem of the Week Project (from the Poem of the Week bundle)

Please look at each of these resources individually prior to purchase . Each resource includes an extensive preview, and I want you to be sure that these products will work for you and your students prior to purchase!

***This bundle consists of a mix of editable and non-editable resources, as well as a mix of Zip folders and Google folders. In order to access your purchase, you will need to give Teachers Pay Teachers access to your Google Drive. Before purchasing, please review the preview to make sure these resources support your and your students' needs. The whole of each resource, with the exception of any answer keys, is included in each activity's preview--please look at each product to make sure you'll be happy with your purchase.

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Creative Writing

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Creative Writing News

List of 13 news stories..

Dalton's Second Annual Poetry Festival Welcomes Award-Winning Poets

MS Students Virtually Ascend to Spelling Stardom

Scholastic Announces Dalton Award Winners in Art and Writing

Dalton Middle School Student Wins Scholastic Scopes Write-A-Story Contest

Students Meet Diverse Voices in Dalton Working Poets Project

Dalton 7th Grader Wins Scholastic Scope National Writing Competition

French Teacher Allison Albino Wins Prize at Poetry Contest

Congratulations to MS National Scholastic Scope Winners

Three Dalton Students Honored at New York Society Library

Pulitzer Prize-Winning Poet Gregory Pardlo Visits Dalton

Dalton MS & HS Students Awarded in NYC Scholastic Art & Writing Competition

Advanced Poetry Student Authors Share Their Writing

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Books for Writers

• Style: Toward Clarity and Grace The best guide to the mechanics, style and methodology of writing. One of the best poets I've ever met credits this book with teaching him how to write!
• The Art of Fiction The classic text! John Gardner provides a wonderful way of thinking about the art and practice of fiction writing.
• In the Palm of Your Hand A great introduction to poetry writing, with prompts, exercises and thoughtful discussion.

Writing Prompts

• Prompts for Writers A nicely done blog with prompts for writers. You can even add your own!
• Writer's Digest Prompts Some thoughtful prompts from Writer's Digest.
• Easy Street Prompts Great image-based prompts for writers!
• Creative Writing Prompts Roll the mouse over these prompts for a quick burst of inspiration.

Spring Programs

• New England Young Writers Conference Another spring offering. Spend a long May weekend at the Middlebury's Breadloaf (on which Bronxloaf is modeled!) in northern Vermont.

Summer Programs

• Bard College at Simon's Rock Young Writer's Workshop A three-week workshop on the beautiful Simon's Rock campus in the Berkshires.  Fantastic writing across all genres, great writing companions, incredible off-campus trips to plays and the Book Barn (a.k.a. the greatest bookstore ever.)  Molly W. went and had the best consecutive three weeks of her life.
• Berkeley Summer Creative Writing Program Intended primarily for undergraduates, the Berkeley program offers high school students a rigorous and challenging six-week experience. If you want to dive into the deep end of the pool, this might be for you!
• Bronx Loaf A spring course, Bronx Loaf offers a weekend length creative writing workshop just north of Dalton!
• Center for Creative Youth A five-week course of study including creative writing on the campus of Wesleyan University.
• Columbia Summer Writing Program Summer writing workshops for high school students available right here in NYC.
• Interlochen Arts Camp Or not so far West. Three week creative writing workshops among the lakes of northern Michigan.
• Idyllwild Arts Summer Writing Program Go West, young writer, go West. Two week residential workshops in the high desert of California.
• Iowa Young Writer's Studio Two week workshop at the University of Iowa, home to the world’s best-known MFA program. Offers fiction, poetry, and a creative writing focus that lets you write in multiple genres.
• Ithaca Young Writers Institute A two week workshop in early July, the Writers Institute combines creative and professional writing courses, with a focus on the business of writing that sets it apart from other programs.
• The Kenyon Review Young Writers Workshop Two week workshops at Kenyon College, which has a wonderful reputation for creative writing. Several Dalton Creative Writing Program alums are currently attending Kenyon!
• Juniper Institute for Young Writers A one week residency at the University of Massachusetts, Amherst with craft sessions, workshops and readings.
• New York State Summer Young Writers Institute A one week workshop offered in June on the campus of Skidmore College in Saratoga Springs, NY.
• Poets House Summer Intensive Workshop Poets House, right here in New York City, offers a marvelous range of opportunities, including this intensive one-week summer workshop for high school students.
• Putney School Summer Creative Writing Workshops Three week sessions (or a six week session, for the brave-hearted) studying creative writing in beautiful Putney, Vermont. Added bonus: on your way up Kimball Hill through Putney look to the right for the white house behind a line of stately locust trees, Mr. Hood’s childhood home.
• Pratt's Pre-College Summer Program An option for those who would like to do some summer study right here in NYC. Classes available at Pratt's Brooklyn and Manhattan campuses.
• Reynolds Young Writers Workshop An intensive 8 day workshop in Ohio. Offered every year in June. A good way to kick-start your summer of writing!
• Sarah Lawrence Summer Programs In Mr. Hood's Westchester town of Bronxville, Sarah Lawrence College offers summer programs that include creative writing options.
• Sewanee Young Writers' Conference Two week intensive creative writing workshops at Sewanee, The University of the South. No promises during the summer, but during the year, students and faculty at Sewanee wear academic robes to classes. A graduate of the program wrote Beasts of the Southern Wild!
• UVA Young Writers Workshop One of the first programs for high school students, the Young Writers Workshop takes place on the beautiful campus of the University of Virginia.
• Your Word: Teen Creative Writing Residency An intensive twelve day writing residency at the Atlantic Center for the Arts on the Florida coast. Mr. Hood has done a residency at ACA and loved the place!

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How to Teach Creative Writing to High School Students

Creative Writing was forced onto my schedule; I didn’t ask for it. But it ended up becoming my favorite class period of the day. While academic English courses can feel high-stakes and always short on time, Creative Writing can be a refreshingly relaxed elective class. In many districts with loose curriculums, Creative Writing is what you make of it. In this post, I outline six steps to show you how to teach creative writing to high school students.

Why Teach Creative Writing

Before we get into the how , let’s first address the why . Why bother teaching Creative Writing in the first place? Students’ basic skills are lower than ever; is now really the time to encourage them to break the rules?

If you want to get really deep into why you should teach Creative Writing, I have a whole post about it here.

But think about why you love reading. Is it because you were made to annotate or close read a bunch of classic novels? Probably not. You probably fell in love with reading while you were reading something that was fun. And because it was fun, you read more, and your skills as a reader grew.

The same principle applies to writing. If we can make it fun for our students, perhaps we can foster a love for it. And passion is what leads, eventually, to mastery.

Giving our students the opportunity to fall in love with writing is a gift that might help them grow in their academic writing later.

Teach Creative Writing to High School Students Step #1: Decide on Your Standards or Goals

Your school or district may have a mandated syllabus or curriculum. Mine did not. 

Whether you’re given student goals or have to create them, you must have an overall vision for what your Creative Writing class will accomplish. 

Is this a laid-back, engaging course designed to help students discover the fun in writing? Or is it a supplement to rigorous academics for college-bound high school students? 

If you know your school’s student population well, I encourage you to think about their needs. Some students just need to write more–more of anything, but lots more. Some students are high achieving and ready to write their first novels! If possible, design your course around the needs and interests of the general student population in your school or district. 

Regardless of how rigorous your Creative Writing course will be, deciding on these goals first will help you in backwards planning. 

Teach Creative Writing to High School Students Step #2: Choose Your Final Assessments and Big Projects

Before we can start planning our lessons, we have to decide what skills or knowledge our students will need. And to know what they need, we have to decide on their summative assessments.

Will your final assessment be a short story? A collection of poetry? Are you required to offer a final exam?

Once you know what students will need to do, you can make a list of the skill they’ll need. This list will become a list of lessons you’ll need to teach.

Fairy Tale Retelling Project

My Fairy Tale Retelling Project is a great Creative Writing assessment. For this project, students had to first choose a fairy tale. Then, they rewrote the story from the perspective of the villain.

This project works really well because students have structure. They can pick any fairy tale they want, but they can’t write about just anything.

Secondly, students already know the story, so they don’t have to worry about a beginning, middle, and end. The open-endedness of writing a story completely from scratch has paralyzed my students before. Structure allows students lots of creative freedom without the excuse of “I don’t know what to write.”

Author Study Project

If you’d like your Creative Writing class to help beginner writers have fun and just get some practice with fiction writing, a Fairy Tale Retelling Project would probably be perfect for your class.

Another project I’ve done with my students is an Author Study . In this project, students choose one author to study in-depth. Then, they attempt to replicate that author’s style in an original work.

If you’d like your class to also include lots of exposure to other writers or classic literature, then this might be a great assessment for your class.

Learn more about doing an author study in this step-by-step post.

Test or Final Exam

I also gave my students a final exam focused on literary terms.

This Literary Terms Test allowed me to test students on the academic knowledge they gained throughout class instead of their writing ability. This test also helped me fulfill my district’s requirement of having a final exam at the end of each course.

Once you’ve decided on your class’s major projects and assessments, you can begin designing the rest of your class.

Teach Creative Writing to High School Students Step #3: Backwards Plan

Now that you know what your students will need to do at the end of this class, you can list out everything you need to teach them in order for them to be successful.

For example, if you opt for an author study as a final project, you know what you will need to cover. You will need to teach students some literary terms so that they can describe an author’s style. You’ll need to show them how to analyze a poem.

During the course of your class, you’ll also want to expose students to a variety of authors and mentor texts. Students will need to practice basic writing techniques in order to replicate those of their chosen authors.

If you need some inspiration for what kinds of lessons to teach, check out this post on essential Creative Writing lessons.

Teach Creative Writing to High School Students Step #4: Decide on Your Class Structure

Once you’ve decided on the end goals for your Creative Writing class, you can use them to help create day-to-day plans. 

What will your class look like? Will it be full of lots of quiet and independent work time? Will it be full of frenetic energy with students working in collaborative groups? Are students writing in notebooks or on laptops?

Of course, a successful class will most likely include a mixture of all of the above. But it’s up to you to decide on your ratio. 

Again, I encourage you to think about your school’s population. If you’re on ninety-minute blocks, is it realistic for students to be quietly writing that whole time? If you have high-achieving students, might they benefit from working independently at home and then getting and giving peer feedback during class time?

Use your goals to help decide on a general class structure. 

Warm-ups for Creative Writing

You’ll need a consistent way to begin each class.

When I initially began teaching Creative Writing, I just wanted to provide my students with more time to write. We began every class period with free writing. I gave students a couple of prompts to choose from each day, and then we’d write for about ten minutes. 

( Those journal prompts are right here . Every day includes two prompts plus a third option of freewriting.)

Students were given the option to share part of their writing if they wanted to. Every couple of weeks I’d flip through their notebooks to make sure they were keeping up, but I only read the entries they starred for me in advance. 

Later, I wanted to add some rigor to my Creative Writing class and leverage more mentor texts. I created a Poem of the Week activity for each week of the course. 

This gave students the opportunity to study professional writing before using it as a mentor text for a new, original piece. 

(You can read more about using these Poem of the Week activities here.) 

As my goals for the class and my students change, so did the way we began class. 

How can you begin your class in a way that supports the end goals or teaches the desired standards? How often will peers work together?

Teach Creative Writing to High School Students Step #5: Focus on Engagement Strategies

Now you can actually start planning lessons and projects!

But as you do so, focus on creating engaging ones–especially if your class is meant to be a fun elective.

Need more tips? Check out this post full of Creative Writing teaching tips!

Use Mentor Texts and Lots of Examples

Have you ever tried putting a puzzle together without knowing what the image was going to look like? It would be pretty difficult! Similarly, students need lots of examples of strong writing to aspire to. 

Without clear models or mentor texts , students will happily turn in unread drafts. They’ll choose the first word that comes to their mind instead of searching for a better one. 

But if you surround students with great writing, highlight strong technique when discussing the writing of others, and challenge them to notice the details in their own writing, they’ll naturally become better at self-editing.

I don’t believe that you can provide students with too many mentor texts or examples of strong writing. As you teach Creative Writing, keep or take pictures of strong writing samples from students to use as examples later. 

Nearly all of my lessons and projects include an example along with instruction.

Model and Create with Your Students

You can even use your own writing as an example. When I had students free write to creative writing prompts, I always wrote with them. Sometimes I would then put my notebook under the document camera and model reading my own work.  

I would cross out words and replace them or underline phrases I thought were strong enough to keep. Model for students not just great writing, but the process of strengthening writing.

And then give them plenty of time to edit theirs. This is when having students engage in peer feedback is a game-changer. 

Without great writing to aspire to, however, students easily become lazy and turn in work that is “good enough” in their eyes. Don’t let them get lazy in their writing. Keep throwing greater and greater work in front of them and challenge them to push themselves. 

(This is another reason I love using Poem of the Week warm-ups –they expose students to a new writer every week!)

Set Clear Expectations

Creative writing causes a lot of students anxiety. There’s no “right” answer, so how will they know if they creatively wrote “correctly?”

Help them out by setting clear expectations. Offering a rubric for every project is great for this. If you can, give them specifics to include. “At least 500 words” or “three or more similes” are nice, concrete guidelines that students can follow.

Give Students Choice

Offering students choice always boosts engagement. It lets students take charge of their learning and pursue something that interests them.

For example, when I teach odes , students are given the opportunity to write about something they love.

With an author study , students can study a writer whose style and work they admire.

Teach Creative Writing to High School Students Step #6: Use Clear and Structured Expectations

While showing students excellent prose or perfect poetry should help inspire students, your writers will still need some hard parameters to follow. 

Academic writing is often easier for students than creative writing. Usually, academic writing follows a structure or certain formula. The rubric dictates exactly how many quotes need to be included or how long an essay needs to be. MLA or APA formats tell students how to punctuate quotes and citations. 

These rules don’t apply to creative writing. And while that’s exactly what makes creative writing awesome, it’s often overwhelming. 

So do your students a favor and give them some clear expectations (without, of course, entirely dictating what they need to write about).  

The project also includes a rubric, so young writers know what should be included in their stories.

Don’t give your students so much creative freedom that it paralyzes them! Your writers are still students; give them the same level of structure and organization that you would in any other class. 

Engage your students in more creative writing!

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Teach Creative Writing to High School Students Step #7: Give Students Choices

So how do you give students frameworks, requirements, and uphold high expectations without stifling their creativity?

Give students choices. You can write about A, B, or C, as long as you meet requirements 1, 2, and 3. 

Offering choices works with small one-day assignments or lessons as well as bigger, longer-term projects. 

The previously mentioned Fairy Tale Retelling Project is a great example of offering a narrow selection of choices that uphold expectations without dictating what students write. 

Another one of my favorite examples of offering students choices is my “Show. Don’t Tell” Mini-lesson . This lesson touches on everything students need to successfully learn creative writing. 

First I teach them the concept of showing vs. telling in writing through direct instruction. I show them lots of examples of expanding a “telling sentence” into a “showing paragraph.”

Then I model for students how I would write a paragraph that shows crucial information, rather than telling it. 

Lastly, I have students pick a strip of paper from a hat or a bag. Each strip of paper contains a “telling sentence” that they must then write as a “showing paragraph.” Students are limited by the sentences I provide, but they still have complete freedom over how they achieve that detailed paragraph. 

If you wanted to give students even more freedom, you could let them pick their sentences or trade with a peer rather than blindly choosing. 

Any time you can give students a choice, you give them permission to use their creativity and allow them to take some of the initiative in their own learning.

Teach Creative Writing to High School Students Step #8: Encourage Peer Collaboration and Feedback

We can tell students something a hundred times, but they won’t listen until a peer says the same thing. Us educators know the value of positive peer interaction, so don’t limit it in a creative writing class!

There are a ton of ways to implement peer interaction in a creative writing class. I often do this on the first day of class with a writing game. You’ve probably heard of it: everyone writes a sentence on a piece of paper, then everyone passes the paper and adds a sentence, and so on. 

I highly encourage you to use peer feedback throughout the class. I usually start having students share their work from day one with my free “I Am” Poem Lesson so that they can start getting used to having their work read by others immediately.

Make getting feedback so routine in your room that students don’t even question it.

It’s really tempting to let students get away without sharing their work. We don’t want to make shy or anxious students uncomfortable. I mean, what better way to completely ruin creative writing for a student than to make them feel embarrassed all the time, right?

But keep trying to encourage shy students to share. Even if that means you share it anonymously or read it aloud for them. 

I recommend including some kind of peer feedback with every writing assignment . Yes, even short practice assignments. This will work as a kind of “immersion therapy” for receiving feedback on more involved work.

After some time, you might find that your students even begin to share their work without your prompting! 

I like to organize the desks in my Creative Writing class so that students are in little groups. I’ve found that at least half of my classes will begin talking and sharing with one another in their little groups while working on projects. 

They’ll ask each other questions or to remind them of a word. They’ll read sentences aloud and ask if they sound right. Personally, I would much rather hear this kind of chatter in my class than have a dead silent room of boring writers!

However you decide to allow students to work together, be sure to provide the opportunity. Reading and getting feedback from peers could possibly teach students more about writing than any of your instruction (sorry!).

One of the truly great things about teaching creative writing to high school students is that there often isn’t a rigid curriculum. Of course, this is also sometimes one of the worst things about teaching creative writing to high school students!

You have total freedom over the assignments you give, the standards you teach, and how you organize and structure your classroom. After a few years of teaching Creative Writing, however, I’ve found that sticking to these six steps is a great way to have a successful semester.

If you’re excited about teaching your Creative Writing class, but are running low on prep time, check out my complete 9-week Creative Writing course ! Included are two different types of warm-ups, poetry analysis activities from well-known authors, mini-lesson, projects, and more!

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What might a pathway look like for a student starting out with IEW in ninth grade?

If your student is reading at grade level, we recommend starting with the Structure and Style for Students: Year 1 Level C Premier package for you and your student in ninth grade. Tenth grade would be a good time to use Windows to the World taught in conjunction with Teaching the Classics or taught as a one-semester class paired with Introduction to Public Speaking. For eleventh grade, use Structure and Style for Students: Year 2 Level C.  Andrew Pudewa discusses additional options for your high school student in his conference talk Hacking High School: Rethinking the Teen Years . Grammar, spelling, public speaking, and entrepreneurship can be added as well. Call, chat, or email us for additional support with making decisions!  

I have a high school senior. Where should I start with IEW to make sure he gets as much writing instruction as possible before graduation?

Structure and Style for Students: Year 1 Level C provides a solid foundation in writing while also expanding into more advanced essay models such as research papers and persuasive essays. Take it one step further and hone your student’s grammar expertise before he enters college or the workforce. Fix It!™ Grammar will provide you with a full-year grammar course. In the Fix It! Grammar language arts and grammar curriculum, students internalize the rules instead of just memorizing them. That’s because Fix It! Grammar encourages students to critically analyze an ongoing story by searching for and fixing embedded errors, and in the process, students incorporate accurate punctuation and correct grammar more easily into their own compositions. To ensure you start the program at your student’s level of ability, we recommend reviewing the skills listed for each level on the Fix It! Grammar landing page. 

Does IEW count as a full high school English credit?

High school credits vary depending on where you live. Please check with your state homeschool organization for the best way to calculate credits for your particular student. English encompasses communication skills: composition (writing), literature, public speaking, grammar, and may also include vocabulary and spelling. You will need to make sure you are covering all of the requirements for your state .  Lee Binz with www.homehighschoolhelp.com understands the difficulty in creating high school transcripts and is dedicated to providing parents with specific beneficial answers to transcript questions. If you have questions about high school credits and transcripts, we encourage you to contact her . She will be happy to help.

Is IEW for High School? webinar

De-Confusing Essays article

Six Calming Answers to Six Panicky Questions about High School English for Homeschoolers article

Hacking High School: Rethinking the Teen Years – presentation by Andrew Pudewa

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Fall 2020: Introduction to Creative Writing: Hybridity, Identity, and Getting Weird With It

If you’d prefer to download this syllabus in PDF form—including a working schedule for the whole semester— please click here .

ENW 210: Introduction to Creative Writing: 

Hybridity, Identity, and Getting Weird With It

lehmanfallcw.commons.gc.cuny.edu

Instructor: Prof. Zefyr Lisowski

MW 12:30 – 1:45 PM 

Office Hours Monday 11:30 to 12:30 or by appointment

[email protected] | [email protected]  

Course Description

How are we creative? What in our lives leads us to be creative? This course explores various types of creative writing—playwriting, fiction, and poetry—all through the lens of identity, hybrid-ness, and getting weird. Students should be prepared to listen closely to each other and the texts we’re looking at, push themselves in their writing and thinking, and develop skills in a wide range of forms. This can be intense work! As such, I invite you all to take your time with difficult assignments, let me know if you can’t complete a reading, and try and get yourself in a state to “create freely” through writing as frequently as you can, in as many different ways as you can. 

This class will emphasize developing craft through interrogating, writing from, and (in some cases) writing against one’s identity, so be prepared to get messy!

Course Expectations

We’ll draft up course expectations together on the first day, although regardless of what we decide on, compassion and deep engagement with each others’ work is as must. Avoid talking over other people if you can, and if you’re excited about something (or, conversely, really dislike one of the readings I’ve given you) say so!

As far what you can expect to take from this, here are the department’s outcomes:

• Build a community of creative writers sustained through insightful and constructive feedback
• Analyze, produce and learn about avenues for publishing a broad range of creative writing, including fiction, poetry, playwriting, and creative nonfiction

And here are my own addendums to this: 

By the end of the semester students will  be able to: 1) demonstrate their close reading skills by reading and discussing selections in all three genres; 2) develop their creative writing through weekly writing assignments covering all three genres; 3) refine and deepen their writing through revision exercises; a final project consisting of one piece in each genre; and written reflection on the writing process; and 4) engage in verbal workshop critiques of classmates’ work that draws on critical reading skills developed through discussion of literary selections.

Course Materials Get a notebook for our class. Get a pen or pencil. If you have a smartphone, make sure you’re comfortable using the notes function on it—or even better, Google Docs (if not, don’t sweat it). Do you have all of these things? Incredible, that’s the majority of your required materials.  This class is not a comprehensive survey of the history of creative writing in the English language; what we wind up talking the most about is subject to both my own interests and your own. We’ll look mainly at PDFs and web links of poems, stories, and essays, but you will also be responsible for selecting and purchasing at least one hybrid work from the list below to discuss; take some time to google what looks the most interesting to you. We will discuss these books individually by the halfway point of the semester, so reading them ahead is recommended.

Hybrid Works (Combine Fiction, Nonfiction, and Poetry) 

These works are available at a number of sources, including online, at used and new bookstores. You will select one of these books for a final presentation. Let me know if you have any issues with affording a copy. 

Zami: A New Spelling of My Name, Audre Lorde, The Crossing Press, 1982 (available as a free PDF here ) ISBN 0895941228

Fierce Femmes and Notorious Liars, Kai Cheng Thom, Metonymy Press, 2017. ISBN 0994047134

Skim, Jillian and Mariko Tamaki, Groundwood, 2008*** ISBN 088899964X

***This book is a graphic novel/comic book; however, I invite you to think about the same ways it can also be a blurring of form!

________________

Requirements:

Readings : Come into class prepared to discuss all readings you were assigned. Think of things you liked and things you felt troubled by. Coming into your own as a writer so frequently involves coming into your own as a reader as well; connect these pieces w/ your own works in terms of techniques you could thieve, small details you noticed, and the emotional resonance of each work.

Writing Prompts: Each week you will have a creative/critical assignment due. Pick one element from the work you find interesting, and write in that mode. It could be writing a story using a similar narrator as the story we read, revealing information in the same kind of way as a specific nonfiction writer, or using a similar image to one of the poets we read. Revise as you feel necessary and turn in whatever you write. Some weeks, you will get a specific prompt, as opposed to being able to craft your own. Approach this much the same way! 

Forum Presentations: On forum presentation days, you’ll post an excerpt and short analysis on a book you’ve read outside of class that you’re especially excited by . In this post, you’ll discuss whatever you find interesting therein, and you’ll moderate (respond to, highlight, and discuss other people’s posts) a discussion on the forum.

Attendance: Attendance and participation are very important to this course. I expect everyone to be on time and be prepared for all classes; this means doing the reading, doing the assignments, and being prepared to respond to each other’s writing. However, if you have a disability, health, or family/work condition that makes completing the work (or punctuality, or attendance) difficult, let me know. 

Due dates, likewise, must be received within 24 hours of the deadline unless previously informed; the grade will drop by one letter grade each day after that. 

Workshops: Occasionally we’ll workshop each other’s work. This is indicated on the class website by “WORKSHOP” being written in all caps by the day in question. You’ll be assigned groups, and will only have to read each other’s work this week. Come in with comments, thorough questions, and a (kind) letter towards the writer on what you like or don’t like. 

University Policies:

A Note on Grading

This course practices qualitative, not quantitative assessment.  So what does that mean? I won’t give you grades on every assignment, but will provide written and feedback for everything you turn in. I’ll meet in the middle of the semester with each of you to discuss course progress, and at the end of the semester will submit a final grade based on (1) assignment completion; (2) your own self-assessment; and (3) my own evaluation of your progress. Feel free to ask any questions!  This policy is adapted from several other professors; here’s more information if you’re curious about why I’m doing this.

A Note on Scheduling

I realize that there are unique difficulties associated with digital learning. Our class is scheduled to meet twice a week on Lehman’s schedule, on Monday and Wednesday. We’ll be meeting every Wednesday synchronously, via Zoom. Mondays will be reserved for asynchronous work, a time to engage in forum posts, writing, class reading, and homework assignments in preparation for the next synchronous class. Occasionally, we may meet, either in person or one-on-one, on Mondays; you’ll receive ample notice over email when this is scheduled. We’ll discuss this more on the first day of class. 

I think it’s important to say: we’ll be reading some materials that may be difficult—either emotionally or formally. If you’re triggered by any of the materials we’re discussing, let me know and we can make accommodations together. 

This is a living syllabus; especially towards the end, what we’ll read and discuss will have as much to do with your needs and interests as my own. As such, check CUNYCommons and my class emails for the most up-to-date assignment lists.

A note on our identities:

We’re coming to this class from a wide range of different experiences, all of which impact our own writing. A lot of us may have experiences with violence that impact our comfort in the classroom and certainly can impact our writing. To this end, I encourage everyone to treat each other respectfully, including in the assignments you bring in; racist, homophobic, sexist, classist, ableist, transphobic, or otherwise discriminatory language won’t be tolerated, unless you can provide a full and convincing explanation of why you use it.

However, everyone makes mistakes (myself included)! If you see someone being rude, politely let them know. If someone tells you you were rude, consider where they are coming from! Hopefully, no one here wants to hurt anyone else.

I’ll try to put into place some safer space policies, including asking for pronouns and providing content warnings for pieces; however, I may slip up. Please, don’t feel afraid to tell me if I do so.

Above all, approach this with a sense of exploration. We’ll spend some of the first day talking about identities, but this is a conversation that is threaded through all of the works we’ll be discussing. Identities (especially gender and sexuality) can change throughout a semester. Keep that in mind, and, in your writing and class presence, try and explore who you are as much as what the writing is. Let’s jump into things.

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Embark on the Journey

High school creative writing.

Homeschooling

You can teach high school creative writing even if you’re not a writer yourself! Come see how you can do it without killing their creativity.

What do you do when your child loves creative writing, and you have no idea how to teach it? 

You research, of course! We have used so many writing programs over the years trying to find something that would combine my daughter’s passion for creative writing with my desire to train her to write college-level papers.

The problem is that I’m not a creative writer. Yes, I know. I’m a blogger, and I just said “I’m not a writer.” I’m a chatter. I talk to you through my blog. I write as if we’re hanging out at the coffee shop talking about homeschooling and being moms. I write non-fiction. True stuff. Life lessons.

High School Creative Writing Curriculum

Writing essays and research papers…

That’s a whole different story. I can teach the basics of a five-paragraph essay. I can teach the proper way to site resources in a research paper. But, my math-loving, left-brain self cannot “teach” creative writing.

What is Writing Fiction in High School?

Writing Fiction [in High School]: Bringing Your Stories to Life is a writing curriculum designed to introduce high school students to the concepts of fiction. Seems pretty clear cut, huh? But, what exactly does that mean?

This writing course is designed to help high schoolers write fictional short stories and novels.

There are two tracks available in this course. One track is designed for all writers no matter how proficient they are with writing. The second track, which is optional, is designed for students who have already begun writing their own short story or novel. The assignments throughout the course are clearly marked as to which ones are for everyone and which target the manuscript tract.

Topics covered throughout this course include point of view, conflict, dialogue, theme, plot, and more.

What do we think about it?

My daughter, 8th grade, has many notebooks full of short stories and the beginnings of novels. She turns her interests and life stories into stories that she may or may not ever publish. Her goal for this program is to “get better writing skills for my stories.”

She is really enjoying the assignments so far. “They’re fun, and they are helping me grow as a writer.”

How do we use it in our homeschool?

Writing is best done in some form of a group setting so writers can receive critiques and feedback on their work. Since we don’t have a writing group of our own, she and I are going through this course together.

I have no desire to formally write a short story or novel so you could consider me a reluctant writer. My kiddo, as I mentioned above, has notebooks and notebooks full of short stories.

The beauty of Writing Fiction [in High School] is that it appeals to us both. For my writer, it is showing her new techniques and honing the skills she’ll need to continue working on the stories she’s started. For me, the lessons are easy to follow, easy to understand, and not intimidating. They’re easy to teach and fun to do. We’re both having a lot of fun!

Each of the thirteen chapters in the book contains multiple lessons. There is a clear “end of today’s lesson” sign at the end of each section. We try to complete at least one section 3-4 days a week.

We’re having lively discussions about the lessons and about our writing. Sharing our writing offers us a chance to look at each other’s perspective. So far, our favorite activity has been to write an ABC story – a 26 line story with each line beginning with the next letter of the alphabet.

ENG 231. Intro to Creative Writing

Spring 2014.

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The Online Writing Lab at Purdue University houses writing resources and instructional material, and we provide these as a free service of the Writing Lab at Purdue. Students, members of the community, and users worldwide will find information to assist with many writing projects. Teachers and trainers may use this material for in-class and out-of-class instruction.

The Purdue On-Campus Writing Lab and Purdue Online Writing Lab assist clients in their development as writers—no matter what their skill level—with on-campus consultations, online participation, and community engagement. The Purdue Writing Lab serves the Purdue, West Lafayette, campus and coordinates with local literacy initiatives. The Purdue OWL offers global support through online reference materials and services.

A Message From the Assistant Director of Content Development 

The Purdue OWL® is committed to supporting  students, instructors, and writers by offering a wide range of resources that are developed and revised with them in mind. To do this, the OWL team is always exploring possibilties for a better design, allowing accessibility and user experience to guide our process. As the OWL undergoes some changes, we welcome your feedback and suggestions by email at any time.

Please don't hesitate to contact us via our contact page  if you have any questions or comments.

All the best,

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