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

“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”).

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.

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 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 .

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

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Inspiring Ink: Expert Tips on How to Teach Creative Writing

The world of creative writing is as vast as it is rewarding. It’s a form of expression that allows the writer to explore different worlds, characters, and narratives – all within the power of their pen.

But what exactly is creative writing and why is it important? Let’s explore the value of creative writing and how to inspire young (or old!) minds to embark on the curious and exciting journey of writing creatively – it’s easier than you think!

What is Creative Writing?

Creative writing, in its simplest form, is writing that goes beyond the bounds of normal professional, journalistic, academic, or technical forms of literature.

It’s characterized by its emphasis on:

• narrative craft
• character development
• the use of literary devices

From poetry to plays, scripts to sonnets, creative writing covers a wide range of genres . It’s about painting pictures with words, invoking emotions, and bringing ideas to life . It’s about crafting stories that are compelling, engaging, and thought-provoking.

Whether you’re penning a novel or jotting down a journal entry, creative writing encourages you to unleash your imagination and express your thoughts in a unique, artistic way. For a deeper dive into the realm of creative writing, you can visit our article on what is creative writing .

Benefits of Developing Creative Writing Skills

The benefits of creative writing extend beyond the page.

It’s not just about creating captivating stories or crafting beautiful prose. The skills developed through creative writing are invaluable in many aspects of life and work.

1. Creative writing fosters creativity and imagination. 

It encourages you to think outside the box, broaden your perspective, and explore new ideas. It also enhances your ability to communicate effectively, as it involves conveying thoughts, emotions, and narratives in a clear and compelling manner.

2. Creative writing aids in improving critical thinking skills.

It prompts you to analyze characters, plotlines, and themes, and make connections between different ideas. This process activates different parts of the mind, drawing on personal experiences, the imagination, logical plot development, and emotional intelligence.

3. Creative writing is also a valuable tool for self-expression and personal growth.

It allows you to explore your feelings, experiences, and observations, providing an outlet for self-reflection and introspection. By both reading and writing about different characters in different situations, readers develop empathy in a gentle but effective way.

4. Creative writing skills can open up a host of career opportunities.

From authors and editors to content creators and copywriters, the demand for creative writers is vast and varied. You can learn more about potential career paths in our article on creative writing jobs and what you can do with a creative writing degree .

In essence, creative writing is more than just an art—it’s a skill, a craft, and a powerful tool for communication and self-expression. Whether you’re teaching creative writing or learning it, understanding its value is the first step towards mastering the art.

The 3 Roles of a Creative Writing Teacher

Amongst the many facets of a creative writing teacher’s role, three vital aspects stand out: inspiring creativity , nurturing talent , and providing constructive criticism . These elements play a significant role in shaping budding writers and fostering their passion for the craft.

1. Inspiring Creativity

The primary function of a creative writing teacher is to inspire creativity.

They must foster an environment that encourages students to think outside the box and explore new possibilities . This includes presenting students with creative writing prompts that challenge their thinking, promoting lively discussions around various topics, and providing opportunities for students to engage in creative writing activities for kids .

Teachers should also expose students to a range of literary genres , styles, and techniques to broaden their understanding and appreciation of the craft. This exposure not only enhances their knowledge but also stimulates their creativity, encouraging them to experiment with different writing styles .

2. Nurturing Talent

Nurturing talent involves recognizing the unique abilities of each student and providing the necessary support and guidance to help them develop these skills. A creative writing teacher needs to identify the strengths and weaknesses of each student and tailor their approach accordingly.

This means:

• offering personalized feedback
• setting realistic yet challenging goals
• providing opportunities for students to showcase their work

Encouraging students to participate in writing competitions or to publish their work can give them a confidence boost and motivate them to improve. Furthermore, teachers should educate students about various creative writing jobs and what you can do with a creative writing degree . This knowledge can inspire students to pursue their passion for writing and explore career opportunities in the field.

3. Providing Constructive Criticism

Providing constructive criticism is a critical aspect of teaching creative writing. It involves assessing students’ work objectively and providing feedback that helps them improve .

Teachers should:

• highlight the strengths of the work
• address the areas that need improvement
• suggest ways to make the piece better

Constructive criticism should be specific, actionable, and encouraging . It’s important to remember that the goal is to help the student improve, not to discourage them. Therefore, teachers need to communicate their feedback in a respectful and supportive manner.

In essence, a teacher’s role in teaching creative writing extends beyond mere instruction. They are mentors who inspire, nurture, and shape the minds of budding writers. By fostering a supportive and stimulating environment, they can help students unlock their creative potential and develop a lifelong love for writing.

3 Techniques for Teaching Creative Writing

When it comes to understanding how to teach creative writing, there are several effective techniques that can help inspire students and foster their writing skills.

1. Encouraging Free Writing Exercises

Free writing is a technique that encourages students to write continuously for a set amount of time without worrying about grammar, punctuation, or topic. This type of exercise can help unleash creativity, as it allows students to freely express their thoughts and ideas without judgment or constraint.

As a teacher, you can set a specific theme or provide creative writing prompts to guide the writing session. Alternatively, you can allow students to write about any topic that comes to mind. The key is to create an environment that encourages creative exploration and expression.

2. Exploring Different Genres

Another effective technique is to expose students to a wide range of writing genres. This can include fiction, non-fiction, poetry, drama, fantasy, mystery, and more. By exploring different genres, students can discover their unique writing styles and interests. This variety also offers the chance to expand their writing skills and apply them to various writing formats.

To facilitate this exploration, you can assign writing projects in different genres, conduct genre-specific writing workshops, or invite guest speakers who specialize in different genres. You can also encourage students to critically analyze how different authors approach their work.

3. Analyzing Published Works

Analyzing published works is a powerful way to teach creative writing. This technique allows students to learn from established authors by studying their:

• writing styles
• narrative structures
• use of language.

It also provides a practical context for understanding writing concepts and techniques.

As a teacher, you can select diverse pieces of literature for analysis , ranging from classic novels to contemporary short stories. Encourage students to identify elements they admire in these works and discuss how they can incorporate similar techniques into their own writing.

These techniques for teaching creative writing are effective ways to inspire creativity, encourage self-expression, and develop writing skills. As a teacher, your role is crucial in guiding students through their creative journey and helping them realize their potential as writers.

Creative Writing Workshops and Exercises

One effective method on how to teach creative writing is through the use of targeted workshops and exercises. These interactive sessions can stimulate creativity, foster character development , and help in understanding story structures .

Idea Generation Workshops

Idea generation is a crucial aspect of creative writing. It is the starting point that provides a springboard for writers to explore and develop their narratives. Idea generation workshops can be an interactive and fun way to help writers come up with fresh ideas.

Workshops can include brainstorming sessions , where writers are encouraged to think freely and note down all ideas, no matter how unconventional they may seem. Another method is the use of writing prompts , which can serve as a creative spark.

A prompt could be:

• even an image

Editor’s Note : Encourage children to create a big scribble on a scrap piece of paper and then look for an image in it (like looking for pictures in the clouds). This can be a great creative writing prompt and students will love sharing their writing with each other! Expect lots of giggles and fun!

Character Development Exercises

Characters are the heart of any story. They drive the narrative and engage the readers. Character development exercises can help writers create well-rounded and relatable characters.

Such exercises can include character questionnaires , where writers answer a series of questions about their characters to gain a deeper understanding of their personalities, backgrounds, and motivations. Role-playing activities can also be useful, allowing writers to step into their characters’ shoes and explore their reactions in different scenarios.

Story Structure Workshops

Understanding story structure is vital for creating a compelling narrative. Story structure workshops can guide writers on how to effectively structure their stories to engage readers from start to finish .

These workshops can cover essential elements of story structures like:

• rising action
• falling action

In addition to understanding the basics, writers should be encouraged to experiment with different story structures to find what works best for their narrative style. An understanding of story structure can also help in analyzing and learning from published works .

Providing writers with the right tools and techniques, through workshops and exercises, can significantly improve their creative writing skills. It’s important to remember that creativity flourishes with practice and patience .

As a teacher, nurturing this process is one of the most rewarding aspects of teaching creative writing. For more insights and tips on teaching creative writing, continue exploring our articles on creative writing .

Tips to Enhance Creative Writing Skills

The process of teaching creative writing is as much about honing one’s own skills as it is about imparting knowledge to others. Here are some key strategies that can help in enhancing your creative writing abilities and make your teaching methods more effective.

Regular Practice

Like any other skill, creative writing requires regular practice . Foster the habit of writing daily, even if it’s just a few lines. This will help you stay in touch with your creative side and continually improve your writing skills. Encourage your students to do the same.

Introduce them to various creative writing prompts to stimulate their imagination and make their writing practice more engaging.

Reading Widely

Reading is an essential part of becoming a better writer. By reading widely, you expose yourself to a variety of styles, tones, and genres . This not only broadens your literary horizons but also provides a wealth of ideas for your own writing.

Encourage your students to read extensively as well. Analyzing and discussing different works can be an excellent learning exercise and can spark creative ideas .

Exploring Various Writing Styles

The beauty of creative writing lies in its diversity. From poetic verses to gripping narratives, there’s a wide range of styles to explore. Encourage your students to try their hand at different forms of writing. This not only enhances their versatility but also helps them discover their unique voice as a writer.

To help them get started, you can introduce a variety of creative writing activities for kids . These tasks can be tailored to suit different age groups and proficiency levels. Remember, the goal is to foster a love for writing, so keep the activities fun and engaging .

Have Fun Teaching Creative Writing!

Enhancing creative writing skills is a continuous journey. It requires persistence, curiosity, and a willingness to step out of your comfort zone. As a teacher, your role is to guide your students on this journey, providing them with the tools and encouragement they need to flourish as writers – and most of all – enjoy the process!

For more insights on creative writing, be sure to explore our articles on what is creative writing and creative writing jobs and what you can do with a creative writing degree .

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. 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: 

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

Enriching Creative Writing Activities for Kids

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Unleashing Creativity: A Guide to Teaching Creative Writing

Thu Apr 18, 2024

Introduction: Creative writing is more than just putting words on paper; it's an exploration of imagination, a journey through the depths of the human experience, and a means of expression unlike any other. Teaching creative writing isn't about simply imparting rules and techniques; it's about nurturing the innate creativity within each individual and providing them with the tools and guidance to unleash their imagination. In this blog post, we'll delve into the art of teaching creative writing and explore strategies to inspire and empower budding writers.

Understanding the Fundamentals: Before diving into the creative process, it's essential to establish a solid foundation of the fundamentals of writing. This includes grammar, sentence structure, punctuation, and vocabulary. While creativity knows no bounds, having a grasp of these basics provides writers with the necessary framework to effectively convey their ideas.

Encouraging Exploration: Creativity flourishes when writers are encouraged to explore different genres, styles, and perspectives. As an instructor, provide opportunities for students to experiment with various forms of writing, whether it's poetry, fiction, non-fiction, or even hybrid forms. Encourage them to step out of their comfort zones and embrace the unknown.

Creating a Supportive Environment: Building a supportive and nurturing environment is crucial for fostering creativity. Encourage open dialogue and constructive feedback among peers. Establishing a community where writers feel safe to share their work without fear of judgment promotes growth and collaboration.

Embracing the Writing Process: The writing process is unique to each individual, but it often involves stages such as brainstorming, drafting, revising, and editing. Teach students to embrace each stage and emphasize that writing is a journey rather than a destination. Encourage them to embrace uncertainty and to see challenges as opportunities for growth.

Igniting Inspiration: Inspiration can be found everywhere, from everyday experiences to dreams and fantasies. Encourage students to keep a journal to capture fleeting ideas and observations. Encourage them to draw inspiration from art, music, nature, and personal experiences. Sparking creativity often involves encouraging writers to see the world through a different lens.

Exercises and Prompts: Engage students with writing exercises and prompts designed to stimulate their creativity. These could include visual prompts, word prompts, writing sprints, or even collaborative storytelling exercises. By challenging students to think outside the box, you'll help them tap into their creative potential.

Cultivating a Growth Mindset: Instill in students the belief that creativity is not fixed but can be developed and nurtured over time. Encourage a growth mindset where setbacks are seen as opportunities for learning and improvement. Celebrate progress and effort rather than focusing solely on outcomes.

Celebrating Diversity: Encourage writers to embrace their unique voices and perspectives. Celebrate diversity in storytelling and highlight the importance of representation in literature. By valuing and amplifying diverse voices, you'll create a richer and more inclusive creative community.

Conclusion: Teaching creative writing is an art in itself, requiring patience, passion, and a deep appreciation for the creative process. By fostering a supportive environment, embracing exploration, and igniting inspiration, you can empower budding writers to unleash their creativity and embark on a lifelong journey of self-expression. As an instructor, your role is not only to teach the craft of writing but to nurture the creative spirit within each student, guiding them as they discover the power of their own voice.

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How to Teach Creative Writing

Last Updated: March 13, 2024 References

This article was co-authored by Christopher Taylor, PhD . Christopher Taylor is an Adjunct Assistant Professor of English at Austin Community College in Texas. He received his PhD in English Literature and Medieval Studies from the University of Texas at Austin in 2014. There are 13 references cited in this article, which can be found at the bottom of the page. This article has been viewed 117,547 times.

Creative writing is one of the most enjoyable types of writing for students. Not only does it allow students to explore their imaginations, but it helps them to structure their ideas and produce writing that they can be proud of. However, creative writing is a relatively difficult type of writing to teach and offers challenges to both new and seasoned teachers alike. Fortunately, though, with some work of their own, teachers can better develop their own abilities to teach creative writing.

Providing Students with the Fundamentals

• Theme. The theme of a story is its message or the main idea behind it.
• Setting. The setting of a story is the location or time it takes place in.
• Plot. The plot is the overall story, narrative, or sequence of events.
• Characterization. Characterization is how a character or person in a story is explained or presented to the reader.
• Conflict and dramatic action. Conflict and dramatic action are the main events of focus in the story. These events are often tense or exciting and are used to lure the reader in. [1] X Research source

• Explain how your students, as writers, can appeal to the humanity of their readers. One great way to do this is to ask them to explore character development. By developing the characters in their story, readers will become invested in the story.
• Discuss the triggers that engage readers in an effective story. Most great stories start with a problem, which is solved with the resolution, or conclusion of the story. Encourage students to create an engaging problem that will hook the readers in the first few pages of a short story or novel. [2] X Research source

• By setting the tone and atmosphere of a story, the author will establish his or her attitude to the subject and the feel of the story.
• Tone can be positive, neutral, or negative. [3] X Research source
• Atmosphere can be dark, happy, or neither.
• Descriptive words like “darkness” or “sunshine” can help set both the tone and atmosphere. [4] X Research source

• Active verbs are used to show action in the story.
• Active verbs are very often a better alternative to passive voice, as it keeps your writing clear and concise for your readers. [5] X Research source
• For example, instead of writing “The cat was chased by the dog” your student can write “The dog chased the cat.”

Guiding Students through the Process

• Tell your students to brainstorm about ideas they are truly interested in.
• If you must restrict the general topic, make sure that your students have a good amount of wiggle room within the broad topic of the assignment.
• Never assign specific topics and force students to write. This will undermine the entire process. [6] X Research source

• Letting your students know that the outline is non-binding. They don’t have to follow it in later steps of the writing process.
• Telling your students that the parts of their outline should be written very generally.
• Recommending that your students create several outlines, or outlines that go in different directions (in terms of plot and other elements of storytelling). The more avenues your students explore, the better. [7] X Research source

• Tell students that there is no “right” way to write a story.
• Let students know that their imaginations should guide their way.
• Show students examples of famous writing that breaks normal patterns, like the works of E.E. Cummings, William Faulkner, Charles Dickens, and William Shakespeare.
• Ask students to forget about any expectations they think you have for how a story should be written. [8] X Research source

• Gather the first drafts and comment on the student's work. For first drafts, you want to check on the overall structure of the draft, proper word use, punctuation, spelling, and overall cohesion of the piece. [9] X Research source
• Remind them that great writers usually wrote several drafts before they were happy with their stories.
• Avoid grading drafts for anything other than completion.

• Let students pair off to edit each others' papers.
• Have your students join groups of 3 or 4 and ask them to go edit and provide feedback on each member’s story.
• Provide guidance so students contribute constructively to the group discussion. [10] X Research source

• Reward your students if they are innovative or do something unique and truly creative.
• Avoid evaluating your students based on a formula.
• Assess and review your own standards as often as you can. Remember that the point is to encourage your students' creativity. [11] X Research source

Spurring Creativity

• Teach your students about a variety of writers and genres.
• Have your students read examples of different genres.
• Promote a discussion within your class of the importance of studying literature.
• Ask students to consider the many ways literature improves the world and asks individuals to think about their own lives. [12] X Research source

• Make sure your room is stocked with a wide variety of fiction stories.
• Make sure your room is stocked with plenty of paper for your students to write on.
• Line up other writing teachers or bring in writers from the community to talk to and encourage your students.

• Cut out pictures and photographs from magazines, comic books, and newspapers.
• Have your students cut out photographs and pictures and contribute them to your bank.
• Consider having your students randomly draw a given number of photos and pictures and writing a short story based on what they draw.
• This technique can help students overcome writer's block and inspire students who think that they're "not creative." [13] X Research source

• Pair your students with students from another grade in your school.
• Allow your students to write stories that younger students in your school would like to read.
• Pair your students with another student in the class and have them evaluate each others' work. [14] X Research source

• If you just have a typical classroom to work with, make sure to put inspirational posters or other pictures on the walls.
• Open any curtains so students can see outside.
• If you have the luxury of having an extra classroom or subdividing your own classroom, create a comfortable space with a lot of inspirational visuals.
• Writing spaces can help break writer's block and inspire students who think that they're "not creative." [15] X Research source

• Involve students in the printing process.
• Publication does not have to be expensive or glossy.
• Copies can be made in the school workroom if possible or each student might provide a copy for the others in the group.
• A collection of the stories can be bound with a simple stapler or brads.
• Seek out other opportunities for your students to publish their stories.

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• ↑ https://www.writersonlineworkshops.com/courses/creative-writing-101
• ↑ https://kobowritinglife.com/2012/10/14/six-tips-for-engaging-readers-within-two-seconds-the-hook-in-fiction-and-memoir/
• ↑ https://www.dailywritingtips.com/in-writing-tone-is-the-author%E2%80%99s-attitude/
• ↑ http://ourenglishclass.net/class-notes/writing/the-writing-process/craft/tone-and-mood/
• ↑ https://owl.english.purdue.edu/owl/resource/539/02/
• ↑ http://www.alfiekohn.org/article/choices-children/
• ↑ https://www.writersdigest.com/write-better-fiction/7-steps-to-creating-a-flexible-outline-for-any-story
• ↑ http://thewritepractice.com/the-formula-to-write-a-novel/
• ↑ https://student.unsw.edu.au/editing-your-essay
• ↑ http://orelt.col.org/module/unit/5-promoting-creative-writing
• ↑ http://education.seattlepi.com/grade-creative-writing-paper-3698.html
• ↑ http://www.theatlantic.com/education/archive/2016/04/educating-teenagers-emotions-through-literature/476790/
• ↑ http://www.wrightingwords.com/for-teachers/5-tips-for-teaching-creative-writing/

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To teach creative writing, start by introducing your students to the core elements of storytelling, like theme, setting, and plot, while reminding them that there’s no formula for combining these elements to create a story. Additionally, explain how important it is to use tone and atmosphere, along with active verbs, to write compelling stories that come alive. When your students have chosen their topics, have them create story outlines before they begin writing. Then, read their rough drafts and provide feedback to keep them on the right path to storytelling success. For tips from our English reviewer on how to spur creativity in your students, read on! Did this summary help you? Yes No

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Teaching Creative Writing: Tips for Your High School Class

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

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

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

The Importance of Teaching Creative Writing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Teaching Creative Writing Tip #7: Incorporate Mentor Texts

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

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

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

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

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

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

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

4 strategies for teaching creative writing

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Tip 1: Crossing out

Tip 2: explicitly teach sentence stems, tip 3: build a planning routine, tip 4: go big or go home.

A blank page can be a fearful thing. As I sit typing this (cocooned in the corner of a bustling coffee shop), it seems a fearful thing to me, too. One by one, words tentatively appear, and yet the whiteness of the page dominates and suffocates the lettered blackness.

It can be an especially fearful thing for our students. Surrounded by the silence of an examination hall, pens scratching cold paper, they sit and stare at the mountainous alps of their booklet. The summit stretches out a great distance away, with so little time to plot and navigate their way.

This is often most keenly felt in creative writing. Being creative on demand is no easy task. The blankness of the paper is only compounded by the apparent blankness of ideas. And still, the clock ticks. In this article, I’ll share four top tips for helping students get better at creative writing, ensuring they always have something ready to fill the whiteness of the page.

One of the biggest conceptual shifts I’ve made in my teaching of creative writing is to focus on crossing out . When we—or our students— cross something out in their writing, what does it imply? It invariably implies a moment of thought and consideration. Is this the best word the gesture suggests, or should I use a different one?

Encouraging students to adopt a crossing-out mentality can be hugely powerful. As we write, I’ll often remind students to look for any words they could cross out, modelling this in my own writing. As I write, I cross out, always being sure to narrate why I’ve crossed something out and what is replacing it .

Of course, in and of itself, crossing out does not guarantee progress. It is a proxy, but a helpful one. Crossing out becomes a concrete and easily understood analogy for the kind of deliberate, sustained crafting that so often characterises the best writing. We don’t just want students to fill up their blank pages; we want them to fill them up with excellent writing .

In order to cross out, students need something to cross out in the first place. This is where repeatable and recyclable sentence stems come into their own. They provide students with snippets of excellent writing they can drag and drop into their response, adapting as necessary.

Students often complain—rightly so—that creative writing can be bereft of content to revise. Sentence stems give them something tangible to rehearse. Teach them in advance, show students how to manipulate them, and get students to experiment on their own.

If the sentence occupies the micro, then students also need a sharp and cohesive macro structure in order to succeed. This is where planning becomes essential.

To help students with this, I explicitly teach and model a particular planning routine that can be adapted and adopted at the start of an examination. This helps students make sure they’re asking the best questions as well as get them into the zone.

This routine always looks the same, sketched out on a single side of A4, and goes like this:

• POV: Students decide the narrative point of view they wish to adopt, which is especially valuable if responding to an image, like many questions require.
• Happy or sad: Students now consider if their point of view is happy or sad. I purposely keep this question very broad, but they may wish to be a little more nuanced in their emotional choice. The key is that they’re thinking about an emotional groove for their piece.
• Why? Now, students can reflect on why their point of view is happy or sad, beginning to build some kind of backstory or narrative thrust to their writing.

At this point, and with some basics covered, students can sketch out an overall structure for their response. At the most basic level possible, I like: First, Next, Next, And Then . What happens first, and then next, and then next, and then how does it end?

Finally, I ask students to consider a big idea they would like to convey within their writing.

With all of this mapped out, students can now begin to write.

Let’s pause for a moment on this idea of a ‘big idea’. It is easy to imagine what this means when teaching a literature text, and we probably spend a lot of time considering it with our classes.

What is Shakespeare trying to accomplish in Macbeth, we might explore? Interwoven with our discussion of the play, we consider Shakespeare’s depiction of power and the way it corrupts, as well as his depiction of kingship or femininity. These are some of the play’s big ideas.

A consideration of the ‘big’ is just as important for a student’s own writing as it is for the literature they study. What is it that they wish to show or explore in their writing? What do they want to do? Helping students to appreciate they can have something to say within their own writing can be truly empowering and liberating.

In my own modelling, I like to return to the concept of time . This unlocks so many interesting directions: transience, time passing, memory, recapturing youth. But it also provides a wealth of imagery for students to leverage. Wrinkled hands, a faded wedding ring, a scratched and crumpled photograph, an item of clothing lovingly stored away at the back of a wardrobe, gathering dust.

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A blank page can be a fearful thing, it’s true. But one filled with scribbled writing, well, that can be joyful.

These four strategies will hopefully help your students make sure they turn their blank pages into a piece of writing they can be truly proud of.

Andrew Atherton

Andrew Atherton is an English teacher at a school in Berkshire. He runs the popular blog site Codexterous , which includes a wealth of posts outlining strategies for teaching English Literature and English Language as well as lots of resources.

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Teaching Writing: Structure and Style®, Second Edition [Forever Streaming or DVD Video Seminar, Workbook, Premium Membership]

Whether your students are eager learners or reluctant writers, the award-winning Teaching Writing: Structure and Style video seminar will give you the tools you need to confidently teach your students to write well, think clearly, and express themselves eloquently and persuasively.

Teachers or teaching parents of students in grades K–12 and beyond will learn how to effectively teach their students to

• outline and summarize
• generate cohesive paragraphs
• create stories
• produce reports and critiques
• develop essays
• translate their thoughts and ideas into writing
• vary sentence structure
• use interesting vocabulary
• add literary devices

This complete package includes

• nine streaming videos or DVDs of the entire Teaching Writing: Structure and Style teacher training course, providing instruction on the nine structural models and multiple stylistic techniques (14 hours total viewing time—may be watched all at once, or viewed one at a time throughout the school year)
• three streaming videos or DVDs of sample Student Workshops at four different grade levels to help you with that first lesson
• streaming video of the entire Teaching Writing: Structure and Style teacher training course
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*Forever Streaming is available from IEW.com as long as it is needed by the original purchaser. Nontransferable.

To be considered for accreditation, it is required that an applicant own a TWSS2 Seminar Workbook , Second Edition.

See how the 2015 version (Second Edition) of the TWSS was updated.

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About the Teacher’s Seminar

This video seminar is our primary offering for teachers and parents, presenting a system of structural models (e.g., narrative, essay, report) and stylistic techniques (e.g., strong verbs, quality adjectives, and a variety of sentence openers) applicable for students of all ages and aptitudes.

The set includes the full teacher training course on nine DVDs, along with four demonstration lessons showing the first step of the process being taught to students at four different grade levels—an enjoyable jump start with Structure & Style. The accompanying  Seminar Workbook  becomes your syllabus and teaching manual.

Unlike many creative writing programs, this more classical system stresses modeling and builds a firm foundation of specific skills. As students practice each format and master each technique, they develop confidence—and consequently, creativity. Even the youngest student can gain a sense of structure and a repertoire of style; high school or university students will see instant improvement in their written communication.

This program allows for easy customization, effective implementation, and concise grading. After learning it yourself, you will be able to communicate to students exactly what is expected of them as they master new skills one step at a time. You will learn how to teach your students to outline and summarize, add style to their writing, create stories, produce reports, write critiques, develop essays, analyze literature, and put into writing the information they have hidden in their brains. Assignments can be integrated with content areas of history, geography, science, religion, literature, etc.

Teaching Writing: Structure and Style is easy to implement. Simply watch the first disc of your teacher’s seminar and then present that lesson to your student. The Seminar Workbook has sample assignments and ideas to help you. Once you and your student master the material from the first disc, watch and teach another. To aid you in the teaching of the first lesson, view the Student Workshop at the appropriate level. (For more student lessons on video, see the  Structure and Style for Students .)

About the Student Workshops

Included with this seminar are four student workshops. Each one shows Andrew Pudewa demonstrating the first writing lesson at each of four levels. (Note: for more in-depth modeling of teaching through the entire syllabus, see the  Structure and Style for Students video courses.)

The Primary Workshop (Level P) teaches 1st–2nd graders to create a key word outline from a short paragraph and then use the outline to write a paragraph of their own. Students are also taught how to use substitutes for  said . (about 40 minutes)

The Elementary Workshop (Level A) shows 3rd–5th graders how to create a key word outline from a paragraph and then use the outline to write a paragraph of their own. Additionally the students are taught how to “dress-up” their writing with adverbs and strong verbs. They are also shown how they can be creative by changing the details in their story and how to create a memorable title. (about 95 minutes)

The Intermediate Workshop instructs 6th–8th graders (Level B) how to create a key word outline from a short report and write a paragraph. They too are shown how to dress up their writing with adverbs, noun clauses, strong verbs and more. Choosing a title is also discussed. (about 95 minutes)

The Advanced Workshop , for grades 9 and above (Level C), not only presents how to create a key word outline from a report, but also shows students how to take notes from a live lecture. Students then learn effective ways to write their paragraph and to use these skills to study effectively. The style of using a variety of sentence openers is explained before the presentation of the writing assignment. (about 100 minutes)

Click here to view a list of online resources we recommend to assist in your teaching.

Specifications: 9 seminar streaming videos or DVDs, 3 student demo streaming videos or DVDs, 240 page binder

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Back in 2001, my kids were in 7th, 5th, and 2nd grades. I wanted to teach them how to write well, but every writing curriculum I looked at or tried seemed to just tell students what to write without teaching them how. Most started with the dreaded blank page and no instruction on how to fill it up. Needless to say, we were all getting frustrated!

Finally, I found out about IEW and decided to give it a try. I am a big picture person, so I sat and watched the entire TWSS in the evenings throughout a couple of weeks. The more I watched, the more excited I became! I couldn’t wait to get started! I finally had the tools I needed to teach my children how to write!

We started, and Units 1 and 2 were incredibly successful! My two older kids took off with it and were writing several paragraphs a week, enjoying the challenge of coming up with the stylistic techniques. I loved how IEW did not separate writing from other subjects, but rather was a tool to help them learn. We found that writing about what we were learning helped us master the material much more effectively.

The kids were building impressive writing notebooks bursting with structural model sheets, style words and examples, key word outlines, and final copies of their compositions. All the tools they needed to write well were in those notebooks. It was great to be able to assign an essay and know that they knew exactly what steps to take to write one. It was also such a joy to go back and read their compositions and see how far they had progressed!

Eventually we started using other IEW materials. The kids always looked forward to Andrew teaching them through DVDs, and we also especially enjoyed using the history theme-based writing lessons and  Windows to the World . I have never seen an easier way to learn how to write a literary analysis essay. I would have never been able to teach my kids how to do this well without the  Windows  course!

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Why Teach Creative Writing? Part 2

October 9, 2017 By Lyn Fairchild Hawks 2 Comments

This post provides a rationale for teaching creative writing more often and how to balance instructional goals and structure weekly lessons to accommodate creative writing. This is part of a larger series on integrating creative writing in your curriculum. Part 1 is here .

Back to basics.

The first question that might come to mind is WHEN? Sure, we might love getting creative with kids, but how do we make enough time for ALL THE OTHER STUFF?

By linking to standards and making use of the writing workshop structure, more creative expression is possible every week.

Our first answer is, the Common Core English Language Arts standards work beautifully hand in hand with creative writing tasks. The following seventh grade Common Core English Language Arts standards are just some that dovetail beautifully with creative writing (whether fiction or memoir, also known as creative nonfiction).

Whether it’s a blog post, or epic poem, or whether it’s a how-to manual or a screenplay, or whether a persuasive argument or a graphic novella–students can harness any one of these standards and skills below. Professional writers–novelists, journalists, marketers, screenwriters, playwrights, lyricists–spend their entire careers refining these competencies.

These standards, which also focus Duke TIP’s unit, Creative Writing: Adventures Through Time, can spiral up through higher standards in any week of your curriculum where a student must write a story that compels the reader to read on.

How do you thread creative writing across curriculum? Share with us below!

Sample writing standards that connect.

• CCSS.ELA-Literacy.W.7.3 : Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences.
• CCSS.ELA-Literacy.W.7.3a : Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.
• CCSS.ELA-Literacy.W.7.3b : Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters.
• CCSS.ELA-Literacy.W.7.3c : Use a variety of transition words, phrases, and clauses to convey sequence and signal shifts from one time frame or setting to another.
• CCSS.ELA-Literacy.W.7.3d : Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events.
• CCSS.ELA-Literacy.W.7.3e : Provide a conclusion that follows from and reflects on the narrated experiences or events.
• CCSS.ELA-Literacy.W.7.10 : Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.

Ask yourself how much your students are writing regularly, both in short and long form, and how much they are putting into practice models you give them and the analysis your teaching encourages. What you’re looking for, ultimately, is more practice time. Is that mini-lesson on the apostrophe or the metaphor, or that whole-group activity acting out a scene from the novel as crucial as pursuing meaningful writing tasks? Discarding the fun and cool activity or the didactic teaching and subsequent practice can feel like a Sophie’s Choice but sometimes it’s really worth it.

Make the Links

Approach mentor texts with the lens of “How/Why did this author do that?” If students are practicing professional writers, they should lean in close to examine the method to authors’ magic. They should be stepping back to discuss these techniques and then head off to try it themselves.

Taking that angle as you craft discussion questions–knowing that the next time students see the term for a particular technique, they’ll be utilizing it themselves–is a way to shape analysis of mentor texts–from the worksheet to the small group to the discussion to the large group discussion. You can convert what were once quiz and test questions into real-time discussion questions, and get students to creative writing.

Formative writing assessments of 50-100 words, rather than short answer or multiple choice quizzes, are the best ways to test particular writing concepts and skills, as well as knowledge such as grammar and mechanics. For example:

• Original test question: Explain why Scout beat up Walter Cunningham using her backstory and character traits. –> Becomes in-class discussion question
• New formative assessment/homework or in-class assignment: Write a scene of backstory where one of your characters bullies someone else. Establish back story and character traits in this scene.

This doesn’t mean you never, ever ask another literary analysis question on a test. Those should indeed pepper our culminating assessments. But so should creative writing prompts asking students to show what they know. Having students practice both before the summative will develop deeper understandings.

Make it Happen

Writing workshops are driven by student interest and require students to regularly determine audience and purpose in their writing. Writing workshops create agency, daily. They develop independence and persistence. They create a habit of mind that’s a definite paradigm switch for many students, so it’s a process that won’t manifest results immediately.

The writing workshop structure requires extensive on-task writing time, peer review time, teacher review time, and reading time. It’s fueled by student choice.

With all that is expected of educators by local, state, and national standards, we recommend the whole-part-whole approach as you integrate workshops. Here is a typical week’s design we recommend. Take it, modify it, critique it, and tell us what you think. What do you do?

Day 1: Whole group instruction, groupwork, and skill assessment

• Teach a mini lesson via direct instruction, using mentor texts, led by standards.
• Offer different levels of direct practice exercises for small groups.
• Circulate to provide direct instruction to groups and individuals..
• Some days, alternate with 30-45 minute Socratic discussions of literary texts or whole-group activities such as debates, scene re-enactment, special projects.
• Give formative and summative assessments every few weeks (timed analytical writing–essays and short-answer questions–and grammar quizzes). Note that these should not occur until students have built a few months’ of confidence with Socratic literary discussion. For more on designing Socratic seminars on texts, visit Paideia Active Learning . Provide creative writing prompts on some of these per the model above.
• Homework: Provide further practice and writing prompts and extension activities that prepare students for summative assessments.

Days 2 and 3: Writing and reading workshops

• Allow independent and small group reading and writing, per the Atwell design .
• Expect students to produce one to two pieces a month. Allow students, like professional writers, to work on more that one piece at a time.
• Allow students who have successfully produced an individual work.
• Homework: Ongoing work on individual student pieces. A writing assignment fueled by student choice might need several nights of homework and lead to an exciting portfolio.

Day 4: Whole group instruction, groupwork, and skill assessment

Day 5: Peer review and Performance

• Feedback routines between and among students, and pair or one-to-one conferences
• Sharing for an audience, with celebrations of formative and summative accomplishments, and goal setting, with discussions of areas for growth.

For more detail on designing the day-to-day writing workshop structure, be sure to check out Nancie Atwell’s work .

About Lyn Fairchild Hawks

Lyn Fairchild Hawks currently serves as Director for Curriculum and Instruction for Duke TIP’s distance learning programs, where she supervises teachers and designs curricula and online student benefits. A long-time teacher, Lyn has published curricula with TIP, NCTE, Chicago Review Press, and ASCD. She is author of Teaching Julius Caesar: A Differentiated Approach and coauthor of Teaching Romeo and Juliet: A Differentiated Approach and The Compassionate Classroom: Lessons that Nurture Wisdom and Empathy . She is also an author of the young-adult novel, How Wendy Redbird Dancing Survived the Dark Ages of Nought , for high school students, and coauthor of the graphic novella, Minerda , for middle grade students. She is represented by Tara Gelsomino of One Track Literary Agency.

January 4, 2018 at 7:33 pm

I loved creative writing as a student and made an effort to work it in to my middle grades instruction as often as possible. I have been known to beg principals to include a Creative Writing class in the schedule as an option for students. There was no room around the “other stuff,” though, and the best I could get was a Creative Writing club…but those students sure put together an amazing literary magazine!

I agree that the workshop model is the way to ensure that students have opportunities to be creative while at the same time answering to the standards of the curriculum.

January 7, 2018 at 4:34 pm

It’s so crucial, Cindi. We’re immersed in story, we seek story, we crave stories as humans. It’s the foundation of our politics (the American story), our faiths (scared texts and our heroes within), our scientific theories and how they were discovered and enhanced…I could go on. And so it’s funny how we’ve come to a place in education where we must squeeze it in–much like other arts and exercise–as incidental to the “curriculum.” I’ve loved what students have created in these extracurriculars, too, and seen some magnificent work.

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Plot is what happens in a story, but action itself doesn’t constitute plot. Plot is created by the manner in which the writer arranges and organizes particular actions in a meaningful way. It’s useful to think of plot as a chain reaction, where a sequence of events causes other events to happen.

When reading a work of fiction, keep in mind that the author has selected one line of action from the countless possibilities of action available to her. Trying to understand why the author chose a particular line of action over another leads to a better understanding of how plot is working in a story

This does not mean that events happen in chronological order; the author may present a line of action that happens after the story’s conclusion, or she may present the reader with a line of action that is still to be determined. Authors can’t present all the details related to an action, so certain details are brought to the forefront, while others are omitted.

The author imbues the story with meaning by a selection of detail. The cause-and-effect connection between one event and another should be logical and believable, because the reader will lose interest if the relation between events don’t seem significant. As Cleanth Brooks and Robert Penn Warren wrote in Understanding Fiction , fiction is interpretive: “Every story must indicate some basis for the relation among its parts, for the story itself is a particular writer’s way of saying how you can make sense of human experience.”

If a sequence of events is merely reflexive, then plot hasn’t come into play. Plot occurs when the writer examines human reactions to situations that are always changing. How does love, longing, regret and ambition play out in a story? It depends on the character the writer has created.

Because plot depends on character, plot is what the character does. Plot also fluctuates, so that something is settled or thrown off balance in the end, or both. Traditionally, a story begins with some kind of description that then leads to a complication. The complication leads up to a crisis point where something must change. This is the penultimate part of the story, before the climax, or the most heightened moment of a story.

In some stories, the climax is followed by a denouement, or resolution of the climax. Making events significant in plot begins with establishing a strong logic that connects the events. Insofar as plot reveals some kind of human value or some idea about the meaning of experience, plot is related to theme.

Character can’t be separated from action, since we come to understand a character by what she does. In stories, characters drive the plot. The plot depends on the characters' situations and how they respond to it. The actions that occur in the plot are only believable if the character is believable. For most traditional fiction, characters are divided into the following categories:

• Protagonist : the main or central character or hero (Harry Potter)
• Antagonist : opponent or enemy of the protagonist (Dark Lord Voldemort)
• Foil Character : a character(s) who helps readers better understand another character, usually the protagonist. For example in the Harry Potter series, Hermione and Ron are Harry's friends, but they also help readers better understand the protagonist, Harry. Ron and Hermione represent personalities that in many ways are opposites - Ron is a bit lazy and insecure; Hermione is driven and confident. Harry exists in the middle, thus illustrating his inner conflict and immaturity at the beginning of the book series.

Because character is so important to plot and fiction, it’s important for the writer to understand her characters as much as possible. Though the writer should know everything there is to know about her character, she should present her knowledge of the characters indirectly, through dialogue and action. Still, sometimes a summary of a character’s traits needs to be given. For example, for characters who play the supporting cast in a story, direct description of the character’s traits keeps the story from slowing down.

Beginning and intermediate level writers frequently settle for creating types, rather than highly individualized, credible characters. Be wary of creating a character who is a Loser With A Good Heart, The Working Class Man Who Is Trapped By Tough Guy Attitudes, The Lonely Old Lady With A Dog, etc. At the same time, keep in mind that all good characters are, in a sense, types.

Often, in creative writing workshops from beginning to advanced levels, the instructor asks, “Whose story is this?” This is because character is the most important aspect of fiction. In an intermediate level workshop, it would be more useful to introduce a story in which it is more difficult to pick out the main character from the line-up. It provides an opportunity for intermediate level fiction writers to really explore character and the factors that determine what is at stake, and for whom.

Conflict depends on character, because readers are interested in the outcomes of people’s lives, but may be less interested in what’s at stake for a corporation, a bank, or an organization. Characters in conflict with one another make up fiction. Hypothetically, a character can come into conflict with an external force, like poverty, or a fire. But there is simply more opportunity to explore the depth and profundity in relationships between people, because people are so complex that conflict between characters often gets blurred with a character’s conflict with herself

The short story, as in all literary forms, including poetry and creative nonfiction, depends on the parts of the poem or story or essay making some kind of sense as a whole. The best example in fiction is character. The various aspects of a character should add up to some kind of meaningful, larger understanding of the character. If the various aspects of a character don’t add up, the character isn’t believable. This doesn’t mean that your characters have to be sensible. Your characters may have no common sense at all, but we have to understand the character and why she is that way. The character’s motives and actions have to add up, however conflicted, marginalized or irrational they may be.

Teaching creative writing in primary schools: a systematic review of the literature through the lens of reflexivity

• Open access
• Published: 17 June 2023

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• Georgina Barton   ORCID: orcid.org/0000-0003-2703-238X 1 ,
• Maryam Khosronejad 2 ,
• Mary Ryan 2 ,
• Lisa Kervin 3 &
• Debra Myhill 4  

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Teaching writing is complex and research related to approaches that support students’ understanding and outcomes in written assessment is prolific. Written aspects including text structure, purpose, and language conventions appear to be explicit elements teachers know how to teach. However, more qualitative and nuanced elements of writing such as authorial voice and creativity have received less attention. We conducted a systematic literature review on creativity and creative aspects of writing in primary classrooms by exploring research between 2011 and 2020. The review yielded 172 articles with 25 satisfying established criteria. Using Archer’s critical realist theory of reflexivity we report on personal, structural, and cultural emergent properties that surround the practice of creative writing. Implications and recommendations for improved practice are shared for school leaders, teachers, preservice teachers, students, and policy makers.

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Introduction

Creative writing in schools is an important part of learning, assessment, and reporting, however, there is evidence globally to suggest that such writing is often stifled in preference to quick on-demand writing, usually featured in high-stakes testing (Au & Gourd, 2013 ; Gibson & Ewing, 2020 ). Research points to this negatively impacting particularly on students from diverse backgrounds (Mahmood et al., 2020 ). When teachers teach on-demand writing typical pedagogical traits are revealed, those that are often referred to as formulaic (Ryan & Barton, 2014 ). When thinking about creative writing, however, Wyse et al. ( 2013 ) noted that it involves the absence of structure and teaching creative writing requires an ‘open’ pedagogical approach for students to be given imaginative choice. By this, they mean that teachers need to consider less formulaic ways to teach writing so that students can experience different opportunities and ways to write creatively. They argued that if students are not given the flexibility to experiment through writing then their creativity might be stifled. Similarly, Barbot et al. ( 2012 ), who carried out a study with a panel of 15 experts of creative writing, posited that creative writing is when students draw on their imagination and other creative processes to create fictional narratives or writing that is ‘unusually original’. They also noted that creative writing is important for the development of students’ critical and creative thinking skills and ways in which they can approach life in creative ways.

Creative writing is defined in various ways in literature. Wang ( 2019 ) defined creative writing as a form of original expression involving an author’s imagination to engage a reader. Other definitions of creative writing involve the notion of children’s imagination, choice, and originality and much research has explored the concept of creativity within and through the writing process.

While creative writing is defined in various ways, and the many ways that it is treated in literacy education, this article is not concerned with the nature of the term per se. Rather, it focusses on research about creative writing and creativity in writing to understand how research unpacks the personal and contextual characteristics that surround creative writing practices. To this aim, we adopt a broad definition of creative writing as a form of original writing involving an author’s imagination and self-expression to engage a reader (Wang, 2019 ). Creative writing is important for children’s development (Grainger et al., 2005 ), allowing them to use their imagination and broaden their ability to problem-solve and think deeply. Creativity in writing refers to specific aspects within a writing product that can be deemed creative. Some examples include the use of senses and how a writer might engage a reader (Deutsch, 2014 ; Smith, 2020 ).

International research on teaching writing has indicated a loss in innovative or creative pedagogical practices due to the pressure on teachers to teach prescribed writing skills that are assessed in high-stakes tests (Göçen, 2019 ; Stock & Molloy, 2020 ), often resulting in specific trends including teaching a genre approach to writing (Polesel et al., 2012 ; Ryan & Barton, 2014 ). A comprehensive meta-analysis by Graham et al ( 2012 ), designed to identify writing practices with evidence of effectiveness in primary classrooms, found that explicitly teaching imagery and creativity was an effective teaching practice in writing. In addition, a review of methods related to teaching writing conducted by Slavin et al. ( 2019 ) included studies that statistically reported causal relationships between teacher practice and student outcomes. Common themes in Slavin et al’s ( 2019 ) quest for improving writing included comprehensive teacher professional development, student engagement and enjoyment, and explicit teaching of grammar, punctuation, and usage. While they did not specifically cite creativity, motivating environments and cooperative learning were important characteristics of writing programs.

This systematic literature review aims to share empirical international research in the context of elementary/primary schools by exploring creativity in writing and the conditions that influence its emergence. It specifically aims to answer the question: What influences the teaching of creative writing in primary education? And how can reflexivity theorise these influences? The review shares scholarly work that attempts to define personal aspects of creative writing including imagination, and creative thinking; discusses creative approaches to teaching writing, and shows how these methods might support students’ creative writing or creative aspects of writing.

Writing is a complex process that involves students making decisions about word choice, sentence, and text structure, and ways in which to engage readers. Such decisions require a certain amount of reflection or at times deeper reflexive judgments by both teachers and students. Consequently, we draw on Archer’s ( 2012 ) critical realist theory of reflexivity to guide our review as research shows that reflexive thinking in practice can improve writing outcomes (Ryan et al., 2021 ). Archer ( 2007 ) highlights how reflexivity is an everyday activity involving mental processes whereby we think about ourselves in relation to our immediate personal, social, and cultural contexts. She suggests we make decisions through negotiating the connected emergences of personal properties (PEPs) related to the individual, structural properties (SEPs) related to the contextual happenings and cultural properties (CEPs) related to ideologies, each of which is influenced by the other developments. These decisions influence, and are influenced by, our subsequent actions. In applying reflexivity theory to writing (see Ryan, 2014 ), we cannot simply focus on the writing product, but should also interrogate the process of writing, that is, the influences on decision-making and design which are enabled or constrained through pedagogical practices in the classroom. Writing practices and outputs are formed through the interplay of personal, structural, and cultural conditions. Student decisions and actions about writing ensue through the mediation of personal (e.g. beliefs, motivations, interests, experiences), structural (e.g. curriculum, programs, testing regimes, teaching strategies, resources), and cultural (e.g. norms, expectations, ideologies, values) conditions. Therefore, teachers play an important role in facilitating the interplay of these conditions for their students and recontextualising curricula and policy (Ryan et al., 2021 ). For example, by enabling students’ agency and creating an authentic purpose for writing, teachers can balance the personal conditions of students (such as their motivation and interest) against the structural effects of the curriculum requirements. Using a reflexive approach to investigating the literature on creative writing we aim to reveal the personal, structural, and cultural conditions surrounding the study and the practice of creative writing. We argue that it is through the understanding of these conditions that we can theorise how a. students might make their writing more creative and b. how teachers might establish classroom conditions conducive to creativity.

The approach taken for this paper was guided by the PRISMA method (Moher et al., 2009 ) for conducting systematic literature reviews (see Table 1 ).

Our electronic search involved several databases: researchers’ library online catalogue, EBSCO host ultimate, ProQuest, Eric, Web of Science, Informit, and ScienceDirect. Using the following search terms: creativ* AND (‘teaching methods’ OR pedagog*) AND writing AND (elementary OR primary) to search titles and abstracts as well as limiting the search to peer-reviewed articles written in English within a 10-year timeframe (2011–2020), we initially retrieved 172 articles. Information about all 172 articles was input into a data spreadsheet including author, article title, journal title, volume and issue number, and abstract. Once completed, these articles were divided into two equal groups and two researchers were assigned to review the articles for relevancy against the following inclusion criteria:

Studies were peer-reviewed empirical research published in English;

Participants were primary students and/or teachers;

Students were not specifically English as a Second or Additional Language/Dialect learners (samples of culturally and linguistically diverse students in primary classrooms were included);

Studies were not carried out in curriculum areas other than English; and

Studies did not have a specific focus on digital technologies in the classroom.

For this systematic review, we were interested in the ways in which teachers thought about, understood, and taught the ‘creative’ aspect of writing.

The 25 studies that met the inclusion criteria were synthesised to review what influences the improvement of creative writing in primary education. We analysed the papers for how creative writing and/or creative aspects in writing were viewed as well as how teachers might best support students to develop reflexive capacities to improve the creative aspects of writing. We also identified any personal, structural, and/or cultural emergences that might impact on the effectiveness of students’ creative writing. Two of the authors read the entire articles and identified four main categories of research which were (1) understanding creative writing; (2) creative thinking and its contribution to writing; (3) creative pedagogy; and (4) what students can do to be more creative in their writing. These were cross-checked by the entire research team. Some of the papers fit more than one of these themes. In the next section, each theme is introduced and defined and then the articles that fall within the theme are reviewed.

Overall a total number of 25 articles had overlapping themes that included various personal and contextual aspects. Figure  1 shows what we have identified as the key themes under each category. In the next sections, we represent papers based on their main theme.

The personal, structural, and cultural conditions surrounding creative writing

Personal emergent properties

A total number of 13 articles were about what students can do to be more creative in their writing (Mendelowitz, 2014 ; Steele, 2016 ) and how teachers’ and students’ personal characteristics relate to the development of creative writing. These articles were mainly focussed on the personal emergent aspects of writing (Alhusaini & Maker, 2015 ; Barbot et al., 2012 ; Cremin et al., 2020 ; DeFauw, 2018 ; Dobson, 2015 ; Dobson & Stephenson, 2017 , 2020 ; Edwards-Groves, 2011 ; Healey, 2019 ; Lee & Enciso, 2017 ; Macken-Horarik, 2012 ; Ryan, 2014 ). The personal aspects identified in our review were (1) personal views about creative writing, (2) creative thinking, (3) writer identity, (4) learner motivation and engagement, and (5) knowledge and capabilities.

Personal views about creative writing

From our systematic review, we identified three articles exploring views about what creative writing is, and more specifically the role that it plays and the elements that make creative writing, in primary classrooms. One of these studies was focussed on the views and experiences of experts in writing (Barbot et al., 2012 ), whereas the other two investigated students’ perspectives and experiences (Alhusaini & Maker, 2015 ; Healey, 2019 ). Barbot et al’s ( 2012 ) work, for example, recognised that creative writing involves both cognitive and metacognitive abilities. This was determined by the expert panel of people whose work related to writing including teachers, linguists, psychologists, professional writers, and art educators. The panel were asked to complete an online survey that rated the relative importance of 28 identified skills needed to creatively write. Six broad categories were identified as a result of the responses and the rank given to each factor by the expert groups (See Table 2 ). They acknowledged that these features cross over various age groups from children to professional writers.

Findings suggested that each independent rater weighted different key components of creative writing as being more or less important for children. Overall, the findings showed.

a global ‘consensus’ across the expert groups indicated that creative writing skills are primarily supported by factors such as observation, generation of description, imagination, intrinsic motivation and perseverance, while the contributions of all of the other relevant factors seemed negligible (e.g. intelligence, working memory, extrinsic motivation and penmanship). (p. 218)

One factor that was ranked as critical by most respondents, but underemphasised by teachers, was imagination. Teachers’ work in classrooms around creative writing is complex due to the difficulty in defining imagination (Brill, 2004 ). Teachers also under-rated other aspects related to creative cognition.

Another study that explored students’ creativity in writing was conducted by Alhusaini and Maker ( 2015 ) in the south-west of the United States. Participants included 139 students with mixed ethnicities including White, Mexican American, and Navajo. This study involved six elementary/primary school teachers judging students’ writing samples of open-ended stories. To assess the work a Written Linguistic Assessment tool, which was based on the Consensual Assessment Technique [CAT] (Amabile, 1982 ) was implemented. According to Baer and McKool ( 2009 ), The CAT involves experts rating written artefacts or artistic objects by using their ‘sense of what is creative in the domain in question to rate the creativity of the products in relation to one another’ (p. 4). Interestingly, Alhusaini and Maker ( 2015 ) found the CAT to be effective in relation to interrater reliability. The authors do not share what the Judge’s Guidelines to Assess Students’ Stories entail. They mention the difference between technical quality and creativity and note that assessors were able to distinguish the differences between the two, but the reader is not made aware of the aspects of each quality. Overall, the study revealed that one of the most challenging problems in the field of creativity and writing is trying to measure creativity across cultures by using standardised tests. Such studies could have implications for other students from culturally and linguistically diverse backgrounds as teachers become more aware of cultural nuances in constituting ‘creative’ in creative writing.

The final study we identified in this category was by Healey ( 2019 ). Healey employed an Interpretative Phenomenological Analysis (IPA) and explored how eight children (11–12 Years of age) experienced creative writing in the classroom. He shared how children’s writing experiences were based on ‘the affect, embodiment, and materiality of their immediate engagement with activities in the classroom’ (p. 184). Results from student interviews showed three themes related to the experience of writing: the writing world (watching, ideas from elsewhere, flowing); the self (concealing and revealing, agency, adequacy); and schooled writing (standards, satisfying task requirements, rules of good writing). The author stated that children’s consciousness shifts between their imagination (The Writing World) and set assessment tasks (Schooled Writing). Both of these worlds affect the way children experience themselves as writers. Further findings from this work argued that originality of ideas and use of richer vocabulary improved students’ creative writing. Vocabulary improvement included diversity of word meanings, appropriate usage of words, words being in line with the purpose of the text; while originality of ideas featured creative and unusual (original) ideas—which in many ways is difficult to define.

Overall, when concerned with personal views and attitudes in creative writing, the two studies by Healey ( 2019 ) and Barbot et al. ( 2012 ) show contrasting findings about ‘imagination’ captured through the view of students and teachers, respectively. While Healey’s ( 2019 ) study suggests that children shift between their imagination and set assessment tasks in creative writing, Barbot et al. ( 2012 ) highlight the lack of attention to imagination among their participated teachers. Although these results cannot be generalised, they highlight the significance of understanding personal emergent properties that both students and teachers bring to the classroom and the way that they interact to affect the experience of creative writing for learners. From this theme, we suggest the importance of educators acknowledging students’ imagination through their definition of creative writing as well as providing quality time for students to choose what they write through imaginative thought. We now turn to creative thinking and related pedagogical approaches to teaching creative writing from the research literature.

Creative thinking

We identified two articles that were focussed on creative thinking and its contribution to writing (Copping, 2018 ; Cress & Holm, 2016 ). Copping ( 2018 ) explored writing pedagogy and the connections between children’s creative thinking, or a ‘new way of looking at something’ (p. 309), and their writing achievement. The study involved two primary schools in Lancashire, one in an affluent area and one in an underprivileged area. Approximately 28 children from each school were involved in two, 2-day writing workshops based on a murder mystery the children had to solve. Findings from this study revealed that to improve students’ writing achievement (1) a thinking environment needs to be created and maintained, (2) production processes should have value, (3) motivation and achievement increase when there is a tangible purpose, and (4) high expectations lead to higher attainment.

Cress and Holm’s ( 2016 ) study described a curricular approach implemented by a first-grade teacher and their class comprised 13 girls and 11 boys. The project known as the Creative Endeavours project aimed to develop creative thinking by (1) creating an environment of respect with a positive classroom climate. (2) offering new and challenging experiences, and (3) encouraging new ideas rather than praise. The authors argued that through peer collaboration and the flexibility to choose their own projects, children can become more authentically engaged in the writing process. The children wrote about their experiences and their choices, and reflected upon the projects undertaken. In this study, it was revealed that the children showed diversity in their writing assignments including presentation through sewing, photography, and drama. While there were only two papers in this particular theme, their findings are supported by systematic reviews (Graham et al., 2012 ; Slavin et al., 2019 ) that emphasise not only new ways of exploring a range of concepts for learning but also the creation of motivating environments for improving writing (Copping, 2018 ). In addition to the significance of positive and encouraging learning environments, these two studies suggest that setting ‘high expectations’ or ‘challenging experiences’ are conducive to creative thinking however, teachers would need to set appropriate, reflexive conditions for this to occur.

Writer identity

Studies in this category revolve around choice and learner writer identity. The study carried out by Dobson and Stephenson ( 2017 ) focussed on developing a community of writers involving 25 primary school pupils from low socio-economic backgrounds. The project was offered over 2 weeks and featured a number of creative writing workshops. The authors applied the theoretical frameworks of practitioner enquiry and discourse analysis to explore the children’s creative writing outputs. They argued that the workshops, which promoted intertextuality and freedom for the children as writers, enabled a shifting of their ‘writer’ identities (Holland et al., 1998). Dobson and Stephenson ( 2017 ) showed that allowing students to make decisions and choices in regard to authentic writing purposes supported a more flexible approach. They recommend stronger partnerships between schools and universities in relation to research on creative writing, however, it would be important for these relationships to be sustainable.

The second paper on this theme is by Ryan ( 2014 ) who noted that writing is a complex activity that requires appropriate thinking in relation to the purpose, audience, and medium of a variety of texts. Writers always make decisions about how they will present subject matter and/or feelings through all of the modes. Ryan ( 2014 ) suggested that writing is like a performance ‘whereby writers shape and represent their identities as they mediate social structures and personal considerations’ (p. 130). The study analysed writing samples of culturally and linguistically diverse Australian primary students to uncover the types of identities students shared. It found that three different types of writers existed—the school writers who followed teacher instructions or formulas to produce a product; the constrained writers who also followed instructions and formulas but were able to add in some authorical voice; and the reflexive writers who could show a definite command of writing and showed creative potential. Ryan ( 2014 ) argued that teachers’ practices in the classroom directly influence the ways in which students express these identities. She stated that when students are provided choices in writing, they are more able to shape and develop their voices. Such choices would need to include quality time and support to be reflexive in the decisions being made by the students.

The Teachers as Writers project (2015–2017) was conducted by Cremin, Myhill, Eyres, Nash, Wilson, and Oliver. In a recent paper ( 2020 ), the team reported on a collaborative partnership between two universities and a creative writing foundation. Professional writers were invited to engage with teachers in the writing process and the impact of these interactions on classroom teaching practices was determined. Data sets included observations, interviews, audio-capture (of workshops, tutorials and co-mentoring reflections), and audio-diaries from 16 teachers; and a randomised controlled trial (RCT) involving 32 primary and secondary classes. An intervention was carried out involving teachers writing in a week long residence with professional writers, one-on-one tutorials, and extra time and space to write. They also continued learning through two Continuing Professional Development (CPD) days. Results showed that teachers’ identities as writers shifted greatly due to their engagement with professional authors. The students responded positively in terms of their motivation, confidence, sense of ownership, and skills as writers. The professional authors also commented on positive impacts including their own contributions to schools. Conversely, these changes in practice did not improve the students’ final assessment results in any significant way. The authors noted that assuming a causal relationship between teachers’ engagement with writing workshops and students’ writing outcomes was spurious. They, therefore, developed further research building on this learning.

Knowledge and capabilities

The role of knowledge and capability is central to the articles in this category. In Australia, Macken-Horarik ( 2012 ) reported on the introduction of a national curriculum for English. This article drew on Systemic Functional Linguistics (SFL) by investigating the potential of Halliday’s notion of grammatics for understanding students’ writing as acts of creative meaning in context. Macken-Horarik ( 2012 ) argued that students needed to know deeply about language so that they could make creative decisions with their writing. She outlined that a ‘good enough’ grammatics would assist teachers in becoming comfortable with ‘playful developments in students’ texts and to foster their control of literate discourse’ (p. 179).

A project carried out by Edwards-Groves in 2011 highlights the role of knowledge about digital technologies in writing practices. 17 teachers in primary classrooms in Australia were asked to use particular digital technologies with their students when constructing classroom texts. Findings showed that an extended perspective on what counts as writing including the writing process was needed. Results revealed that collaborative methods when constructing diverse texts required teachers to rethink pedagogies towards writing instruction and what they consider as writing. It was argued that technology can be used to enhance creative possibilities for students in the form of new and dynamic texts. In particular, it was noted that teachers and students should be aware that digital technologies can both constrain and/or enable text creation in the classroom depending on a number of variables including knowledge and understanding, locating resources and logistical issues such as connectivity and reliability.

In addition, Mendelowitz’s ( 2014 ) study argued that nurturing teachers’ own creativity assisted their ability to teach writing more generally. She noted several ‘interrelated variables and relationships that still need to be given attention in order to gain a more holistic understanding of the challenges of teaching creative writing’ (p. 164). According to Mendelowitz ( 2014 ), elements that impacted on these challenges include teachers’ school writing histories, conceptualisations of imagination, classroom discourses, and pedagogy. Documenting teachers’ work through interviews and classroom observations by the researcher, the study found that teachers need to be able to define imagination and imaginative writing and know what strategies work best with their students. She noted that the teacher’s approaches to teaching writing ‘powerfully shaped by the interactions between their conceptualisations and enactments of imaginative writing pedagogy’ (p. 181) and that these may either limit or create a space for students to be more creative with their writing.

Such Personal Emergent Properties show that individual attributes of both teachers and students are important in learning creative writing. The next section of the paper explores the articles that shared various structural and cultural properties.

Structural emergent properties

In the subset of structural emergent properties, we mainly identified pedagogical approaches for creative writing that explored primary school learning and teaching (Christianakis, 2011a ; Christianakis, 2011b ; Coles, 2017 ; DeFauw, 2018 ; Hall & Grisham-Brown, 2011 ; Portier et al., 2019 ; Rumney et al., 2016 ; Sears, 2012 ; Steele, 2016 ; Southern et al., 2020 ; Yoo & Carter, 2017 ). These pedagogical approaches were aimed at addressing issues related to personal emergent properties such as motivation and engagement, and confidence in writing. The two categories of writing pedagogies were those that engaged professional authors and artists in teaching about creative writing, and the approaches that involved play(ful) activities, and use of visual arts, and drama.

Engaging professional authors and artists

Interestingly, many of the studies used literary forms and/or professional creative authors to spike interest and motivation in the students. Coles’ ( 2017 ) study, for example, used a garden-themed poetry writing project to support 9–10-year-old children’s creative writing in a London primary school. The 5-week project partnered with a professional creative writing organisation that facilitated the Ministry for Stories (MoS) writing centres across the USA. The study found that the social relationships created through this partnership allowed for a more inclusive and socially generative model of creativity. This meant that teachers should not just include creative aspects in assessment rubrics but rather recognise that creativity is encouraged through imagination and working with others. The researchers found improvements in the children’s participation in classroom writing activities as well as diversity in the ways they expressed their writing. The approach valued ‘rich means of expression rather than a set of rules to be learnt’ (p. 396). They also acknowledged issues associated with school–community partnerships including the sustainability of the practice.

Similarly, Rumney et al. ( 2016 ) found that using creative multimodal activities increased students’ confidence and motivation for writing. The study implemented the Write Here project with over 900 children in 12 primary and secondary schools. The study involved the children visiting local art galleries to work with professional authors and artists. Case studies were presented about pre-writing activities, the actual gallery work and post-gallery follow-up sessions. It aimed to improve students’ social development and literacy outcomes through diverse learning activities such as visual art and play in different contexts such as art galleries and classrooms. Like Coles’ ( 2017 ) study, this project showed that creative activities (e.g. talking about and acting out pictures; using story maps; backwards writing and planning) engaged students more than just teaching skills.

In addition, DeFauw’s ( 2018 ) study had student-centred learning and leadership at the core when working with a children’s book author for one year. The collaboration involved three face-to-face sessions with the author as well as online communication through blog posts. Data included recorded interactions, readings and pre and post interviews with teachers ( n  = 9), students ( n  = 36), and the author. The partnership showed that students’ interest was activated and sustained due to the situational context as well as the extended time given to students to interact with the author. The project improved students’ interest in and motivation to write as a result of engaging with authors and hearing about their own experience and writing strategies. It also found that teachers gained more confidence to support students’ exploration of writing in more creative ways. The creative pedagogies were also used in addressing issues related to creative writing outcomes for students, including teachers’ lack of confidence about pedagogies (Southern et al., 2020 ). Through a creative social enterprise approach, the authors facilitated professional development and learning involving artist-led activities for students. The program called Zip Zap had been implemented in schools in Wales and England, and data were collected through focus groups with teachers, students, and parents/carers. Observations of some of the professional development workshops were also video recorded. Third space theory was used to describe the collaborative practice between educators and artists that supported students’ creative writing outcomes. It was noteworthy that involving ‘creative’ practitioners largely focussed on the specific strategies that could be used in classrooms, to which our next section now turns.

Play(ful) activities, visual arts, and drama

Much research explores how to best support students who find writing difficult. Sears’ research ( 2012 ) is a case in point. The author shared how visual arts may be an effective way to improve struggling students with writing. They argued that the visual arts can provide ways of ‘accessing and expressing [student] ideas and ultimately opening a world of creative possibilities’ (p. 17). In the study, six third-grade students engaged with drawing and painting as pre-writing strategies, leading to the creation of poems based on the artworks. The students’ final poems were assessed and showed improved knowledge of all 6 technical categories in writing: ideas, organisation, fluency, voice, word choice, and conventions. The author also argued that students’ motivation to write increased as a result of the visual art activities.

A study by Portier et al. ( 2019 ) investigated approaches to teaching writing that were motiving and engaging for students. Involving 10 northern rural communities in Canada, the project implemented collaborative, play(ful) learning activities alongside sixteen teachers and their students. Interestingly, the study, like many others in our review, found a disconnect ‘between the achievement of curricular objectives and the implementation of play(ful) learning activities’ (p. 20); an approach valued in early childhood education. The students were supported through action research projects in creating texts with different purposes. Students’ motivation as well as samples of work were analysed and showed that student interest areas and collaborative approaches benefited both teachers and students. Further research on how reflexive thinking might have influenced these benefits is recommended.

Similarly, Lee and Enciso ( 2017 ) highlighted the importance of motivation and engagement in their study. In a collaboration with Austin Theatre Alliance, Lee and Enciso ( 2017 ) investigated how dramatic approaches to teaching, such as through expanded imagination and improvisation, can improve students’ story writing. They argued that the students’ motivation to write was also increased. The study was carried out through a controlled quasi-experimental study over 8 weeks of story-writing and drama-based programs. 29 third-grade classrooms in various schools, located in an urban district of Texas, were involved. The study also pre- and post-tested the students’ writing self-efficacy through story building. The study found that students were more able to use their cultural knowledge such as ‘culturally formed repertoires of language and experience to explore and express new understandings of the world and themselves…’ (p. 160) for creative writing purposes but needed more quality resources to support opportunities such as the Literacy for Life program. A most important finding was that for children who experience poverty, drama-based activities developed and led by teaching artists were extremely powerful and allowed the students to express themselves in entertaining ways. We do note that ‘entertainment’ and or engagement might mean different things for different students so reflexive approaches to deciding what these are would be necessary.

Steele’s ( 2016 ) study also looked at supporting teachers’ work in the classroom. Involving 6 out of 20 teacher workshop participants in Hawaii, this exploratory case study utilised observations, interview, and portfolio analyses of teacher and student work. Findings from the study showed that some teachers relished moving away from everyday ‘typical’ practice and increased student voice and choice. Other teachers, however, found it difficult to take risks and hence respond to student needs and ideas.

Dobson and Stephenson’s ( 2020 ) study focussed on the professional development of primary school teachers using drama to develop creative writing across the curriculum. The project was sponsored by the United Kingdom Literacy Association and ran for two terms in a school year. Researchers based the research on a collaborative approach involving academics and four teachers working with theatre educators to use process drama. Data sets included lesson observations, notes taken during learning conversations, and interviews with the teachers. The findings showed that three of the four teachers resisted some of the methods used such as performance; resulting in a lack of child-centred learning. The remaining teacher could take on board innovative practice, which the researchers attributed to his disposition. The study argued that these teachers, while a small participant group, needed more support in feeling confident in implementing new and creative approaches to teaching writing.

The final study, identified as addressing creative pedagogies for creative writing, was carried out by Yoo and Carter ( 2017 ) as professional development for teachers. Data included teacher survey responses and field notes taken by the researchers at each workshop (note: number of workshops and participants is unknown). The program aimed to investigate how emotions play a role in teachers’ work when teaching creative writing. The researchers found that intuitive joint construction of meaning was important to meet the needs of both primary and secondary teachers. A community of practice was established to support teachers’ identities as writers (see also Cremin et al., 2020 ). Findings showed that teachers who already identified as writers engaged more positively in the workshop.

These studies presented some approaches for teachers to consider how to teach creative writing. For example, the need to value unique spaces for students to write, including authentic connections with people and places outside of school environments was shared. Further, the need for quality stimuli and time for writing was acknowledged. Several other studies identified that blended teaching approaches to support student learning outcomes in the area of creative writing is important for schools and teachers to consider. We do acknowledge there may be other methods available to support students in creative writing, however, understanding what types of SEPs are impacting on teaching creative writing is an important step in determining improvements in schools.

Cultural emergent properties

Christianakis ( 2011a , 2011b ) wrote two papers about children’s creative text development with an emphasis on the cultural aspects. The first was an ethnographic study across 8 months with a year five class in East San Francisco Bay. The study included audio recording the students’ conversations and analysing over 900 samples of work. In the classroom, students were involved in a range of meaning-making practices including those that were arts-based and multimodal. The conversations with the students involved the researcher asking questions such: tell me more about this drawing, how did you come up with the idea? or why did you make this choice? The study found that there was a need for schools to reconceptualise the teaching of writing ‘to include not only orthographic symbols, but also the wide array of communicative tools that children bring to writing’ (p. 22). The author argued that unless corresponding institutional practices and ideologies were interrogated then improved practice was unlikely.

Christianakis’ ( 2011b ) second article, from the same project, explored more specifically the creation of hybrid rap poems by the children. She explicated how educators needed to negotiate and challenge dominant practices in primary classroom literacy learning. Like many studies before, a strong recommendation was to be more inclusive of youth popular cultures and culturally relevant literacies for students to be more engaged in creative writing practices. For Christianakis, culturally relevant literacies meant practices that embraced diversity in class and race and accounted for, and challenged, the dominant hegemonic curriculum that ‘privileges a traditional canon’ (p. 1140).

In summary, we found several themes under PEPs that could be considered for further research including those outlined in Table 3 below.

Discussion and implications for classroom practice

From this systematic literature review, several positions were exposed about the personal, structural, and cultural influences (Archer, 2012 ; Ryan, 2014 ) on teaching creative writing. These include limited teacher and student knowledge of what constitutes creative writing (Personal Emergent Properties [PEPs]), and no shared understanding or expectation in relation to creative writing pedagogy in their context (Cultural Emergent Properties [CEPs]). The negative impact of standardised testing and trending approaches on how teachers teach writing (CEP; Structural Emergent Properties [SEPs]) could also be considered (see AUTHORS 1 and 3, 2014 for example). In addition, teachers’ poor self-efficacy in terms of teaching creative writing (PEP); a paucity of quality professional development about teaching and assessing creative writing (SEP); and issues related to the sustainability of creative approaches to teach writing (SEP; CEP) need to be considered by leaders and teachers in schools. Our literature review advances knowledge about creative writing by revealing two interconnected areas that affect creative writing practices. Findings suggest that a parallel focus on personal conditions and contextual conditions—including structural and cultural—has the potential to improve creative writing in general. Below, we share some implications and recommendations for improved practice by focussing on both (1) personal views about creative writing and (2) the structural and cultural aspects that affect creative writing practices at schools.

Focussing on personal views about creative writing

School leaders and teachers must clearly define what creative writing is, what key skills constitute creative writing.

From our search it was apparent that schools and their educators often do not have a clear idea or indeed a shared idea as to what constitutes creative writing in relation to their own context. Without a well-defined focus for creative writing students may find it difficult to know what is required in classroom tasks and assessment. In addition, when planning for creative writing in school programs, teachers should consider flexible learning opportunities and choice for their students when developing their creative writing skills. Such flexibility should also involve choice of topic, ways of working (e.g. peer collaboration, individual activities etc.), and open discussions led by students in the classroom as shown throughout this paper. It would also be important for leaders and teachers to interrogate current approaches to teaching writing which we argued in the introduction to be formulaic and genre based.

Improve teacher self-efficacy, confidence, and content knowledge in teaching writing

Many of our studies showed that teachers who lacked confidence about writing themselves had less knowledge and skills to teach writing than those that may have participated in projects encouraging ‘teachers as writers’. Further, improved knowledge of grammar (as highlighted in Macken-Horarik’s, 2012 work); talk about writing in the classroom and other spaces (Cremin et al., 2020 ) and the writing process (see Ryan, 2014 ) could assist teachers in becoming more confident to take risks in the classroom with their students. Above all being playful about writing through extended conversations and practices is required.

Focussing on the structural and cultural resources

Improve training and further professional development and learning about teaching and assessing creative writing.

In order for the above personal attributes to be improved, further professional development and learning are required. Many of the papers presented throughout this review demonstrated the powerful impact of immersive professional learning for teachers. Working alongside professional authors, researchers, drama practitioners, visual artists, poets, for example, provided positive opportunities for teachers to learn about writing but also to feel more confident to teach it without imposing strict boundaries on students. We argue for professional development to be both formal and informal including such approaches as coaching and mentoring in the classroom. Demonstrated practice alongside the teacher is also recommended. This, in turn, would address the ongoing issue of creative writing being stifled for students in the classroom context.

Consider sustainability of creative pedagogic approaches and spaces for creative writing in curriculum planning

Many of the studies throughout this paper shared creative approaches to teaching writing but there were concerns that some of these methods may not be sustainable. It is important for school leaders to support the work of teachers in relation to teaching creative writing. We acknowledge that there is increasing uncertainty and scrutiny surrounding teachers’ everyday work (Knight, 2020 ), however, continued engagement in learning about and participating in creative pedagogy for writing is highly recommended. In addition, the studies suggested the provision of appropriate and authentic spaces in which students could creatively write and these often included spaces outside of the normal classroom environment and arts-based approaches implemented in such spaces. Teachers should be encouraged to collaborate and take risks rather than follow predetermined strategies for every lesson. A whole of school practice can be developed with important conversations about the ideologies that inform the school’s approach to writing.

Schools should not stifle creativity in the classroom due to the infiltration of standardised and/or trending approaches to teaching and assessing writing

It is evident that pedagogical approaches to teaching writing have been stifled by more formulaic methods aiming to meet expectations of standardised tests despite other evidence showing the benefits of more productive, engaging, and creative approaches to teaching writing as highlighted above. This can be particularly the case for students from non-dominant backgrounds where writing about cultural and life experiences through innovative practices has been proven to empower their voices (Johnson, 2021 ). The research shows that when students are offered rigid structures of texts, no choice of genres, and indeed word lists, their own decisions about writing are diminished (Ryan & Barton, 2013 ). It has been proven that students’ engagement and motivation to write can increase when they are able to write directly from their own experience or in social groups. It is therefore recommended that school leaders and teachers reconsider their ideologies about writing and explicitly indicate the importance of real-world purposes for writing—not just formulised, quick writing as usually included in external tests—but also those that encourage students’ growth in imagination, creativity, and innovative thought.

This systematic review used a lens of reflexivity to situate writing as a process of active and creative design whereby students make conscious decisions about their writing, with guidance from their teachers. As explained, we see creative writing as writing that engages a reader and, therefore, requires knowledge of authorial voice and appropriate word choice. This involves reflexive decisions relating to personal, structural, and cultural emergent properties. Predominant in the literature was the striking influence of CEPs or the values and expectations ascribed to writing, which in turn influence the strategies and resources (SEPs) and the experiences and motivations of students and teachers in the classroom (PEPs). Writing is about more than a series of perfectly formed sentences in a recognisable structure, which dominates conceptions of writing through high-stakes testing globally. It is about engagement with the expressive self, emergent identities, and relationships to places and people and above all communicating to and/or entertaining a reader. Without quality education in creative writing, society is at risk of losing an art form that is important for cultural practice and expression (Watson, 2016 ).

We do foresee several limitations with such a review, largely related to the positive nature of the studies in relation to creative approaches to teaching writing as well as the relatively small numbers of participants in some of the studies. Most of the studies reported favourably on the approaches taken by teachers to influence student motivation towards writing with limited comments about adverse effects. In terms of contributions, the notion that students need to draw on creative thought and ideas when writing means that teachers and leaders must think about diverse ways to teach writing. We argue, on the basis of the findings, that inquiry-based and reflexive professional learning projects about creativity are crucial for primary classrooms: what creativity means in different contexts and for different writers; how it is enabled; and the decisions and actions that emerge when creative and reflexive design guide our approach to classroom writing. Without quality knowledge and understanding of what creative writing is and how it is taught, we would be at risk of diminishing students’ self-expression and ability to communicate meaning to others in literary forms.

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Barton, G., Khosronejad, M., Ryan, M. et al. Teaching creative writing in primary schools: a systematic review of the literature through the lens of reflexivity. Aust. Educ. Res. (2023). https://doi.org/10.1007/s13384-023-00641-9

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Creative Writing: Narrative structure

Lesson details, key learning points.

• In this lesson, we will be thinking about the narrative structure of short stories. We will learn all about Freytag's 'narrative pyramid' and the hooks writers use to engage their readers.

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5 questions, 7 questions, lesson appears in, unit english / creative writing: short stories.

Teacups & Teaching

Committed to Creative and Critical Thinking

in Something Creative!

Teaching Creative Writing to Middle Schoolers

There are fewer things my students get more excited about than the chance to write their own stories. This makes sense to me—we all yearn on some deeper level to be creative. Some of my students are much more creative than others, but they all enjoy getting that chance. 

Over the past few years, I’ve taught creative writing several times. The length of the unit varies, depending on how much free time I have. Sometimes it’s as long as twelve lessons, sometimes as short as five. No matter what, these are the essential topics I always cover:

• Showing vs. Telling
• Story Structure
• Point of view, Dialogue, & Body language (on separate days or together, depending on timing)
• Endings 

If time permits, I will sometimes dive deeper with these topics:

• Finding ideas
• Diving deeper into worldbuilding (specifically if lots of students write fantasy!)
• Description using the five senses

Over many years and a concentration in creative writing, I’ve read many books about the craft of writing. However, when I’m teaching, I always return to my first craft book, which I bought at age 13. It’s written by Gail Carson Levine, author of beloved classic Ella Enchanted. 

This delightful book, Writing Magic: Creating Stories that Fly , covers all the topics I listed and more. Not only does it break down each topic into easy parts, but it also provides wonderful examples! Sometimes I use the same ones as Levine, and sometimes I find my own, but I am always grateful for them. Finally, each chapter ends with fun writing exercises, which I often do in class or assign as homework for my students. 

If there is a topic that you want to teach that isn’t covered in her book, she has an excellent blog that is much more comprehensive! 

While most of my lectures come from Ms. Levine’s book, I have created my own lectures for teaching story structure and character building, using Frozen and Mulan . They are available to purchase here .

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Narrative Writing: A Complete Guide for Teachers and Students

MASTERING THE CRAFT OF NARRATIVE WRITING

Narratives build on and encourage the development of the fundamentals of writing. They also require developing an additional skill set: the ability to tell a good yarn, and storytelling is as old as humanity.

We see and hear stories everywhere and daily, from having good gossip on the doorstep with a neighbor in the morning to the dramas that fill our screens in the evening.

Good narrative writing skills are hard-won by students even though it is an area of writing that most enjoy due to the creativity and freedom it offers.

Here we will explore some of the main elements of a good story: plot, setting, characters, conflict, climax, and resolution . And we will look too at how best we can help our students understand these elements, both in isolation and how they mesh together as a whole.

WHAT IS A NARRATIVE?

A narrative is a story that shares a sequence of events , characters, and themes. It expresses experiences, ideas, and perspectives that should aspire to engage and inspire an audience.

A narrative can spark emotion, encourage reflection, and convey meaning when done well.

Narratives are a popular genre for students and teachers as they allow the writer to share their imagination, creativity, skill, and understanding of nearly all elements of writing.  We occasionally refer to a narrative as ‘creative writing’ or story writing.

The purpose of a narrative is simple, to tell the audience a story.  It can be written to motivate, educate, or entertain and can be fact or fiction.

A COMPLETE UNIT ON TEACHING NARRATIVE WRITING

Teach your students to become skilled story writers with this HUGE   NARRATIVE & CREATIVE STORY WRITING UNIT . Offering a  COMPLETE SOLUTION  to teaching students how to craft  CREATIVE CHARACTERS, SUPERB SETTINGS, and PERFECT PLOTS .

Over 192 PAGES of materials, including:

TYPES OF NARRATIVE WRITING

There are many narrative writing genres and sub-genres such as these.

We have a complete guide to writing a personal narrative that differs from the traditional story-based narrative covered in this guide. It includes personal narrative writing prompts, resources, and examples and can be found here.

As we can see, narratives are an open-ended form of writing that allows you to showcase creativity in many directions. However, all narratives share a common set of features and structure known as “Story Elements”, which are briefly covered in this guide.

Don’t overlook the importance of understanding story elements and the value this adds to you as a writer who can dissect and create grand narratives. We also have an in-depth guide to understanding story elements here .

CHARACTERISTICS OF NARRATIVE WRITING

Narrative structure.

ORIENTATION (BEGINNING) Set the scene by introducing your characters, setting and time of the story. Establish your who, when and where in this part of your narrative

COMPLICATION AND EVENTS (MIDDLE) In this section activities and events involving your main characters are expanded upon. These events are written in a cohesive and fluent sequence.

RESOLUTION (ENDING) Your complication is resolved in this section. It does not have to be a happy outcome, however.

EXTRAS: Whilst orientation, complication and resolution are the agreed norms for a narrative, there are numerous examples of popular texts that did not explicitly follow this path exactly.

NARRATIVE FEATURES

LANGUAGE: Use descriptive and figurative language to paint images inside your audience’s minds as they read.

PERSPECTIVE Narratives can be written from any perspective but are most commonly written in first or third person.

DIALOGUE Narratives frequently switch from narrator to first-person dialogue. Always use speech marks when writing dialogue.

TENSE If you change tense, make it perfectly clear to your audience what is happening. Flashbacks might work well in your mind but make sure they translate to your audience.

THE PLOT MAP

This graphic is known as a plot map, and nearly all narratives fit this structure in one way or another, whether romance novels, science fiction or otherwise.

It is a simple tool that helps you understand and organise a story’s events. Think of it as a roadmap that outlines the journey of your characters and the events that unfold. It outlines the different stops along the way, such as the introduction, rising action, climax, falling action, and resolution, that help you to see how the story builds and develops.

Using a plot map, you can see how each event fits into the larger picture and how the different parts of the story work together to create meaning. It’s a great way to visualize and analyze a story.

Be sure to refer to a plot map when planning a story, as it has all the essential elements of a great story.

THE 5 KEY STORY ELEMENTS OF A GREAT NARRATIVE (6-MINUTE TUTORIAL VIDEO)

This video we created provides an excellent overview of these elements and demonstrates them in action in stories we all know and love.

HOW TO WRITE A NARRATIVE

Now that we understand the story elements and how they come together to form stories, it’s time to start planning and writing your narrative.

In many cases, the template and guide below will provide enough details on how to craft a great story. However, if you still need assistance with the fundamentals of writing, such as sentence structure, paragraphs and using correct grammar, we have some excellent guides on those here.

USE YOUR WRITING TIME EFFECTIVELY: Maximize your narrative writing sessions by spending approximately 20 per cent of your time planning and preparing.  This ensures greater productivity during your writing time and keeps you focused and on task.

Use tools such as graphic organizers to logically sequence your narrative if you are not a confident story writer.  If you are working with reluctant writers, try using narrative writing prompts to get their creative juices flowing.

Spend most of your writing hour on the task at hand, don’t get too side-tracked editing during this time and leave some time for editing. When editing a  narrative, examine it for these three elements.

• Spelling and grammar ( Is it readable?)
• Story structure and continuity ( Does it make sense, and does it flow? )
• Character and plot analysis. (Are your characters engaging? Does your problem/resolution work? )

1. SETTING THE SCENE: THE WHERE AND THE WHEN

The story’s setting often answers two of the central questions in the story, namely, the where and the when. The answers to these two crucial questions will often be informed by the type of story the student is writing.

The story’s setting can be chosen to quickly orient the reader to the type of story they are reading. For example, a fictional narrative writing piece such as a horror story will often begin with a description of a haunted house on a hill or an abandoned asylum in the middle of the woods. If we start our story on a rocket ship hurtling through the cosmos on its space voyage to the Alpha Centauri star system, we can be reasonably sure that the story we are embarking on is a work of science fiction.

Such conventions are well-worn clichés true, but they can be helpful starting points for our novice novelists to make a start.

Having students choose an appropriate setting for the type of story they wish to write is an excellent exercise for our younger students. It leads naturally onto the next stage of story writing, which is creating suitable characters to populate this fictional world they have created. However, older or more advanced students may wish to play with the expectations of appropriate settings for their story. They may wish to do this for comic effect or in the interest of creating a more original story. For example, opening a story with a children’s birthday party does not usually set up the expectation of a horror story. Indeed, it may even lure the reader into a happy reverie as they remember their own happy birthday parties. This leaves them more vulnerable to the surprise element of the shocking action that lies ahead.

Once the students have chosen a setting for their story, they need to start writing. Little can be more terrifying to English students than the blank page and its bare whiteness stretching before them on the table like a merciless desert they must cross. Give them the kick-start they need by offering support through word banks or writing prompts. If the class is all writing a story based on the same theme, you may wish to compile a common word bank on the whiteboard as a prewriting activity. Write the central theme or genre in the middle of the board. Have students suggest words or phrases related to the theme and list them on the board.

You may wish to provide students with a copy of various writing prompts to get them started. While this may mean that many students’ stories will have the same beginning, they will most likely arrive at dramatically different endings via dramatically different routes.

A bargain is at the centre of the relationship between the writer and the reader. That bargain is that the reader promises to suspend their disbelief as long as the writer creates a consistent and convincing fictional reality. Creating a believable world for the fictional characters to inhabit requires the student to draw on convincing details. The best way of doing this is through writing that appeals to the senses. Have your student reflect deeply on the world that they are creating. What does it look like? Sound like? What does the food taste like there? How does it feel like to walk those imaginary streets, and what aromas beguile the nose as the main character winds their way through that conjured market?

Also, Consider the when; or the time period. Is it a future world where things are cleaner and more antiseptic? Or is it an overcrowded 16th-century London with human waste stinking up the streets? If students can create a multi-sensory installation in the reader’s mind, then they have done this part of their job well.

Popular Settings from Children’s Literature and Storytelling

• Fairytale Kingdom
• Magical Forest
• Village/town
• Underwater world
• Space/Alien planet

2. CASTING THE CHARACTERS: THE WHO

Now that your student has created a believable world, it is time to populate it with believable characters.

In short stories, these worlds mustn’t be overpopulated beyond what the student’s skill level can manage. Short stories usually only require one main character and a few secondary ones. Think of the short story more as a small-scale dramatic production in an intimate local theater than a Hollywood blockbuster on a grand scale. Too many characters will only confuse and become unwieldy with a canvas this size. Keep it simple!

Creating believable characters is often one of the most challenging aspects of narrative writing for students. Fortunately, we can do a few things to help students here. Sometimes it is helpful for students to model their characters on actual people they know. This can make things a little less daunting and taxing on the imagination. However, whether or not this is the case, writing brief background bios or descriptions of characters’ physical personality characteristics can be a beneficial prewriting activity. Students should give some in-depth consideration to the details of who their character is: How do they walk? What do they look like? Do they have any distinguishing features? A crooked nose? A limp? Bad breath? Small details such as these bring life and, therefore, believability to characters. Students can even cut pictures from magazines to put a face to their character and allow their imaginations to fill in the rest of the details.

Younger students will often dictate to the reader the nature of their characters. To improve their writing craft, students must know when to switch from story-telling mode to story-showing mode. This is particularly true when it comes to character. Encourage students to reveal their character’s personality through what they do rather than merely by lecturing the reader on the faults and virtues of the character’s personality. It might be a small relayed detail in the way they walk that reveals a core characteristic. For example, a character who walks with their head hanging low and shoulders hunched while avoiding eye contact has been revealed to be timid without the word once being mentioned. This is a much more artistic and well-crafted way of doing things and is less irritating for the reader. A character who sits down at the family dinner table immediately snatches up his fork and starts stuffing roast potatoes into his mouth before anyone else has even managed to sit down has revealed a tendency towards greed or gluttony.

Understanding Character Traits

Again, there is room here for some fun and profitable prewriting activities. Give students a list of character traits and have them describe a character doing something that reveals that trait without ever employing the word itself.

It is also essential to avoid adjective stuffing here. When looking at students’ early drafts, adjective stuffing is often apparent. To train the student out of this habit, choose an adjective and have the student rewrite the sentence to express this adjective through action rather than telling.

When writing a story, it is vital to consider the character’s traits and how they will impact the story’s events. For example, a character with a strong trait of determination may be more likely to overcome obstacles and persevere. In contrast, a character with a tendency towards laziness may struggle to achieve their goals. In short, character traits add realism, depth, and meaning to a story, making it more engaging and memorable for the reader.

Popular Character Traits in Children’s Stories

• Determination
• Imagination
• Perseverance
• Responsibility

We have an in-depth guide to creating great characters here , but most students should be fine to move on to planning their conflict and resolution.

3. NO PROBLEM? NO STORY! HOW CONFLICT DRIVES A NARRATIVE

This is often the area apprentice writers have the most difficulty with. Students must understand that without a problem or conflict, there is no story. The problem is the driving force of the action. Usually, in a short story, the problem will center around what the primary character wants to happen or, indeed, wants not to happen. It is the hurdle that must be overcome. It is in the struggle to overcome this hurdle that events happen.

Often when a student understands the need for a problem in a story, their completed work will still not be successful. This is because, often in life, problems remain unsolved. Hurdles are not always successfully overcome. Students pick up on this.

We often discuss problems with friends that will never be satisfactorily resolved one way or the other, and we accept this as a part of life. This is not usually the case with writing a story. Whether a character successfully overcomes his or her problem or is decidedly crushed in the process of trying is not as important as the fact that it will finally be resolved one way or the other.

A good practical exercise for students to get to grips with this is to provide copies of stories and have them identify the central problem or conflict in each through discussion. Familiar fables or fairy tales such as Three Little Pigs, The Boy Who Cried Wolf, Cinderella, etc., are great for this.

While it is true that stories often have more than one problem or that the hero or heroine is unsuccessful in their first attempt to solve a central problem, for beginning students and intermediate students, it is best to focus on a single problem, especially given the scope of story writing at this level. Over time students will develop their abilities to handle more complex plots and write accordingly.

Popular Conflicts found in Children’s Storytelling.

• Good vs evil
• Individual vs society
• Nature vs nurture
• Self vs others
• Man vs self
• Man vs nature
• Man vs technology
• Individual vs fate
• Self vs destiny

Conflict is the heart and soul of any good story. It’s what makes a story compelling and drives the plot forward. Without conflict, there is no story. Every great story has a struggle or a problem that needs to be solved, and that’s where conflict comes in. Conflict is what makes a story exciting and keeps the reader engaged. It creates tension and suspense and makes the reader care about the outcome.

Like in real life, conflict in a story is an opportunity for a character’s growth and transformation. It’s a chance for them to learn and evolve, making a story great. So next time stories are written in the classroom, remember that conflict is an essential ingredient, and without it, your story will lack the energy, excitement, and meaning that makes it truly memorable.

4. THE NARRATIVE CLIMAX: HOW THINGS COME TO A HEAD!

The climax of the story is the dramatic high point of the action. It is also when the struggles kicked off by the problem come to a head. The climax will ultimately decide whether the story will have a happy or tragic ending. In the climax, two opposing forces duke things out until the bitter (or sweet!) end. One force ultimately emerges triumphant. As the action builds throughout the story, suspense increases as the reader wonders which of these forces will win out. The climax is the release of this suspense.

Much of the success of the climax depends on how well the other elements of the story have been achieved. If the student has created a well-drawn and believable character that the reader can identify with and feel for, then the climax will be more powerful.

The nature of the problem is also essential as it determines what’s at stake in the climax. The problem must matter dearly to the main character if it matters at all to the reader.

Have students engage in discussions about their favorite movies and books. Have them think about the storyline and decide the most exciting parts. What was at stake at these moments? What happened in your body as you read or watched? Did you breathe faster? Or grip the cushion hard? Did your heart rate increase, or did you start to sweat? This is what a good climax does and what our students should strive to do in their stories.

The climax puts it all on the line and rolls the dice. Let the chips fall where the writer may…

Popular Climax themes in Children’s Stories

• A battle between good and evil
• The character’s bravery saves the day
• Character faces their fears and overcomes them
• The character solves a mystery or puzzle.
• The character stands up for what is right.
• Character reaches their goal or dream.
• The character learns a valuable lesson.
• The character makes a selfless sacrifice.
• The character makes a difficult decision.
• The character reunites with loved ones or finds true friendship.

5. RESOLUTION: TYING UP LOOSE ENDS

After the climactic action, a few questions will often remain unresolved for the reader, even if all the conflict has been resolved. The resolution is where those lingering questions will be answered. The resolution in a short story may only be a brief paragraph or two. But, in most cases, it will still be necessary to include an ending immediately after the climax can feel too abrupt and leave the reader feeling unfulfilled.

An easy way to explain resolution to students struggling to grasp the concept is to point to the traditional resolution of fairy tales, the “And they all lived happily ever after” ending. This weather forecast for the future allows the reader to take their leave. Have the student consider the emotions they want to leave the reader with when crafting their resolution.

While the action is usually complete by the end of the climax, it is in the resolution that if there is a twist to be found, it will appear – think of movies such as The Usual Suspects. Pulling this off convincingly usually requires considerable skill from a student writer. Still, it may well form a challenging extension exercise for those more gifted storytellers among your students.

Popular Resolutions in Children’s Stories

• Our hero achieves their goal
• The character learns a valuable lesson
• A character finds happiness or inner peace.
• The character reunites with loved ones.
• Character restores balance to the world.
• The character discovers their true identity.
• Character changes for the better.
• The character gains wisdom or understanding.
• Character makes amends with others.
• The character learns to appreciate what they have.

Once students have completed their story, they can edit for grammar, vocabulary choice, spelling, etc., but not before!

As mentioned, there is a craft to storytelling, as well as an art. When accurate grammar, perfect spelling, and immaculate sentence structures are pushed at the outset, they can cause storytelling paralysis. For this reason, it is essential that when we encourage the students to write a story, we give them license to make mechanical mistakes in their use of language that they can work on and fix later.

Good narrative writing is a very complex skill to develop and will take the student years to become competent. It challenges not only the student’s technical abilities with language but also her creative faculties. Writing frames, word banks, mind maps, and visual prompts can all give valuable support as students develop the wide-ranging and challenging skills required to produce a successful narrative writing piece. But, at the end of it all, as with any craft, practice and more practice is at the heart of the matter.

TIPS FOR WRITING A GREAT NARRATIVE

• Start your story with a clear purpose: If you can determine the theme or message you want to convey in your narrative before starting it will make the writing process so much simpler.
• Choose a compelling storyline and sell it through great characters, setting and plot: Consider a unique or interesting story that captures the reader’s attention, then build the world and characters around it.
• Develop vivid characters that are not all the same: Make your characters relatable and memorable by giving them distinct personalities and traits you can draw upon in the plot.
• Use descriptive language to hook your audience into your story: Use sensory language to paint vivid images and sequences in the reader’s mind.
• Show, don’t tell your audience: Use actions, thoughts, and dialogue to reveal character motivations and emotions through storytelling.
• Create a vivid setting that is clear to your audience before getting too far into the plot: Describe the time and place of your story to immerse the reader fully.
• Build tension: Refer to the story map earlier in this article and use conflict, obstacles, and suspense to keep the audience engaged and invested in your narrative.
• Use figurative language such as metaphors, similes, and other literary devices to add depth and meaning to your narrative.
• Edit, revise, and refine: Take the time to refine and polish your writing for clarity and impact.
• Stay true to your voice: Maintain your unique perspective and style in your writing to make it your own.

NARRATIVE WRITING EXAMPLES (Student Writing Samples)

Below are a collection of student writing samples of narratives.  Click on the image to enlarge and explore them in greater detail.  Please take a moment to read these creative stories in detail and the teacher and student guides which highlight some of the critical elements of narratives to consider before writing.

Please understand these student writing samples are not intended to be perfect examples for each age or grade level but a piece of writing for students and teachers to explore together to critically analyze to improve student writing skills and deepen their understanding of story writing.

We recommend reading the example either a year above or below, as well as the grade you are currently working with, to gain a broader appreciation of this text type.

NARRATIVE WRITING PROMPTS (Journal Prompts)

When students have a great journal prompt, it can help them focus on the task at hand, so be sure to view our vast collection of visual writing prompts for various text types here or use some of these.

• On a recent European trip, you find your travel group booked into the stunning and mysterious Castle Frankenfurter for a single night…  As night falls, the massive castle of over one hundred rooms seems to creak and groan as a series of unexplained events begin to make you wonder who or what else is spending the evening with you. Write a narrative that tells the story of your evening.
• You are a famous adventurer who has discovered new lands; keep a travel log over a period of time in which you encounter new and exciting adventures and challenges to overcome.  Ensure your travel journal tells a story and has a definite introduction, conflict and resolution.
• You create an incredible piece of technology that has the capacity to change the world.  As you sit back and marvel at your innovation and the endless possibilities ahead of you, it becomes apparent there are a few problems you didn’t really consider. You might not even be able to control them.  Write a narrative in which you ride the highs and lows of your world-changing creation with a clear introduction, conflict and resolution.
• As the final door shuts on the Megamall, you realise you have done it…  You and your best friend have managed to sneak into the largest shopping centre in town and have the entire place to yourselves until 7 am tomorrow.  There is literally everything and anything a child would dream of entertaining themselves for the next 12 hours.  What amazing adventures await you?  What might go wrong?  And how will you get out of there scot-free?
• A stranger walks into town…  Whilst appearing similar to almost all those around you, you get a sense that this person is from another time, space or dimension… Are they friends or foes?  What makes you sense something very strange is going on?   Suddenly they stand up and walk toward you with purpose extending their hand… It’s almost as if they were reading your mind.

NARRATIVE WRITING VIDEO TUTORIAL

Teaching Resources

Use our resources and tools to improve your student’s writing skills through proven teaching strategies.

When teaching narrative writing, it is essential that you have a range of tools, strategies and resources at your disposal to ensure you get the most out of your writing time.  You can find some examples below, which are free and paid premium resources you can use instantly without any preparation.

FREE Narrative Graphic Organizer

THE STORY TELLERS BUNDLE OF TEACHING RESOURCES

A MASSIVE COLLECTION of resources for narratives and story writing in the classroom covering all elements of crafting amazing stories. MONTHS WORTH OF WRITING LESSONS AND RESOURCES, including:

NARRATIVE WRITING CHECKLIST BUNDLE

⭐⭐⭐⭐⭐ (92 Reviews)

OTHER GREAT ARTICLES ABOUT NARRATIVE WRITING

Narrative Writing for Kids: Essential Skills and Strategies

7 Great Narrative Lesson Plans Students and Teachers Love

Top 7 Narrative Writing Exercises for Students

How to Write a Scary Story

• Our Mission

Creative Writing in the Early Elementary Grades

A project that incorporates both standard and creative elements of storytelling can help young learners strengthen their literacy skills.

What can creative writing look, feel, and sound like in a first grade classroom? How can creative writing become a joyful and meaningful learning experience, and how can we educators facilitate the creative process and allow young writers to use their imagination when writing?

Graphic organizers, mind maps, and storyboards are certainly great tools for narrative building and planning, but they do not necessarily scaffold the creative process that story writing requires. In reality, they might even restrict students’ creativity while they “box” ideas in predetermined templates. This year, in my class, going play-based and hands-on has turned out to be a tremendous success.

Examining Elements of Creative Writing in First Grade 

For this particular unit, my first grade students were examining literature and storytelling. After they had enjoyed several read-alouds, explored story elements, and studied the story mountain (beginning, rising action, conflict, resolution, and ending) as a team, it was time for them to write their very own stories. 

They kicked off by creating their main character and decided on the character’s appearance, personality, likes, and dislikes. They also had the choice to play the main character role in the story. In both cases, while still brainstorming, it was time for action: They drew and decorated their characters with markers and pencils, cut them out, and used a Popsicle stick to make a puppet.

They became even more motivated to continue as they saw their characters come to life. My students spontaneously started interacting with each other and their puppets—creating stories and being imaginative—they went right into storytelling mode. This created the perfect opportunity for me to step back and observe my students’ initiative, creativity, and social and communication skills, not to mention their sense of accomplishment and joy. 

Adding Artful Components to the Story

After they had engaged with their characters and interacted with others, it was time for the young writers to further develop their stories and think of a scenario leading to the rising action and resolution. This was the point when loose parts played a crucial role in the storytelling process. Counters, pipe cleaners, bits of paper, pebbles, dice, and buttons became houses, trees, magic wands, you name it. These bits and bobs from around the classroom became a valuable, zero-cost resource. 

While students actively arranged and rearranged their chosen loose parts, they wondered about what would happen next in their stories. Unexpectedly, some students chose to collaborate and co-created stories by joining their imagination and characters in one story. In this step of the creative process, the use of loose parts was truly empowering: Before jotting anything down in their notebooks, my students physically, mentally, and verbally constructed their narratives and shared them with their partners. 

Turning Ideas Into Words

With the mental representation of their narratives ready, it was all a matter of scribing their ideas. For that, we followed our usual class routines and resources such as word banks, sentence starters, and buddy support. All my students were engaged and confident, and when struggling with ideas, they resorted to loose parts again. As my first grade is a multicultural classroom, some of my students needed language support . However, with all of them hooked on their stories, supporting those who needed help with vocabulary, sentence construction, and spelling was simplified. 

I conferred with students individually and in small groups to understand their thinking and offered feedback on paragraphing and some word choice. Instead of using notebooks for their first drafts, they chose to use mini-boards, which motivated them even more and supported them to make quick adjustments to their narratives. Finally, after receiving feedback, they moved on to writing their final drafts and designing their covers in order to turn their stories into books. Each student took their book home to share it with their family after reading it with the class.

Sharing Stories and Making Memorable Learning Experiences

What good is a book if it isn’t read and enjoyed? Buddy reading was the last step of the process but certainly not the least exciting. My students read aloud to each other, commenting on their favorite bits of the story and appreciating the illustrations. The whole project, from getting their characters ready to publishing and reading their books, took around five hours divided into five days. 

When reflecting on the writing process, my students said that what they appreciated the most was the making of their puppets and illustrating their stories, highlighting the importance of integrating arts and writing. When asked about what was challenging, they replied that it was creating all the parts of the story mountain. However, they all said that using loose parts was a helpful strategy that they would use again—which they spontaneously have done in subsequent writing engagements. Lastly, when asked how they felt, some of the words they used were “proud,” “good,” and “joyful!”

A recent UNESCO report on the importance of happiness in learning refers to neuroscience research that proves our affective and cognitive domains are interconnected and interdependent. Therefore, emotions do affect learning! Joy is not a trade-off for academic achievement. Creating positive learning experiences makes learning stick.

Very often, students fear and avoid writing as a consequence of previous negative writing experiences. Combining art and a play-based approach to creative writing in first grade can set students on a path to success by building on their confidence, creativity, imagination, and sense of accomplishment. I have witnessed that the integration of art and writing has helped my students discover how writing can be a joyful and memorable experience where they can all be amazing storytellers and writers.

Fall success starts this summer! See our programs for Summer Learning.  Learn More

Teaching Tips

How to teach sentence writing & structure for kids.

October 22, 2020

by: Valerie Zaryczny

So, your student can write letters and is developing early literacy skills to read high-frequency words and sound out some new words. What comes next? Sentence writing, of course! 

How exciting it is when children move from being able to express their ideas only by drawing pictures to writing sentences that everyone can read! Before we can help children learn to write a sentence, we first need to teach them what a sentence is! Then we need effective teaching strategies and good materials to make teaching and learning sentences fun.

What is a Sentence?

A sentence:

• is a group of words that expresses a complete thought that can stand alone (also called an independent clause)
• starts with a capital letter
• has spaces between each word
• ends with punctuation (period, question mark, or exclamation point)
• contains a subject (someone or something) and a predicate (what the someone or something is being or doing)

There are three main types of sentence structures:

• Ex: The dog wags her tail.
• Ex: I open the door, and the dog wags her tail.
• Ex: The dog wags her tail when I get home

How to Teach Sentence Structure

Want your students to have success with writing sentences? The formula is simple!

Active Teaching + Good Materials = Writing Success.

Let’s first look at Active Teaching.

Three Instructional Stages for Teaching Successfully

There is an important, three-step process that sets children up for success when learning. This process can not only be used when teaching sentence structure but also for handwriting instruction and so many other skills!

• The first stage is  Direct Instruction.  During this stage, you directly instruct by actively demonstrating how to write a sentence. To get all eyes on you as you demonstrate, say, “My Turn! Watch me write the sentence.” Explain the important concepts as you write such as capitalization, spacing, and punctuation. Then say, “Your Turn,” indicating it’s their turn to imitate you in their workbook, worksheet, or lined paper. This step assures students are watching and learning how to write correctly, which is a foundation piece for good habits.
• The next stage is Guided Practice.  This requires that teachers guide students to their workbook or worksheet where they copy sentences from a model. While students write, teachers should walk around and closely monitor and guide their students. Resist the temptation to let workbook and worksheet practice be independent work as they can copy incorrectly and reinforce bad habits. Students need direct instruction prior to and continued guidance during this stage so they practice correctly.
• The final stage is  Independent Practice.  This happens when children write sentences on their own without a visual model, and it is an important part of your lesson to help students develop independence with writing sentences. Provide lined paper or journals for this stage.

Make Teaching Sentences Fun!

Research tells us that multisensory teaching is the best way to teach children so that we appeal to each child’s learning style. It’s also part of active teaching! Add one or more of these multisensory ideas to your sentence structure lessons to get children excited and engaged in the lesson!

Sentence School

Sentence School is a kindergarten level program offered from Learning Without Tears designed to reinforce good handwriting habits as you teach students to form sentences and become confident writers. It works alongside any language arts program and takes only 10-15 minutes per day. Daily lessons in the included teacher's guide promote vocabulary and sentence skills with word cards and common classroom objects. Each lesson plan includes an active, hands-on activity to help children learn the words and formulate sentences with what they see and experience in the activity.

Mixed-Up Sentences

Write the subject on one popsicle stick and the predicate on another for several sentences. Talk with your students about the two parts of a sentence and then let them mix them up to make silly mixed-up sentences!

Sentence Song

The Sentence Song is on the Rock, Rap, Tap, and Learn Music album from LWT. It is sung to the tune of "Yankee Doodle" and helps children learn about capitalization, spacing between words, and punctuation in a fun way!

Spacing Strategies

One of the challenges children face when starting to write sentences is spacing! We don’t use spaces when we speak, so the concept of spacing isn’t natural for children. There are many creative ways to help children learn to space their words. Here are a few:

• Nothing Bottle: What is a space? It’s “nothing,” right? Take a large, empty plastic bottle or pitcher, and write the word “nothing” across it. Before writing time, ask students to hold out their hands and pour some “nothing” into them. Instruct them to use a little “nothing” after every word as they write!
• Sick Sentence Clinic: Write a sentence on the board or with the A+ Worksheet Maker without any spaces between the words. Discuss with students why that sentence is difficult to read and explain that it is a “sick sentence”. Tell them they are going to be “sentence doctors” and make that sentence healthy again! Give them lined paper to re-write the sentence with good spacing.
• Spaghetti and Meatballs: Explain that there should be no more than a spaghetti-sized space between letters inside words, and we need a meatball-sized space between words! Give students a large cotton ball and a piece of string to use as their “spaghetti and meatball” to measure spaces as they write.

What Else Do You Need to Help Children Write Sentences Effectively?

You need Good Materials! Teachers need good materials to demonstrate sentences and students need well-designed materials to practice on. The products below will promote success for you as a teacher and for your students as they are developing their writing skills.

For Teachers

• Worksheet Maker Lite: This free and easy-to-use resource lets you create worksheets for students using the LWT double lines. There are worksheet templates for grades K-4 in both print and cursive with grade-appropriate lines and spacing. Templates include spelling, vocabulary, sentence writing, and graphic organizers.
• Double Line Writer: To help with demonstrating sentences on your board, insert two markers in the holes of this handy tool to easily draw straight double lines on chalkboards or dry erase boards.
• Double Line Sentence Strips: These 24”x3” strips are great for modeling sentences and come in a pack of 100. You might want to keep one on your bulletin board with a sample sentence as an example for students to reference!
• Double Line Chart Tablet: These 24”x32” tablets can be used with your easel to demonstrate sentences for students.

For Students

• Grade Level Handwriting Workbook : Handwriting Without Tears workbooks teach letters and numbers and include page after page of writing activities to practice sentence writing and handwriting skills.
• Building Writers: This program includes grade-level workbooks for grades K-5 for children to practice and build core writing skills. It offers a scaffolded approach to develop proficiency with writing narrative, information, and opinion pieces.
• Curious about double lines and why they work? Double lines control children’s letter size, spacing, and placement, which promotes legible writing that is easily transferred to other styles of paper. Watch this video to learn more:

• Big Sheet Draw & Write Paper: These 11”x17” sheets are perfect for students to have space for drawing and writing sentences about their drawing! They come in a pack of 100 double-sided sheets.
• Writing Journal: The LWT grade-level journals provide grade-appropriate double lines for students to use during independent writing time.
• Keyboarding Without Tears: Sentence writing doesn’t just happen on paper! Now more than ever it is crucial that elementary students practice composing sentences and paragraphs in digital form. The KWT curriculum includes fun, grade-appropriate lessons for children to develop automatic keyboarding skills.

Don’t forget about assessment! We need a way to assess children’s writing skills and track progress. The LWT Screener of Handwriting Proficiency is a free, easy-to-administer, whole class assessment that helps educators and specialists assess critical and measurable skills that children need for success including the sentence components of capitalization, spacing, and punctuation.

Sentence Writing is Fun with Learning Without Tears!

With these teaching tips and good materials, you can help children achieve sentence writing success! Don’t forget that handwriting is a foundational skill that should be taught prior to and alongside sentence structure! For more information about the products mentioned above and more ways to support children learning handwriting skills, explore LWTears.com .

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Teaching Writing: Structure and Style Writing Seminar

Years ago, a few homeschoolers were so impressed with Andrew Pudewa's Teaching Writing: Structure and Style(TWSS) writing seminar when it was first introduced that they went out of their way to make sure I reviewed it. Their enthusiasm was well founded as evidenced by the legions of TWSS fans today.

Two things seem to be stumbling blocks for homeschooling parents when it comes to teaching composition skills: the difficulty of finding the right resources and lack of confidence in their own abilities to teach and evaluate. Andrew Pudewa's TWSS has to be one of the best resources for helping parents overcome the confidence barrier and giving parents easy-to-use tools that help them successfully teach a wide range of students.

On the other end, students often struggle with writing because they feel overwhelmed by the assigned tasks, they can't think of anything to write, they don't know where to begin, and other such reasons. TWSS addresses such issues with carefully designed lessons that teach students in incremental steps that are manageable and even enjoyable.

The first edition of Pudewa's TWSS seminar, which has been available since 2000, has brought success to many families. The revised second edition, published in March 2015, is even better. The newer version of TWSS , available via online streaming or DVDs, consists of the Seminar and Practicum Workbook plus the video content and additional downloadable files. Video content is viewed either from 12 DVDs or from the 12 videos streamed online. The videos have 14 hours of teacher training and five and a half hours of student demonstration classes covering four different levels. DVDs include subtitles (in either English or Spanish).

In January of 2020, IEW introduced the first course for Structure and Style for Students. This is an expanded version of TWSS that makes it even easier to teach. You can read my review here . A number of the new Structure and Style for Students courses are now available.

TWSS can be used with one or more children at home or in group classes. In TWSS , parents and teachers learn how to teach both creative and expository writing. The course teaches both structure and style in such a clear manner that parents and teachers can quickly begin teaching students a repertoire of writing techniques even before they watch all of the video sessions themselves. Parents or teachers may watch the entire course all at once or spread it out over weeks or months. The videos really are focused on teacher training, and it is unlikely that students will watch with you.

Pudewa does not try to cover all types of creative and expository writing but focuses on basic structures and approaches. Regardless, this foundational development should be excellent preparation for students to build upon as they explore other forms of writing.

For example, one of the strategies Pudewa uses is to have students begin by making notes from a model composition. Students come up with key words to convey main ideas. Then they work from their notes to reconstruct the piece beginning with a key word outline. They are not attempting to copy the original, but using their own words, they expand upon the key words with their own words. This strategy works very well since it provides a secure starting place so students are not worrying excessively about what to say. Instead, they concentrate on structure and style. The basic strategies of taking notes with key words then constructing outlines are then used throughout the program for various types of writing assignments.

In addition to composition skills, selected grammar skills are taught and applied periodically through the course so students better understand the relationship between grammar and good writing. Students continue to develop and apply grammar-application techniques through writing activities taught throughout the course. The grammar is slightly disguised with references to “dress-ups,” “decorations,” and other unintimidating terms. [Note that IEW's revised and expanded Fix It! series provides systematic grammar instruction and review that nicely complements TWSS.]

The course as presented to students consists of nine units: 1. Note Making and Outlines, 2. Writing from Notes, 3. Retelling Narrative Stories, 4. Summarizing a Reference, 5. Writing from Pictures, 6. Summarizing Multiple References, 7. Inventive Writing, 8. Formal Essay Models, and 9. Formal Critique (book reports or basic literary analysis). An additional section on “Writing about Literature” has been added to the new edition of the Seminar and Practicum Workbook .

It is best if you teach the units in order. For students in grades four through eight, you should plan to teach one unit per month. You can move at a faster pace with older students and a slower pace with younger students.

In the first edition of TWSS, stylistic techniques were first introduced in the second unit. In the second edition, they have been separated into their own section in the binder. This is likely because students of different ability levels are ready to add the various style techniques at different times. Younger students will probably use fewer of them than older students. The general rule is that a new technique is added after a student demonstrates ease with the previous technique. Consequently, older students might master techniques at a more rapid pace than younger students. Instructions for introducing stylistic techniques for various ability levels are included in the instructions for each unit.

When you purchase the 2015 edition of the complete course, you also receive free access to a number of extra resources. The Blackline Masters e-book has 240 reproducible pages, primarily to be used by students. Here is where you will find stories and pictures to be used as writing source material as well as checklists, outline forms, and other resources that you need to teach the course. You are given permission to reproduce these for your family or classroom.

The two full-course options both include Premium Subscriptions. The Premium Subscription gives you access for one year to the complete series of video lessons streamed to your computer or tablet, plus downloadable audio talks , access to monthly webinar training (August through May), a recommended reading list, mini-posters, mini-books, and pictures. I recommend that you purchase the course with DVDs since I expect that many parents are likely to want to revisit the video lessons and the student demonstrations beyond the first year (and after the Premium Subscription expires). Once you have watched all of the videos, theoretically, the manual should be sufficient to help you teach the lessons, but a refresher from time to time is likely to be very helpful.

For those wondering how the new version differs from the first edition here are the key improvements:

• Newly recorded videos with expanded teaching content
• Streaming option
• DVDs include English or Spanish subtitle option
• Expanded and improved content in the manual
• Free supplemental files
• Improved checklists
• More information on grade level “adjustments”
• New section on “Writing about Literature”
• Demonstration class for grades K-2)

What I like most about this course is that Pudewa walks you through each strategy in detail. His teaching experience is very evident as he identifies and deals with problems that tend to crop up for both teacher and student. The lessons move along slowly enough for you to think and work through the process with his “live” DVD audience. This means that parents and teachers are more likely to end up with a solid grasp of the course content, especially if they complete the writing assignments themselves as they watch the seminar lessons.

Supplements and Follow-up Resources

As mentioned above, the seminar set includes four Student Workshop presentations. Student Workshops are recordings of classes conducted with different age groups: Primary (grades K-2), A (grades 3-5), B (grades 6-8), and C (grades 9-12). These serve as demonstration classes. You might have students work alongside a “video” class to introduce them to some of the methods of this course.

Even more help is available through Student Writing Intensive DVDs (SWI), although these are optional . There are three levels—A, B, and C—that cover the same grades levels as do the Student Workshops for those levels. Each SWI has four-discs of actual classes, running about 7½ hours total. Each SWI also includes a Structure and Style Overview DVD which is a brief introduction to the various units so parents and teachers can get a quick overview of the Structure and Style course outline. However, this is not intended to replace TWSS. SWI video classes focus on selected lessons from the seminar. A binder and a set of reproducible papers (models, checklists, reference sheets, and worksheets plus lesson plans and teacher instructions) come with each set of discs. As with the Student Workshop videos, students may work through these along with the video classes since Andrew Pudewa teaches students directly. Parents assist students as writing coaches and editors.

Once you have worked through the basic TWSS seminar and SWI, the Student Writing Intensive Continuation Course picks up where SWI ends. It features nine DVDs of video instruction, a CD-ROM with the teacher's manual, ten class handouts, student samples, and a student packet with 162 pages of three-hole-punched, loose-leaf handouts that contain 32 weeks or more of writing assignments lasting one to two years.

IEW also offers other related resources in their catalog or through their website. Among them are lesson books that will help you implement what is taught in the original seminar such as Bible-Based Writing Lessons in Structure and Style; Bible Heroes Writing Lessons in Structure and Style; Rockets, Radar, & Robotics; History-Based Writing Lessons ; Following Narnia; and more. These can be used in conjunction with the Structure and Style program or afterward. Bible-Based Writing Lessons in Structure and Style has lessons that you can begin using from the very beginning of the Structure and Style program while most of the other books need to wait until a little later. Many of IEW's materials, including the core courses discussed here (except for Bible-Based Writing Lessons and history-based writing lessons) are written from a secular, but "Christian friendly" viewpoint. Materials with distinctly Christian content are designated on their website as such.

Pricing Information

When comparison prices appear, please keep in mind that they are subject to change. Click on links where available to verify price accuracy.

Please consider clicking here to use my affiliate link to purchase directly from the publisher. Teaching Writing: Structure and Style Seminar: $189 with DVDs and streaming, $129 with streaming only (one year access), DVDs only - $155, upgrade from 2000 edition - $30 (See the IEW website for requirements for the upgrade.) Student Writing Intensive Courses (Levels A, B, or C) - $109 per set Continuation Courses (Levels A, B, or C) - $199 per set

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Teaching Writing Structure and Style 12-DVD Set with All 3 Student Workshops, Tips & Tricks, Student Workbook/Syllabus

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Creative Writing: Structure

Subject: English

Age range: 14-16

Resource type: Lesson (complete)

Last updated

21 October 2022

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This is a fully differentiated lesson looking at how to use structure effectively in creative writing. The lesson has been designed for anyone studying GCSE English and includes example responses to help learners craft their own response.

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