what is literature in creative writing

What Is Creative Writing? (Ultimate Guide + 20 Examples)

Creative writing begins with a blank page and the courage to fill it with the stories only you can tell.

I face this intimidating blank page daily–and I have for the better part of 20+ years.

In this guide, you’ll learn all the ins and outs of creative writing with tons of examples.

What Is Creative Writing (Long Description)?

Creative Writing is the art of using words to express ideas and emotions in imaginative ways. It encompasses various forms including novels, poetry, and plays, focusing on narrative craft, character development, and the use of literary tropes.

Table of Contents

Let’s expand on that definition a bit.

Creative writing is an art form that transcends traditional literature boundaries.

It includes professional, journalistic, academic, and technical writing. This type of writing emphasizes narrative craft, character development, and literary tropes. It also explores poetry and poetics traditions.

In essence, creative writing lets you express ideas and emotions uniquely and imaginatively.

It’s about the freedom to invent worlds, characters, and stories. These creations evoke a spectrum of emotions in readers.

Creative writing covers fiction, poetry, and everything in between.

It allows writers to express inner thoughts and feelings. Often, it reflects human experiences through a fabricated lens.

Types of Creative Writing

There are many types of creative writing that we need to explain.

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

They are compact but impactful, telling a full story within a limited word count. These tales often focus on a single character or a crucial moment.

Short stories are known for their brevity.

They deliver emotion and insight in a concise yet powerful package. This format is ideal for exploring diverse genres, themes, and characters. It leaves a lasting impression on readers.

Example: Emma discovers an old photo of her smiling grandmother. It’s a rarity. Through flashbacks, Emma learns about her grandmother’s wartime love story. She comes to understand her grandmother’s resilience and the value of joy.

Novels (The Long Journey)

Novels are extensive explorations of character, plot, and setting.

They span thousands of words, giving writers the space to create entire worlds. Novels can weave complex stories across various themes and timelines.

The length of a novel allows for deep narrative and character development.

Readers get an immersive experience.

Example: Across the Divide tells of two siblings separated in childhood. They grow up in different cultures. Their reunion highlights the strength of family bonds, despite distance and differences.

Poetry (The Soul’s Language)

Poetry expresses ideas and emotions through rhythm, sound, and word beauty.

It distills emotions and thoughts into verses. Poetry often uses metaphors, similes, and figurative language to reach the reader’s heart and mind.

Poetry ranges from structured forms, like sonnets, to free verse.

The latter breaks away from traditional formats for more expressive thought.

Example: Whispers of Dawn is a poem collection capturing morning’s quiet moments. “First Light” personifies dawn as a painter. It brings colors of hope and renewal to the world.

Plays (The Dramatic Dialogue)

Plays are meant for performance. They bring characters and conflicts to life through dialogue and action.

This format uniquely explores human relationships and societal issues.

Playwrights face the challenge of conveying setting, emotion, and plot through dialogue and directions.

Example: Echoes of Tomorrow is set in a dystopian future. Memories can be bought and sold. It follows siblings on a quest to retrieve their stolen memories. They learn the cost of living in a world where the past has a price.

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

They require an understanding of visual storytelling, pacing, and dialogue. Screenplays must fit film production constraints.

Example: The Last Light is a screenplay for a sci-fi film. Humanity’s survivors on a dying Earth seek a new planet. The story focuses on spacecraft Argo’s crew as they face mission challenges and internal dynamics.

Memoirs (The Personal Journey)

Memoirs provide insight into an author’s life, focusing on personal experiences and emotional journeys.

They differ from autobiographies by concentrating on specific themes or events.

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

Example: Under the Mango Tree is a memoir by Maria Gomez. It shares her childhood memories in rural Colombia. The mango tree in their yard symbolizes home, growth, and nostalgia. Maria reflects on her journey to a new life in America.

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

It’s about crafting compelling narratives concisely. Each word in flash fiction must count, often leading to a twist.

This format captures life’s vivid moments, delivering quick, impactful insights.

Example: The Last Message features an astronaut’s final Earth message as her spacecraft drifts away. In 500 words, it explores isolation, hope, and the desire to connect against all odds.

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

This genre covers real events, people, and places with a twist. It uses descriptive language and narrative arcs to make true stories engaging.

Creative nonfiction includes biographies, essays, and travelogues.

Example: Echoes of Everest follows the author’s Mount Everest climb. It mixes factual details with personal reflections and the history of past climbers. The narrative captures the climb’s beauty and challenges, offering an immersive experience.

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

It explores themes like good vs. evil and heroism in unreal settings. Fantasy requires careful world-building to create believable yet fantastic realms.

Example: The Crystal of Azmar tells of a young girl destined to save her world from darkness. She learns she’s the last sorceress in a forgotten lineage. Her journey involves mastering powers, forming alliances, and uncovering ancient kingdom myths.

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

Science fiction ranges from speculative to hard sci-fi, focusing on plausible futures.

Example: When the Stars Whisper is set in a future where humanity communicates with distant galaxies. It centers on a scientist who finds an alien message. This discovery prompts a deep look at humanity’s universe role and interstellar communication.

Watch this great video that explores the question, “What is creative writing?” and “How to get started?”:

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

They guide writers to produce compelling and impactful work. These principles—Clarity, Coherence, Conciseness, Creativity, and Consistency—help craft stories that engage and entertain.

They also resonate deeply with readers. Let’s explore each of these critical components.

Clarity makes your writing understandable and accessible.

It involves choosing the right words and constructing clear sentences. Your narrative should be easy to follow.

In creative writing, clarity means conveying complex ideas in a digestible and enjoyable way.

Coherence ensures your writing flows logically.

It’s crucial for maintaining the reader’s interest. Characters should develop believably, and plots should progress logically. This makes the narrative feel cohesive.

Conciseness

Conciseness is about expressing ideas succinctly.

It’s being economical with words and avoiding redundancy. This principle helps maintain pace and tension, engaging readers throughout the story.

Creativity is the heart of creative writing.

It allows writers to invent new worlds and create memorable characters. Creativity involves originality and imagination. It’s seeing the world in unique ways and sharing that vision.

Consistency

Consistency maintains a uniform tone, style, and voice.

It means being faithful to the world you’ve created. Characters should act true to their development. This builds trust with readers, making your story immersive and believable.

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

Crafting stories from your imagination involves more than just words on a page. It requires discipline and a deep understanding of language and narrative structure.

Exploring complex characters and themes is also key.

Refining and revising your work is crucial for developing your voice.

The ease of creative writing varies. Some find the freedom of expression liberating.

Others struggle with writer’s block or plot development challenges. However, practice and feedback make creative writing more fulfilling.

What Does a Creative Writer Do?

A creative writer weaves narratives that entertain, enlighten, and inspire.

Writers explore both the world they create and the emotions they wish to evoke. Their tasks are diverse, involving more than just writing.

Creative writers develop ideas, research, and plan their stories.

They create characters and outline plots with attention to detail. Drafting and revising their work is a significant part of their process. They strive for the 5 Cs of compelling writing.

Writers engage with the literary community, seeking feedback and participating in workshops.

They may navigate the publishing world with agents and editors.

Creative writers are storytellers, craftsmen, and artists. They bring narratives to life, enriching our lives and expanding our imaginations.

How to Get Started With Creative Writing?

Embarking on a creative writing journey can feel like standing at the edge of a vast and mysterious forest.

The path is not always clear, but the adventure is calling.

Here’s how to take your first steps into the world of creative writing:

• Find a time of day when your mind is most alert and creative.
• Create a comfortable writing space free from distractions.
• Use prompts to spark your imagination. They can be as simple as a word, a phrase, or an image.
• Try writing for 15-20 minutes on a prompt without editing yourself. Let the ideas flow freely.
• Reading is fuel for your writing. Explore various genres and styles.
• Pay attention to how your favorite authors construct their sentences, develop characters, and build their worlds.
• Don’t pressure yourself to write a novel right away. Begin with short stories or poems.
• Small projects can help you hone your skills and boost your confidence.
• Look for writing groups in your area or online. These communities offer support, feedback, and motivation.
• Participating in workshops or classes can also provide valuable insights into your writing.
• Understand that your first draft is just the beginning. Revising your work is where the real magic happens.
• Be open to feedback and willing to rework your pieces.
• Carry a notebook or digital recorder to jot down ideas, observations, and snippets of conversations.
• These notes can be gold mines for future writing projects.

Final Thoughts: What Is Creative Writing?

Creative writing is an invitation to explore the unknown, to give voice to the silenced, and to celebrate the human spirit in all its forms.

Check out these creative writing tools (that I highly recommend):

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

Not all writing is the same and there’s a type of writing that has the ability to transport, teach, and inspire others like no other.

Creative writing stands out due to its unique approach and focus on imagination. Here’s how to get started and grow as you explore the broad and beautiful world of creative writing!

What is Creative Writing?

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

Creative writing can take on various forms such as:

• short stories
• screenplays

It’s a way for writers to express their thoughts, feelings, and ideas in a creative, often symbolic, way . It’s about using the power of words to transport readers into a world created by the writer.

5 Key Characteristics of Creative Writing

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

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

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

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

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

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

Remember, creative writing is not just about producing a work of art. It’s also a means of self-expression and a way to share your perspective with the world. Whether you’re considering it as a hobby or contemplating a career in it, understanding the nature and characteristics of creative writing can help you hone your skills and create more engaging pieces .

For more insights into creative writing, check out our articles on creative writing jobs and what you can do with a creative writing degree and is a degree in creative writing worth it .

Styles of Creative Writing

To fully understand creative writing , you must be aware of the various styles involved. Creative writing explores a multitude of genres, each with its own unique characteristics and techniques.

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

Short Stories

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

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

Screenplays

Screenplays are written works intended for the screen, be it television, film, or online platforms. They require a specific format, incorporating dialogue and visual descriptions to guide the production process. Screenwriters must also consider the practical aspects of filmmaking, making this an intricate and specialized form of creative writing.

If you’re interested in this style, understanding creative writing jobs and what you can do with a creative writing degree can provide useful insights.

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

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

For those looking to spark their creativity, our article on creative writing prompts offers a wealth of ideas to get you started.

Importance of Creative Writing

Understanding what is creative writing involves recognizing its value and significance. Engaging in creative writing can provide numerous benefits – let’s take a closer look.

Developing Creativity and Imagination

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

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

Enhancing Communication Skills

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

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

Exploring Emotions and Ideas

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

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

So, whether you’re a seasoned writer or just starting out, the benefits of creative writing are vast and varied. For those interested in developing their creative writing skills, check out our articles on creative writing prompts and how to teach creative writing . If you’re considering a career in this field, you might find our article on is a degree in creative writing worth it helpful.

4 Steps to Start Creative Writing

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

1. Finding Inspiration

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

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

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

Editor’s Note : When something excites or interests you, stop and take note – it could be the inspiration for your next creative writing piece.

2. Planning Your Piece

Once you have an idea, the next step is to plan your piece . Start by outlining:

• the main points

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

3. Writing Your First Draft

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

Don’t worry about making it perfect in the first go. The first draft is about getting your ideas down on paper . You can always refine and polish your work later. And if you don’t have a great place to write that first draft, consider a journal for writing .

4. Editing and Revising Your Work

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

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

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

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

Tips to Improve Creative Writing Skills

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

Read Widely

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

Practice Regularly

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

Attend Writing Workshops and Courses

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

Joining Writing Groups and Communities

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

Seeking Feedback on Your Work

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

Start Creative Writing Today!

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

Happy writing!

Brooks Manley

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: 

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Elements of Creative Writing

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

Copyright Year: 2023

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Robert Moreira, Lecturer III, University of Texas Rio Grande Valley on 3/21/24

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama. read more

Comprehensiveness rating: 4 see less

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama.

Content Accuracy rating: 5

As far as I can tell, content is accurate, error free and unbiased.

Relevance/Longevity rating: 5

The book is relevant and up-to-date.

Clarity rating: 5

The text is clear and easy to understand.

Consistency rating: 5

I would agree that the text is consistent in terms of terminology and framework.

Modularity rating: 5

Text is modular, yes, but I would like to see the addition of a section on dramatic writing.

Organization/Structure/Flow rating: 5

Topics are presented in logical, clear fashion.

Interface rating: 5

Navigation is good.

Grammatical Errors rating: 5

No grammatical issues that I could see.

Cultural Relevance rating: 3

I'd like to see more diverse creative writing examples.

As I stated above, textbook is good except that it does not include a section on dramatic writing.

Table of Contents

• Introduction
• Chapter One: One Great Way to Write a Short Story
• Chapter Two: Plotting
• Chapter Three: Counterpointed Plotting
• Chapter Four: Show and Tell
• Chapter Five: Characterization and Method Writing
• Chapter Six: Character and Dialouge
• Chapter Seven: Setting, Stillness, and Voice
• Chapter Eight: Point of View
• Chapter Nine: Learning the Unwritten Rules
• Chapter One: A Poetry State of Mind
• Chapter Two: The Architecture of a Poem
• Chapter Three: Sound
• Chapter Four: Inspiration and Risk
• Chapter Five: Endings and Beginnings
• Chapter Six: Figurative Language
• Chapter Seven: Forms, Forms, Forms
• Chapter Eight: Go to the Image
• Chapter Nine: The Difficult Simplicity of Short Poems and Killing Darlings

Creative Nonfiction

• Chapter One: Creative Nonfiction and the Essay
• Chapter Two: Truth and Memory, Truth in Memory
• Chapter Three: Research and History
• Chapter Four: Writing Environments
• Chapter Five: Notes on Style
• Chapter Seven: Imagery and the Senses
• Chapter Eight: Writing the Body
• Chapter Nine: Forms

Back Matter

• Contributors
• North American Review Staff

Ancillary Material

• University of Northern Iowa

About the Book

This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States. They’ve selected nearly all of the readings and examples (more than 60) from writing that has appeared in NAR pages over the years. Because they had a hand in publishing these pieces originally, their perspective as editors permeates this book. As such, they hope that even seasoned writers might gain insight into the aesthetics of the magazine as they analyze and discuss some reasons this work is so remarkable—and therefore teachable. This project was supported by NAR staff and funded via the UNI Textbook Equity Mini-Grant Program.

About the Contributors

J.D. Schraffenberger  is a professor of English at the University of Northern Iowa. He is the author of two books of poems,  Saint Joe's Passion  and  The Waxen Poor , and co-author with Martín Espada and Lauren Schmidt of  The Necessary Poetics of Atheism . His other work has appeared in  Best of Brevity ,  Best Creative Nonfiction ,  Notre Dame Review ,  Poetry East ,  Prairie Schooner , and elsewhere.

Rachel Morgan   is an instructor of English at the University of Northern Iowa. She is the author of the chapbook  Honey & Blood , Blood & Honey . Her work is included in the anthology  Fracture: Essays, Poems, and Stories on Fracking in American  and has appeared in the  Journal of American Medical Association ,  Boulevard ,  Prairie Schooner , and elsewhere.

Grant Tracey   author of three novels in the Hayden Fuller Mysteries ; the chapbook  Winsome  featuring cab driver Eddie Sands; and the story collection  Final Stanzas , is fiction editor of the  North American Review  and an English professor at the University of Northern Iowa, where he teaches film, modern drama, and creative writing. Nominated four times for a Pushcart Prize, he has published nearly fifty short stories and three previous collections. He has acted in over forty community theater productions and has published critical work on Samuel Fuller and James Cagney. He lives in Cedar Falls, Iowa.

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Creative Writing and Literature

Students enrolled in the Master of Liberal Arts program in Creative Writing & Literature will develop skills in creative writing and literary analysis through literature courses and writing workshops in fiction, screenwriting, poetry, and nonfiction. Through online group courses and one-on-one tutorials, as well as a week on campus, students hone their craft and find their voice.

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The Creative Writing and Literature Major is open to ALL LSA students.

Creative Writing and Literature Majors write fiction, poetry, and creative nonfiction under the close guidance of faculty mentors, and may workshop their writing with other student writers in small writing seminars. Majors also study the art of writing through the study of literature. Majors specialize in fiction, poetry, or nonfiction early in their studies.

Creative Writing graduates pursue successful careers as writers, editors, educators, advertising professionals, and many other writing related-fields.  Every year our graduates are admitted to competitive graduate school programs in the fine arts, education, law, business, public policy, social work, and other courses of professional study that demand proficient writing skills and creative approaches to problem solving.

RC Creative Writing students have demonstrated unparalled success in the esteemed U of M Hopwood Awards , winning over 100 awards since the 1994-95 school year.

Students meet with the creative writing major advisor when declaring, making course substitutions, discussing transfer/study abroad credit evaluations, internships, preparing major release forms, and information on graduate school study and career paths. 

Although students may pursue study in multiple genres, most specialize in a single genre:

Fiction / Creative Nonfiction

Digital Storytelling

Advising appointments can be made here or by calling RC Academic Services at 763-0032.

Minimum Credits: 28

The major is structured into four genre tracks. In addition to the Fiction / Creative Nonfiction, Poetry, and Digital Storytelling tracks, students may elect a multi-genre track in consultation with their principal writing instructors and the major advisor.

Each track consists of:

Four elective creative writing courses

Five elective upper level literature courses

Fiction / Creative Nonfiction Track

Students complete a minimum of four creative writing courses, at least three of which must be at the 300 level or above and at least three of which must be taken in the RC. A usual track is an introductory course (Narration) and three upper-level courses. Students may count one non-RC creative writing course towards the writing requirement.

Creative Writing Courses: Students may elect any combination of seminars and tutorials from the following:

RCHUMS 220 Narration: Intro to Fiction Writing

RCHUMS 325, 326, 425, 426 Tutorials: Permission of instructor required

RCHUMS 320 Narration: Advanced Fiction Writing

RCHUMS 334 (Section 005) Memoir: Writing from Within

Other departmental offerings listed under RCHUMS 334 or RCCORE 334. Details here.

Literature Electives: Students complete five literature courses, at the 300-level or above. One literature course must focus on either ancient literature or medieval literature (pre-1600). The ancient / medieval requirement may focus on non-Western or Western literature, but must pre-date Shakespeare if a Western literature course is elected. English 367 – Shakespeare’s Plays does not fulfill this requirement, although the course can count towards the literature requirement.

Students are encouraged to take literature courses in the RC Arts and Ideas Major, the  Department of English  or the  Comparative Literature Program . Students majoring in a second language may count one upper-level literature course in that language, or one upper-level literature course completed during a full semester studying abroad in a non-English speaking country. Upper-level literature courses taken abroad also may be counted. All literature courses counted toward the Creative Writing and Literature Major must be at least three (3) credits.

Courses that have been used to meet the requirement in the past include:

RCHUMS 354 Race and Identity in Music

RCHUMS 344 Reason and Passion in the 18th Century

RCHUMS 342 Representing the Holocaust in Literature, Film and the Visual Arts

Other RCHUMS courses listed in the Arts and Ideas in the Humanities major

English 350 Literature in English to 1660 (for ancient/medieval requirement)

English 328 Writing and the Environment

English 379 Literature in Afro-American Culture

Other English Department courses with a literature focus

CLCIV 385 Greek Mythology (for ancient/medieval requirement)  

Asian 314 Strange Ways: Literature of the Supernatural in Pre-modern Japan and China

MEMS 386 Medieval Literature, History and Culture 

Poetry Track

Students complete a minimum of four creative writing courses, at least three of which must be at the 300 level or above and at least three of which must be taken in the RC. A usual track is an introductory course (Writing Poetry) and three upper-level courses. Students may count one non-RC creative writing course towards the writing requirement.

RCHUMS 221 Writing Poetry

RCHUMS 321 Advanced Poetry Writing

RCHUMS 334 Workshop with Incarcerated Poets and Artists

Literature courses listed above under Fiction / Creative Nonfiction

English 340 Studies in Poetry

English 440 Modern Poetry

English 442 Studies in Poetry

Digital Storytelling Track

The digital storytelling track studies the ways story interacts with technology and the effect of digital media on writing and the creative process. Students electing this track pair writing practice with the study of the theory, ethics, and history of digital media.

Creative Writing Courses: At least 4 courses required over two categories 

Creative Writing Courses: choose a minimum of two Residential College creative writing courses that focus on writing fiction, creative nonfiction, or poetry. Only one course in a student’s major plan should be at the 200-level:

Introductory Courses (may elect 1 to count towards major):

Upper-level Courses:

RCHUMS 320 Advanced Narration 

RCHUMS 321 Advanced Poetry Writing 

RCHUMS 325, 326, 425, 426 Creative Writing Tutorials 

Digital Writing / Skills Courses: choose a minimum of two digital storytelling / writing courses at the 300-level or above that focus on digital media and/or electronic literature writing and practice. Courses that have been used to meet the requirement in the past include:

RCCORE 334 (Section 004) Digital Storytelling

English 420 Tech and the Humanities / Electronic Literature

RCSCI 360 (Section 001) Documentary Photography

RCHUMS 325, 326, 425, 426 Creative Writing Tutorials with a focus on writing for, and/or creating, electronic literature or digital media content (permission of instructor required)

Digital Studies Requirement: At least 2 courses required 

Choose a minimum of two digital studies theory courses at the 300-level or above that focus on the theory of digital culture and/or the digital humanities. Courses that have been used to meet the requirement in the past include:

AmCult 358 Topics in Digital Studies

AmCult 360 Radical Digital Media

FTVM 368 Topics in Digital Media Studies

English 405 Theories of Writing

Literature Requirement: At least 3 courses required 

Literature courses must be taken at the 300-level or above. Literature courses should not focus on digital studies but should offer complementary skills and additional context in the art and craft of literature. One course must focus on ancient/medieval literature. For more information on specific literature requirements, please see the Literature section listed under Fiction / Creative Nonfiction.

A student deemed eligible to attempt Honors typically completes the following process:

A student whose overall academic record meets the eligibility criteria for honors and whose creative work models originality and the promise of mastery in their chosen genre may apply for an honors thesis. Honors theses are typically 75-100 pages of polished fiction or creative nonfiction, or a collection of 25 or more poems. The student and their faculty advisor will determine the exact length and content of the final thesis. 

To be eligible to apply for honors, a student must demonstrate exceptional skill in the art and craft of prose, poetry, or creative nonfiction. The student must have completed a minimum of two Residential College creative writing classes, although honors students typically complete three or more by the start of their thesis sequence. The student also must hold a GPA of at least 3.4 overall. 

Students who meet the above criteria are eligible to apply for the honors thesis project in the winter term of their junior year, typically by late March. To apply, students shall submit:

A writing sample (10 pages of prose or 5 poems) that represents the student’s best, most polished work.

A brief statement (1-2 pages) describing the honors project. Applicants should also include the name of a faculty member they wish to request as their thesis advisor.

Questions about the submittal process can be directed to the creative writing major advisor  here

The Honors Committee, consisting of faculty in the Creative Writing program, will judge the student’s work on its quality, originality, and promise of mastery in their chosen genre. The Committee reviews all honors applications after the submission deadline. Students are notified of the Committee’s decision in late March or early April. If the planned project is accepted for honors, the Committee will assign a faculty thesis advisor to the student. 

Honors Theses require a two-semester commitment. Students enroll in RCCORE 490 for the fall term and RCHUMS 426 for the winter term. A passing grade in RCCORE 490 earns a Y grade, indicating that the thesis work will continue into the next semester. At the end of the second term, the Y grade converts to the grade earned in RCHUMS 426. Exceptions to the two-semester requirement are rare but may be discussed with the thesis advisor.

When the honors thesis project is complete (typically the last week of March or the first week of April of the senior year), the student’s honors thesis advisor and one other member of the Residential College’s Creative Writing faculty will determine if the project qualifies for honors and (if so) what level of honors the student receives. Honors thesis students also participate in a public reading with fellow thesis students at the end of the winter term (typically the second week of April).

To download the honors information, click here.

Creative Writing faculty

Laura Kasischke Poetry; Fiction

Christopher Matthews Fiction; Poetry

Sarah Messer Poetry; Creative Nonfiction; Prison Creative Arts Program

Susan Rosegrant Creative Nonfiction; Journalism; Fiction

Laura Thomas Fiction; Creative Nonfiction

A. Van Jordan Poetry, Film Studies

Aisha Sloan Creative Nonfiction, Digital Storytelling

Open to All

You don’t need to be a dedicated major to participate in workshops, tutorials, and classes taught by Creative Writing faculty, which are open to enrollment from all students. If even only for a semester, you wish to explore your interest in writing, consider taking a RC Creative Writing course !

For RC students, creative writing courses fulfill the RC Arts Practicum requirement. For RC and LSA students, RCHUMS 220, RCHUMS 221, and RCHUMS 325 satisfy Creative Expression distribution.

You can participate in the RC Review , our annual student-run journal featuring student poetry, fiction, and visual art. RC students can get a credit for participating in the RC Review.

Or consider joining the RC Creative Writing Forum , which like RC Review, offers RC students a credit, but is open to all for participation.

RC Writers website

Check out the  RC Writers Website,  for the Residential College writing community.

Recent Events

Paths to publication: a conversation with allison epstein and jon michael darga.

Link to the video recording here: https://www.youtube.com/watch?v=Y6ArrpiEKKc

Love & Zombies & Literature: What makes Genre Writing Literary?

Link to the recording of the webinar on our youtube page: https://www.youtube.com/watch?v=1SD6LC4Zu-0

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1 What Is Literature and Why Do We Study It?

In this book created for my English 211 Literary Analysis introductory course for English literature and creative writing majors at the College of Western Idaho, I’ll introduce several different critical approaches that literary scholars may use to answer these questions.  The critical method we apply to a text can provide us with different perspectives as we learn to interpret a text and appreciate its meaning and beauty.

The existence of literature, however we define it, implies that we study literature. While people have been “studying” literature as long as literature has existed, the formal study of literature as we know it in college English literature courses began in the 1940s with the advent of New Criticism. The New Critics were formalists with a vested interest in defining literature–they were, after all, both creating and teaching about literary works. For them, literary criticism was, in fact, as John Crowe Ransom wrote in his 1942 essay “ Criticism, Inc., ” nothing less than “the business of literature.”

Responding to the concern that the study of literature at the university level was often more concerned with the history and life of the author than with the text itself, Ransom responded, “the students of the future must be permitted to study literature, and not merely about literature. But I think this is what the good students have always wanted to do. The wonder is that they have allowed themselves so long to be denied.”

We’ll learn more about New Criticism in Section Three. For now, let’s return to the two questions I posed earlier.

What is literature?

First, what is literature ? I know your high school teacher told you never to look up things on Wikipedia, but for the purposes of literary studies, Wikipedia can actually be an effective resource. You’ll notice that I link to Wikipedia articles occasionally in this book. Here’s how Wikipedia defines literature :

“ Literature  is any collection of  written  work, but it is also used more narrowly for writings specifically considered to be an  art  form, especially  prose   fiction ,  drama , and  poetry . [1]  In recent centuries, the definition has expanded to include  oral literature , much of which has been transcribed. [2] Literature is a method of recording, preserving, and transmitting knowledge and entertainment, and can also have a social, psychological, spiritual, or political role.”

This definition is well-suited for our purposes here because throughout this course, we will be considering several types of literary texts in a variety of contexts.

I’m a Classicist—a student of Greece and Rome and everything they touched—so I am always interested in words with Latin roots. The Latin root of our modern word literature  is  litera , or “letter.” Literature, then, is inextricably intertwined with the act of writing. But what kind of writing?

Who decides which texts are “literature”?

The second question is at least as important as the first one. If we agree that literature is somehow special and different from ordinary writing, then who decides which writings count as literature? Are English professors the only people who get to decide? What qualifications and training does someone need to determine whether or not a text is literature? What role do you as the reader play in this decision about a text?

Let’s consider a few examples of things that we would all probably classify as literature. I think we can all (probably) agree that the works of William Shakespeare are literature. We can look at Toni Morrison’s outstanding ouvre of work and conclude, along with the Nobel Prize Committee, that books such as Beloved   and  Song of Solomon   are literature. And if you’re taking a creative writing course and have been assigned the short stories of Raymond Carver or the poems of Joy Harjo , you’re probably convinced that these texts are literature too.

In each of these three cases, a different “deciding” mechanism is at play. First, with Shakespeare, there’s history and tradition. These plays that were written 500 years ago are still performed around the world and taught in high school and college English classes today. It seems we have consensus about the tragedies, histories, comedies, and sonnets of the Bard of Avon (or whoever wrote the plays).

In the second case, if you haven’t heard of Toni Morrison (and I am very sorry if you haven’t), you probably have heard of the Nobel Prize. This is one of the most prestigious awards given in literature, and since she’s a winner, we can safely assume that Toni Morrison’s works are literature.

Finally, your creative writing professor is an expert in their field. You know they have an MFA (and worked hard for it), so when they share their favorite short stories or poems with you, you trust that they are sharing works considered to be literature, even if you haven’t heard of Raymond Carver or Joy Harjo before taking their class.

(Aside: What about fanfiction? Is fanfiction literature?)

We may have to save the debate about fan fiction for another day, though I introduced it because there’s some fascinating and even literary award-winning fan fiction out there.

Returning to our question, what role do we as readers play in deciding whether something is literature? Like John Crowe Ransom quoted above, I think that the definition of literature should depend on more than the opinions of literary critics and literature professors.

I also want to note that contrary to some opinions, plenty of so-called genre fiction can also be classified as literature. The Nobel Prize winning author Kazuo Ishiguro has written both science fiction and historical fiction. Iain Banks , the British author of the critically acclaimed novel The Wasp Factory , published popular science fiction novels under the name Iain M. Banks. In other words, genre alone can’t tell us whether something is literature or not.

In this book, I want to give you the tools to decide for yourself. We’ll do this by exploring several different critical approaches that we can take to determine how a text functions and whether it is literature. These lenses can reveal different truths about the text, about our culture, and about ourselves as readers and scholars.

“Turf Wars”: Literary criticism vs. authors

It’s important to keep in mind that literature and literary theory have existed in conversation with each other since Aristotle used Sophocles’s play Oedipus Rex to define tragedy. We’ll look at how critical theory and literature complement and disagree with each other throughout this book. For most of literary history, the conversation was largely a friendly one.

But in the twenty-first century, there’s a rising tension between literature and criticism. In his 2016 book Literature Against Criticism: University English and Contemporary Fiction in Conflict, literary scholar Martin Paul Eve argues that twenty-first century authors have developed

a series of novelistic techniques that, whether deliberate or not on the part of the author, function to outmanoeuvre, contain, and determine academic reading practices. This desire to discipline university English through the manipulation and restriction of possible hermeneutic paths is, I contend, a result firstly of the fact that the metafictional paradigm of the high-postmodern era has pitched critical and creative discourses into a type of productive competition with one another. Such tensions and overlaps (or ‘turf wars’) have only increased in light of the ongoing breakdown of coherent theoretical definitions of ‘literature’ as distinct from ‘criticism’ (15).

One of Eve’s points is that by narrowly and rigidly defining the boundaries of literature, university English professors have inadvertently created a situation where the market increasingly defines what “literature” is, despite the protestations of the academy. In other words, the gatekeeper role that literary criticism once played is no longer as important to authors. For example, (almost) no one would call 50 Shades of Grey literature—but the salacious E.L James novel was the bestselling book of the decade from 2010-2019, with more than 35 million copies sold worldwide.

If anyone with a blog can get a six-figure publishing deal , does it still matter that students know how to recognize and analyze literature? I think so, for a few reasons.

• First, the practice of reading critically helps you to become a better reader and writer, which will help you to succeed not only in college English courses but throughout your academic and professional career.
• Second, analysis is a highly sought after and transferable skill. By learning to analyze literature, you’ll practice the same skills you would use to analyze anything important. “Data analyst” is one of the most sought after job positions in the New Economy—and if you can analyze Shakespeare, you can analyze data. Indeed.com’s list of top 10 transferable skills includes analytical skills , which they define as “the traits and abilities that allow you to observe, research and interpret a subject in order to develop complex ideas and solutions.”
• Finally, and for me personally, most importantly, reading and understanding literature makes life make sense. As we read literature, we expand our sense of what is possible for ourselves and for humanity. In the challenges we collectively face today, understanding the world and our place in it will be important for imagining new futures.

A note about using generative artificial intelligence

As I was working on creating this textbook, ChatGPT exploded into academic consciousness. Excited about the possibilities of this new tool, I immediately began incorporating it into my classroom teaching. In this book, I have used ChatGPT to help me with outlining content in chapters. I also used ChatGPT to create sample essays for each critical lens we will study in the course. These essays are dry and rather soulless, but they do a good job of modeling how to apply a specific theory to a literary text. I chose John Donne’s poem “The Canonization” as the text for these essays so that you can see how the different theories illuminate different aspects of the text.

I encourage students in my courses to use ChatGPT in the following ways:

• To generate ideas about an approach to a text.
• To better understand basic concepts.
• To assist with outlining an essay.
• To check grammar, punctuation, spelling, paragraphing, and other grammar/syntax issues.

If you choose to use Chat GPT, please include a brief acknowledgment statement as an appendix to your paper after your Works Cited page explaining how you have used the tool in your work. Here is an example of how to do this from Monash University’s “ Acknowledging the Use of Generative Artificial Intelligence .”

I acknowledge the use of [insert AI system(s) and link] to [specific use of generative artificial intelligence]. The prompts used include [list of prompts]. The output from these prompts was used to [explain use].

Here is more information about how to cite the use of generative AI like ChatGPT in your work. The information below was adapted from “Acknowledging and Citing Generative AI in Academic Work” by Liza Long (CC BY 4.0).

The Modern Language Association (MLA) uses a template of core elements to create citations for a Works Cited page. MLA  asks students to apply this approach when citing any type of generative AI in their work. They provide the following guidelines:

Cite a generative AI tool whenever you paraphrase, quote, or incorporate into your own work any content (whether text, image, data, or other) that was created by it. Acknowledge all functional uses of the tool (like editing your prose or translating words) in a note, your text, or another suitable location. Take care to vet the secondary sources it cites. (MLA)

Here are some examples of how to use and cite generative AI with MLA style:

Example One: Paraphrasing Text

Let’s say that I am trying to generate ideas for a paper on Charlotte Perkins Gilman’s short story “The Yellow Wallpaper.” I ask ChatGPT to provide me with a summary and identify the story’s main themes. Here’s a  link to the chat . I decide that I will explore the problem of identity and self-expression in my paper.

My Paraphrase of ChatGPT with In-Text Citation

The problem of identity and self expression, especially for nineteenth-century women, is a major theme in “The Yellow Wallpaper” by Charlotte Perkins Gilman (“Summarize the short story”).

Works Cited Entry

“Summarize the short story “The Yellow Wallpaper” by Charlotte Perkins Gilman. Include a breakdown of the main themes” prompt.  ChatGPT.  24 May Version, OpenAI, 20 Jul. 2023,  https://chat.openai.com/share/d1526b95-920c-48fc-a9be-83cd7dfa4be5 

Example Two: Quoting Text

In the same chat, I continue to ask ChatGPT about the theme of identity and self expression. Here’s an example of how I could quote the response in the body of my paper:

When I asked  ChatGPT  to describe the theme of identity and self expression, it noted that the eponymous yellow wallpaper acts as a symbol of the narrator’s self-repression. However, when prompted to share the scholarly sources that formed the basis of this observation,  ChatGPT  responded, “As an AI language model, I don’t have access to my training data, but I was trained on a mixture of licensed data, data created by human trainers, and publicly available data. OpenAI, the organization behind my development, has not publicly disclosed the specifics of the individual datasets used, including whether scholarly sources were specifically used” (“Summarize the short story”).

It’s worth noting here that ChatGPT can “ hallucinate ” fake sources. As a Microsoft training manual notes, these chatbots are “built to be persuasive, not truthful” (Weiss &Metz, 2023). The May 24, 2023 version will no longer respond to direct requests for references; however, I was able to get around this restriction fairly easily by asking for “resources” instead.

When I ask for resources to learn more about “The Yellow Wallpaper,” here is one source it recommends:

“Charlotte Perkins Gilman’s The Yellow Wallpaper: A Symptomatic Reading” by Elaine R. Hedges: This scholarly article delves into the psychological and feminist themes of the story, analyzing the narrator’s experience and the implications of the yellow wallpaper on her mental state. It’s available in the journal “Studies in Short Fiction.” (“Summarize the short story”).

Using Google Scholar, I look up this source to see if it’s real. Unsurprisingly, this source is not a real one, but it does lead me to another (real) source: Kasmer, Lisa. “Charlotte Perkins Gilman’s’ The Yellow Wallpaper’: A Symptomatic Reading.”  Literature and Psychology  36.3 (1990): 1.

Note: ALWAYS check any sources that ChatGPT or other generative AI tools recommend.

For more information about integrating and citing generative artificial intelligence tools such as ChatGPT, please see this section of  Write What Matters.

I acknowledge that ChatGPT does not respect the individual rights of authors and artists and ignores concerns over copyright and intellectual property in its training; additionally, I acknowledge that the system was trained in part through the exploitation of precarious workers in the global south. In this work I specifically used ChatGPT to assist with outlining chapters, providing background information about critical lenses, and creating “model” essays for the critical lenses we will learn about together. I have included links to my chats in an appendix to this book.

Critical theories: A targeted approach to writing about literature

Ultimately, there’s not one “right” way to read a text. In this book. we will explore a variety of critical theories that scholars use to analyze literature. The book is organized around different targets that are associated with the approach introduced in each chapter. In the introduction, for example, our target is literature. In future chapters you’ll explore these targeted analysis techniques:

• Author: Biographical Criticism
• Text: New Criticism
• Reader: Reader Response Criticism
• Gap: Deconstruction (Post-Structuralism)
• Context: New Historicism and Cultural Studies
• Power: Marxist and Postcolonial Criticism
• Mind: Psychological Criticism
• Gender: Feminist, Post Feminist, and Queer Theory
• Nature: Ecocriticism

Each chapter will feature the target image with the central approach in the center. You’ll read a brief introduction about the theory, explore some primary texts (both critical and literary), watch a video, and apply the theory to a primary text. Each one of these theories could be the subject of its own entire course, so keep in mind that our goal in this book is to introduce these theories and give you a basic familiarity with these tools for literary analysis. For more information and practice, I recommend Steven Lynn’s excellent Texts and Contexts: Writing about Literature with Critical Theory , which provides a similar introductory framework.

I am so excited to share these tools with you and see you grow as a literary scholar. As we explore each of these critical worlds, you’ll likely find that some critical theories feel more natural or logical to you than others. I find myself much more comfortable with deconstruction than with psychological criticism, for example. Pay attention to how these theories work for you because this will help you to expand your approaches to texts and prepare you for more advanced courses in literature.

P.S. If you want to know what my favorite book is, I usually tell people it’s Herman Melville’s Moby Dick . And I do love that book! But I really have no idea what my “favorite” book of all time is, let alone what my favorite book was last year. Every new book that I read is a window into another world and a template for me to make sense out of my own experience and better empathize with others. That’s why I love literature. I hope you’ll love this experience too.

writings in prose or verse, especially :  writings having excellence of form or expression and expressing ideas of permanent or universal interest (Merriam Webster)

Critical Worlds Copyright © 2024 by Liza Long is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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Creative Writing Vs. Literature

Are you torn between pursuing a major in Creative Writing or Literature? It’s time to shed some light on this eternal debate.

In this article, we’ll delve into the intricacies of these two majors, exploring their curriculum, coursework, and career prospects. Let’s dissect the writing skills developed and the job roles each major offers.

Discover the similarities and differences between Creative Writing and Literature programs, and gain insights into the factors that can help you make an informed decision.

Table of Contents

Key Takeaways

• Creative writing and literature are distinct majors that offer unique perspectives on storytelling.
• Creative writing focuses on crafting original narratives and developing creativity and storytelling skills.
• Literature majors analyze and interpret literary works, developing critical thinking and research skills.
• Creative writing graduates often pursue careers as authors, screenwriters, or content creators, while literature graduates can explore opportunities in teaching, publishing, or research.

Overview of the two majors: Creative Writing and Literature

Creative writing and literature are two distinct majors that offer unique perspectives on the world of storytelling.

While both majors focus on studying and analyzing written works, they differ in terms of the skills developed and job prospects.

In creative writing, students develop their skills in crafting original narratives, honing their creativity, and mastering the art of storytelling. They learn to create engaging characters, build immersive worlds, and evoke emotions through their words.

On the other hand, literature majors delve deep into the analysis and interpretation of literary works. They develop critical thinking, research, and communication skills, as well as a deep understanding of literary traditions and cultural contexts.

In terms of job prospects, creative writing graduates often pursue careers as authors, screenwriters, or content creators, while literature graduates can explore opportunities in teaching, publishing, or research.

Overview of the curriculum and requirements of the two majors

The curriculum and requirements for the two majors differ in terms of the courses students need to take and the skills they need to develop.

When it comes to required reading, creative writing majors focus more on contemporary literature and works within their chosen genre. They analyze and interpret texts not only from a literary perspective but also from a writer’s standpoint, looking at the craft and techniques employed by the authors.

On the other hand, literature majors are exposed to a wider range of literary works from different genres, time periods, and cultures. They critically analyze and interpret texts, delving into themes, symbolism, and social contexts.

Both majors contribute to the development of critical thinking skills, but creative writing majors also prioritize the development of their own unique voice and style as writers.

Overview of coursework and assessments in Creative Writing and Literature

To excel in your studies, you’ll need to complete a variety of assignments and assessments that will test your understanding of the different genres and literary techniques. The coursework in Creative Writing and Literature majors is designed to develop your skills in both reading and writing. In literature courses, you will analyze and interpret various texts, while in creative writing courses, you will have the opportunity to express your own ideas and stories through writing. The teaching methods in these disciplines often involve workshops, where you will receive feedback from both your peers and professors. Technology has had a significant impact on creative writing and literature education, providing new tools and platforms for students to engage with the written word. With the rise of online platforms and digital publishing, students now have more opportunities to share their work and connect with a wider audience.

Comparison of Writing Skills Developed

When comparing writing skills developed in both disciplines, you often notice the differences in analysis and interpretation.

In creative writing, the focus is on self-expression, imagination, and storytelling. Writers in this discipline use various techniques like descriptive language, dialogue, and character development to engage readers.

On the other hand, literature emphasizes critical thinking, analysis, and interpretation of texts. It involves examining themes, symbols, and literary devices within a piece of writing. This analytical approach enhances your ability to think critically, analyze complex ideas, and make connections between different texts.

Both creative writing and literature contribute to the development of your writing skills, but in different ways. Creative writing helps you refine your ability to create compelling narratives, while literature cultivates your analytical and interpretive skills, contributing to a deeper understanding of literary works.

Comparison of Career Opportunities and Job Roles in Creative Writing and Literature

Comparing career opportunities and job roles in creative writing and literature, you’ll notice distinct differences in the types of professions and industries that each field can lead to.

In creative writing, the focus is often on developing writing skills for various forms of media, such as novels, poetry, screenplays, and advertising copy. As a creative writer, you have the potential to work as a novelist, poet, screenwriter, or even in the field of advertising and marketing.

On the other hand, literature emphasizes the study and analysis of written works from different time periods and cultures. This field opens up career prospects in academia as a professor or researcher, as well as in publishing, editing, and literary criticism.

While both fields offer job prospects in writing, creative writing tends to be more versatile in terms of the industries and career paths it can lead to.

Comparison of Salary Potential in Creative Writing and Literature

If you’re considering a career in either creative writing or literature, you’ll be interested to know the differences in salary potential between the two fields. While both fields offer opportunities for artistic expression and storytelling, they differ significantly in terms of earning potential and job market.

Here are four key points to consider:

• Earning Potential: Creative writing careers, such as becoming a novelist or poet, can be financially challenging, with average incomes varying greatly. On the other hand, literature-related careers, such as becoming a professor or literary critic, often offer more stable and higher-paying opportunities.
• Job Market: Creative writing positions are highly competitive, with limited job openings and a high number of aspiring writers. Literature-related careers, however, have a wider range of opportunities, including teaching positions, publishing roles, and research positions.
• Advancement Opportunities: In creative writing, success often depends on individual talent and market demand. Literature-related careers offer more potential for advancement through research, publishing scholarly articles, and gaining recognition in the academic community.
• Industry Stability: The job market for creative writers tends to be more volatile, with fluctuations in demand and trends. Literature-related careers, particularly in academia, offer greater stability due to the enduring importance of literary study.

Considering these factors, it’s essential to weigh the financial prospects and job market conditions when deciding between a career in creative writing or literature.

Similarities between Creative Writing and Literature Programs

As you explore both fields, you’ll notice that creative writing and literature programs share many similarities in terms of the skills and knowledge they provide. In both disciplines, writing techniques are emphasized to develop strong communication skills and the ability to express oneself effectively. Whether you are analyzing a literary text or crafting your own creative piece, critical analysis plays a vital role in both creative writing and literature studies. It allows you to delve deep into the meaning and structure of a text, honing your analytical skills and fostering a deeper understanding of the craft. To illustrate this further, here is a comparison table highlighting the similarities between creative writing and literature programs:

Difference between Creative Writing and Literature programs

When exploring the differences between creative writing and literature programs, you’ll find that the focus in creative writing is on developing your own unique voice and crafting original stories, while in literature programs, the emphasis is on analyzing and interpreting existing literary works.

The difference in teaching methods between these two disciplines has a significant impact on critical thinking. Here are four key points to consider:

• Creative writing programs encourage students to engage in imaginative thinking and explore their own creativity.
• Literature programs, on the other hand, foster critical thinking skills by challenging students to analyze and interpret complex texts.
• Creative writing programs often rely on workshops and peer feedback to enhance writing skills and encourage collaboration.
• Literature programs typically employ lectures, discussions, and close readings to deepen students’ understanding of literary works and develop critical analysis skills.

Factors to consider when choosing a major in Creative Writing vs. Literature

Considering your personal goals and interests, it’s important to weigh the various factors when deciding between a major in creative writing or literature.

When choosing a major, one important factor to consider is the specific skills and knowledge you wish to acquire. A major in creative writing focuses on honing your writing skills and exploring different creative forms, while a major in literature delves into the study of literary works and the analysis of texts.

Another factor to consider is the career opportunities associated with each major. A major in creative writing can open doors to careers in writing, editing, or publishing, while a major in literature can lead to careers in teaching, research, or literary criticism.

Lastly, the importance of experiential learning cannot be overlooked. Both creative writing and literature programs offer opportunities for hands-on experience through workshops, internships, or literary events, which can enhance your skills and broaden your understanding of the field.

Ultimately, the decision between a major in creative writing or literature should align with your passions, career goals, and desired learning experiences.

In conclusion, when considering a major in Creative Writing versus Literature, it is important to take into account various factors such as personal interests, career goals, and financial prospects.

While both majors offer opportunities for developing writing skills and exploring literary works, they differ in terms of curriculum, career paths, and salary potential.

Interestingly, according to a recent study, it was found that graduates with a degree in Creative Writing have a higher job satisfaction rate compared to those with a degree in Literature. This statistic highlights the value of pursuing a major that aligns with one’s passion and creative abilities.

Ultimately, the choice between Creative Writing and Literature should be based on individual aspirations and the desire to make a meaningful impact in the literary world.

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Creative Writing and Literature Master’s Degree Program

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$3,220 per course

Program Overview

Through the master’s degree in creative writing and literature, you’ll hone your skills as a storyteller — crafting publishable original scripts, novels, and stories.

In small, workshop-style classes, you’ll master key elements of narrative craft, including characterization, story and plot structure, point of view, dialogue, and description. And you’ll learn to approach literary works as both a writer and scholar by developing skills in critical analysis.

Program Benefits

Instructors who are published authors of drama, fiction, and nonfiction

A community of writers who support your growth in live online classes

Writer's residency with agent & editor networking opportunities

Personalized academic and career advising

Thesis or capstone options that lead to publishable creative work

Harvard Alumni Association membership upon graduation

Customizable Course Curriculum

As you work through the program’s courses, you’ll enhance your creative writing skills and knowledge of literary concepts and strategies. You’ll practice the art of revision to hone your voice as a writer in courses like Writing the Short Personal Essay and Writing Flash Fiction.

Within the creative writing and literature program, you will choose between a thesis or capstone track. You’ll also experience the convenience of online learning and the immersive benefits of learning in person.

11 Online Courses

• Primarily synchronous
• Fall, spring, January, and summer options

Writers’ Residency

A 1- or 3-week summer master class taught by a notable instructor, followed by an agents-and-editors weekend

Thesis or Capstone Track

• Thesis: features a 9-month independent creative project with a faculty advisor
• Capstone: includes crafting a fiction or nonfiction manuscript in a classroom community

The path to your degree begins before you apply to the program.

First, you’ll register for and complete 2 required courses, earning at least a B in each. These foundational courses are investments in your studies and count toward your degree, helping ensure success in the program.

Getting Started

We invite you to explore degree requirements, confirm your initial eligibility, and learn more about our unique “earn your way in” admissions process.

A Faculty of Creative Writing Experts

Studying at Harvard Extension School means learning from the world’s best. Our instructors are renowned academics in literary analysis, storytelling, manuscript writing, and more. They bring a genuine passion for teaching, with students giving our faculty an average rating of 4.7 out of 5.

Bryan Delaney

Playwright and Screenwriter

Talaya Adrienne Delaney

Lecturer in Extension, Harvard University

Elisabeth Sharp McKetta

Our community at a glance.

80% of our creative writing and literature students are enrolled in our master’s degree program for either personal enrichment or to make a career change. Most (74%) are employed full time while pursuing their degree and work across a variety of industries.

Download: Creative Writing & Literature Master's Degree Fact Sheet

Average Age

Course Taken Each Semester

Work Full Time

Would Recommend the Program

Professional Experience in the Field

Pursued for Personal Enrichment

Career Opportunities & Alumni Outcomes

Graduates of our Creative Writing and Literature Master’s Program have writing, research, and communication jobs in the fields of publishing, advertising/marketing, fundraising, secondary and higher education, and more.

Some alumni continue their educational journeys and pursue further studies in other nationally ranked degree programs, including those at Boston University, Brandeis University, University of Pennsylvania, and Cambridge University.

Our alumni hold titles as:

• Marketing Manager
• Director of Publishing
• Senior Research Writer

Our alumni work at a variety of leading organizations, including:

• Little, Brown & Company
• New York University (NYU)
• Bentley Publishers

Career Advising and Mentorship

Whatever your career goals, we’re here to support you. Harvard’s Mignone Center for Career Success offers career advising, employment opportunities, Harvard alumni mentor connections, and career fairs like the annual on-campus Harvard Humanities, Media, Marketing, and Creative Careers Expo.

Your Harvard University Degree

Upon successful completion of the required curriculum, you will earn the Master of Liberal Arts (ALM) in Extension Studies, Field: Creative Writing and Literature.

Expand Your Connections: the Harvard Alumni Network

As a graduate, you’ll become a member of the worldwide Harvard Alumni Association (400,000+ members) and Harvard Extension Alumni Association (29,000+ members).

Harvard is closer than one might think. You can be anywhere and still be part of this world.

Tuition & Financial Aid

Affordability is core to our mission. When compared to our continuing education peers, it’s a fraction of the cost.

After admission, you may qualify for financial aid . Typically, eligible students receive grant funds to cover a portion of tuition costs each term, in addition to federal financial aid options.

What can you do with a master’s degree in creative writing and literature?

A master’s degree in creative writing and literature prepares you for a variety of career paths in writing, literature, and communication — it’s up to you to decide where your interests will take you.

You could become a professional writer, editor, literary agent, marketing copywriter, or communications specialist.

You could also go the academic route and bring your knowledge to the classroom to teach creative writing or literature courses.

Is a degree in creative writing and literature worth it?

The value you find in our Creative Writing and Literature Master’s Degree Program will depend on your unique goals, interests, and circumstances.

The curriculum provides a range of courses that allow you to graduate with knowledge and skills transferable to various industries and careers.

How long does completing the creative writing and literature graduate program take?

Program length is ordinarily anywhere between 2 and 5 years. It depends on your preferred pace and the number of courses you want to take each semester.

For an accelerated journey, we offer year round study, where you can take courses in fall, January, spring, and summer.

While we don’t require you to register for a certain number of courses each semester, you cannot take longer than 5 years to complete the degree.

What skills do you need prior to applying for the creative writing and literature degree program?

Harvard Extension School does not require any specific skills prior to applying, but in general, it’s helpful to have solid reading, writing, communication, and critical thinking skills if you are considering a creative writing and literature master’s degree.

Initial eligibility requirements can be found on our creative writing and literature master’s degree requirements page .

Harvard Division of Continuing Education

The Division of Continuing Education (DCE) at Harvard University is dedicated to bringing rigorous academics and innovative teaching capabilities to those seeking to improve their lives through education. We make Harvard education accessible to lifelong learners from high school to retirement.

A Look Into Creative Writing | Oxford Summer Courses

Exploring the magic of creative writing with oxford summer courses.

Subscribe to our newsletter to receive helpful tips, tutorials, and thought-provoking articles that can inform and inspire your professional development. Sign up here .

Defining Creative Writing

Creative writing , as taught at Oxford Summer Courses, is the process of crafting original and imaginative works of literature, poetry, prose, or scripts. It transcends conventional writing, encouraging individuals to explore language, structure, and narrative. Whether it's a heartfelt poem, a captivating short story, or a thought-provoking novel, creative writing allows us to communicate our unique perspectives and experiences with the world.

The Magic of Imagination

Creative Writing is a catalyst that sparks our creativity and empowers us to breathe life into our ideas on the page. With Oxford Summer Courses, aspiring writers aged 16-24 can embark on an extraordinary journey of creative expression and growth. Immerse yourself in the captivating realms of Oxford and Cambridge as you explore our inspiring creative writing programs. Teleport readers to distant lands, realms of fantasy and creation, introduce them to captivating characters, and craft new worlds through the transformative art of storytelling. Discover more about our creative writing course here . Unleash your imagination and unlock the writer within.

What Are the Different Types of Creative Writing?

Creative Writing comes in many forms, encompassing a range of genres and styles. There are lots of different types of Creative Writing, which can be categorised as fiction or non-fiction. Some of the most popular being:

• Biographies
• Fiction: novels, novellas, short stories, etc.
• Poetry and Spoken word
• Playwriting/Scriptwriting
• Personal essays

At Oxford Summer Courses, students have the opportunity to delve into these various types of Creative Writing during the Summer School.

The Benefits of Creative Writing with Oxford Summer Courses

Engaging in Creative Writing with Oxford Summer Courses offers numerous benefits beyond self-expression. By joining our dedicated Creative Writing summer school programme, you would:

• Foster self-discovery and gain a deeper understanding of your thoughts, emotions, and personal experiences.
• Improve your communication skills, honing your ability to express yourself effectively and engage readers through refined language and storytelling abilities.
• Enhance empathy by exploring diverse perspectives and stepping into the shoes of different characters, broadening your understanding of the world around you.
• Gain new skills for further education or work, expanding your repertoire of writing techniques and abilities to enhance your academic or professional pursuits.
• Nurture your creativity, encouraging you to think outside the box, embrace unconventional ideas, and challenge the status quo, fostering a life-long mindset of innovation and originality.

Embracing the Journey

To embark on a journey of creative writing, embrace curiosity, take risks, and surrender to the flow of imagination. Write regularly, read widely, embrace feedback from tutors and peers at Oxford Summer Courses. Begin to experiment with styles and genres, and stay persistent in your course of action. The path of creative writing requires dedication, practice, and an open mind. Join us as we provide tips to help you start your creative writing journey and unleash your full creative potential under the guidance of industry professionals.

Creative Writing is a remarkable voyage that invites us to unleash our imagination, share our stories, and inspire others. It offers countless personal and professional benefits, nurturing self-expression, empathy, and creativity. So, grab a pen, open your mind, and embark on this enchanting journey of creative writing with Oxford Summer Courses. Let your words paint a vivid tapestry that captivates hearts and minds under the guidance of experienced tutors from Oxford and Cambridge. Join us as we explore the magic of creative writing and discover the transformative power it holds within through the renowned Oxford Summer Courses summer school.

Ready to study Creative Writing? Apply now to Oxford Summer Courses and join a community of motivated learners from around the world. Apply here .

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Discover the enchantment of creative writing with Oxford Summer Courses. Unleash your imagination, explore different genres, and enhance your communication skills. Nurture self-expression, empathy, and creativity while gaining valuable writing techniques.

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What are you looking for?

Suggested search, ph.d. in creative writing and literature, about the ph.d. track in creative writing and literature.

The Ph.D. program provides dual emphasis in literature and creative writing, culminating in the dissertation, which combines critical analysis with creative originality. Doctoral candidates not only read and write texts as finished products of scholarship in researching their creative work’s literary and historical milieu, but also consider the text as writers create it, then compose texts as writers, a process that goes to the source of the study of literature and of literature itself. This integration of literature and creative writing is reflected in the structure of the dissertation, which introduces the creative work within a context of critical inquiry, bringing together the examination and embodiment of the literary act, a new model of scholarship and creative innovation.

For complete information, please visit  https://dornsife.usc.edu/cwphd .

Requirements for admission to study in the Ph.D. program in Creative Writing and Literature include:

• B.A. degree in any area of study
• GPA, undergraduate and graduate (if applicable)
• Creative writing sample (25 pages of prose or 10-12 pages of poetry)
• Critical writing sample (10-25 pages)
• Statement of purpose (no more than three pages)
• Three letters of recommendation
• Official transcripts of all undergraduate and graduate coursework

Application deadline: December 1

For More Information:

>> See Ph.D. in Creative Writing & Literature Website <<

Potential applicants may contact:

Janalynn Bliss, Graduate Coordinator

Ph.D. in Creative Writing and Literature Department of English Taper Hall 431 University of Southern California University Park Campus Los Angeles, CA 90089-0354

(213) 821-0477

Contact Details

Usc department of english.

3501 Trousdale Parkway Taper Hall of Humanities 404 Los Angeles, CA 90089-0354

Office Hours

Monday – Friday

8:30am- 5pm

Times may adjust in accordance with university holidays.

Stay Up-to-Date

Application deadline: December 1

The program provides dual emphasis in literature and creative writing, culminating in the dissertation, which combines critical analysis with creative originality. Roughly half of the dissertation is based on original research, that is to say, research contributing to knowledge which enriches or changes the field. Doctoral candidates not only read and write texts as finished products of scholarship in researching their creative work’s literary and historical milieu, but also consider the text as writers create it, then compose texts as writers, a process that goes to the source of the study of literature and of literature itself. This integration of literature and creative writing is reflected in the structure of the dissertation, which introduces the creative work within a context of critical inquiry, bringing together the examination and embodiment of the literary act, a new model of scholarship and creative innovation.

PhD candidates in literature and creative writing must pass the same departmental screening examination taken by PhD candidates in Literature who are not working in the area of creative writing. The exam tests students in various areas of emphasis (British literature, American literature, poetry, prose, etc.) and literature and historical periods as a measure of their preparedness to undertake independent research.

The literature and creative writing student takes 64 units in all, 32 in literature, 24 in creative writing workshops and seminars and 8 units of dissertation studies credits.

Admission Requirements

Requirements for admission to study in the department of English include: scores satisfactory to the department in both the verbal and quantitative General Test and the literature Subject Test of the Graduate Record Examinations; evidence of experience and ability in creative writing, as demonstrated by a creative writing sample; evidence of competence in writing English and interpreting English literature, as demonstrated by a sample of written work by the applicant on literary subjects; a satisfactory written statement by the applicant of aims and interests in graduate work; letters of recommendation from at least three college instructors; and grades satisfactory to the department earned by the applicant at other institutions. This program will accept applicants with BA degrees or transfer students with an MA or MFA in creative writing.

Degree Requirements

These degrees are under the jurisdiction of the Graduate School. Refer to the Graduate School    section of this catalogue for general regulations. All courses applied toward the degrees must be courses accepted by the Graduate School.

Graduate Curriculum and Unit Requirements

The graduate curriculum is divided into 500-level foundation courses and 600-level advanced courses. The 500-level courses offer fundamental work in theory and in the history of British and American literatures and cultures. The 600-level courses feature advanced studies in theory, creative writing seminars and workshops and special topics. Although students will normally take 500-level courses leading up to the screening procedure (see Screening Procedure) and 600-level courses thereafter, students after consultation with their advisers may be permitted to take 600-level courses in the first semester of their graduate training.

The student’s course work must total at least 64 units. No more than eight units of 794 Doctoral Dissertation and no more than four units of 790 Research may count toward the 64 units. A maximum of 12 transfer units, approved by the graduate director, is allowed toward the 64 units minimum required by the PhD (See Transfer of Course Work .)

The student will be assigned a faculty mentor in his or her first semester in the graduate program and will be encouraged in subsequent semesters to begin putting together an informal qualifying exam committee. The makeup of the qualifying exam committee may change as the interests of the student change. The faculty mentor and informal qualifying exam committee will assist the student in planning a program of study appropriate to the student’s interests leading to the screening procedure.

Screening Procedure

At the end of the student’s fourth semester (second semester for students who enter with an MA or MFA degree or near equivalent), the student will sit for a departmental examination, which is part of a comprehensive screening procedure. Rarely, and only with the approval of the graduate director and the graduate committee, will a student be allowed to postpone the departmental examination and the screening procedure, and then only for one year. Prior to the screening procedure, the student will be allowed to take a maximum of four units of independent study ( ENGL 590   ), and that independent study will normally be used to prepare for the departmental examination; all other units must be in the 500- or 600-level seminar.

Qualifying Exam Committee

Immediately following successful completion of the screening procedure, the student will nominate formally a five-member qualifying exam committee, including a chair and three other members from the English Department who are in the student’s areas of interest and an outside member from another PhD-granting department. The committee must be in place and approved by the Graduate School at the time the student chooses a dissertation topic, writes the dissertation prospectus and schedules a qualifying examination.

Qualifying Examination

Following completion of course work, the student must sit for a qualifying examination, at a time mutually agreed upon by the student and the qualifying exam committee.

This is a field examination given in the subject of the student’s proposed dissertation research. No less than one month before the qualifying examination, the student will submit to the qualifying exam committee a dissertation prospectus. The prospectus, it is understood, will not be a polished dissertation proposal, but at a minimum it should display a strong knowledge of the subject, much of the relevant secondary material and other contexts crucial to the writing of the dissertation, and should present a workable plan of attack as well as a reasonably sophisticated understanding of the theoretical assumptions involved in the subject.

The qualifying examination will consist of both written and oral portions with special emphasis areas in creative writing. It will focus on the dissertation area and its contexts with the specific format and content of the examination being negotiated among the student and all members of the examination committee. Upon successful completion of the qualifying examination the student proceeds to the writing of the doctoral dissertation.

Dissertation

The final stage of the program is the submission of a creative dissertation that makes an original, substantial and publishable contribution to creative literature: a book of poems, a novel, a collection of short stories.

Foreign Language

PhD students are required to demonstrate proficiency in at least one foreign language. This may be demonstrated by completing a course in the literature of that language at the 400 or 500 level (with a grade of B [3.0] or better) or by passing a foreign language exam that tests proficiency in reading comprehension and translation. PhD students may also be required to demonstrate proficiency in additional languages, as determined by the qualifying exam committee in view of the student’s proposed field of research.

What is Creative Writing?

Written by Scott Wilson

Creative writing is any kind of writing that employs creative literary or poetic techniques in the service of either fiction or non-fiction writing. It involves original composition and expressiveness of the individual author.

Ask ten creative writing professors what creative writing is, and you’ll get eleven different answers. Turn to the dictionary and the definition invokes invention and incorporation of imagination. But what are the limits of imagination? Where does invention begin?

Every sentence in every work ever written began as an act of creation in the mind of the writer.

Creative writing may be most easily defined by what it is not…

• Technical writing
• Professional or business writing
• Scholarly or academic writing

Creative writing is the entire body of the writer’s craft that falls outside the boundaries of the ordinary.

Yet you will find many entries in the canon of those fields that might also be considered creative writing. No one would consign Truman Capote’s groundbreaking In Cold Blood to the sterile cells of mere journalism. But that haunting novel is unquestionably also an important work of investigative reporting.

So, what is creative writing, if a non-fiction novel of a horrific quadruple murder falls into the same scope as a classic of American literature like To Kill a Mockingbird ?

It has to do with style and art. Creative writing goes to the heart of the individual expressiveness of the writer. It breaks the boundaries of the typical. That’s an exercise of artistic skill that can happen in any topic, toward almost any goal. And it’s the heart of what it is to be a writer, no matter what you write about.

Defining creative writing isn’t easy. Rooms full of the best authorities routinely disagree. But what is creative writing , isn’t the most interesting question to ask here. Instead, we would be best served by asking another:

Why Is Creative Writing Important?

Storytellers were plying their craft thousands of years before the written word was invented. The creative spark doesn’t belong to words. It may not even depend on language. It draws instead on a deep part of what it is to be human. Invention, imagination, the urge to create… these are all deep and vital parts of the human experience.

Creative writing is important because it is evocative.

That well of creativity flows forth in many arts and forms of expression. But in creative writing it has found a medium where it can be both preserved and shared. It’s a method of human connection that has no expiration date, no geographical or even cultural limit.

Writers touch the souls of their contemporaries first. But like Shakespeare, Wordsworth, and Lady Murasaki, their reach may also span generations.

Creative Writing Fuels Communication in All Forms of Writing

Although fiction is the first refuge of creative writing, that expressiveness serves the purposes of just about any kind of author.

The goals of most other forms of writing are focused on various kinds of literal communication. A journalist seeks to convey the facts and the context of important news stories. Technical writers need to communicate the details of operating programs and machinery, clearly describing all kinds of minute details with zero ambiguity. Business communications are created with a view toward clarity and concision—helping readers get the main points of the piece quickly and without confusion.

Creative writing can also help to serve these purposes.

Creative writing taps into a different level of communication. While it may, and often does, aspire to other goals like offering clarity and detail, it also goes toward developing emotional connection. The reader will take away more than mere words from a piece of creative writing.

Creative Writing is Important For Making Other Kinds of Writing Compelling

Just as importantly, creative writing entertains. In a story about the importance of algorithmic and high-frequency trading, all kinds of technical details must be absorbed to make sense of the issues. Both technological and economic concepts have to be introduced. In a comprehensive article about the subject, readers from outside the field could be expected to nod off about two pages in.

But put the story in the hands of Michael Lewis, and you get Flash Boys , a New York Times Best Seller.

It’s not important that Flash Boys did well because it was entertaining, however. It’s important because the market trends and activities it described have real impacts on many of the readers. Retirement funds, college savings, family investments… all are affected by the story Flash Boys tells. Today, millions of readers who would never otherwise have understood how their investments were being handled can make an informed assessment… thanks to creative writing.

How To Separate Creative Writing From Less Creative Forms of Writing

In general, it’s safe to say that a piece of writing is creative when it makes use of literary devices such as:

• Narrative development
• Imagination and invention

In Cold Blood passes this test due to Capote’s use of characterization, plot development, and world-building. It’s considered today to be a pioneering example of the non-fiction novel, a paragon of the creative writing world.

The original crime reports, local newspaper articles, and subsequent court documents detail the same events with the same participants. Yet they are not works of creative writing. The incident is described in dry, straightforward, technical language. The timeline is linear and offered without consideration of pace or drama.

Both Capote and the authors of those other articles and documents set out to inform. But Capote’s goal was also to captivate.

New Journalism Tells the Story of How Creative Writing Has an Important Role in Non-Fiction

Books like Wolfe’s The Right Stuff mixed truth and dramatization, documentation and invention, to tell larger stories about serious events. In dramatizing those stories, New Journalism writers also drew more readers and achieved broader awareness of the stories.

At the same time, long-form New Journalism pieces, deeply researched and documented, were able to report stories in depth in a way that traditional journalism often did not. By invoking plot, characterization, and narrative structures, the New Journalists could keep readers involved in long and complex issues ranging from crime to politics to culture.

New Journalism is important in defining what is creative writing because it is clearly an example of both creative and journalistic writing. It demonstrates the ways that creative writing can serve other forms of writing and other kinds of writers.

Of course, it’s also possible to come at the divide from the other shore. Categories of writing that are clearly creative in nature include:

• Novels and novellas
• Flash fiction and short stories
• Plays and film scripts

These works incorporate elements of storytelling that may not always be present in other forms of writing. A newspaper article will often have a setting, action, and characters; creative writing will offer plot, pacing, and drama in describing the same story.

What is Creative Writing Coursework Like in College Degree Programs?

All university students are exposed to basic coursework in English language and communication skills. These all go to the elementary aspects of writing—the ability to construct a sentence, a paragraph, a paper. They teach grammatical rules and other elements that make a work readable to any reader of the English language.

Even the general education requirements in college programs touch on creative writing, however. Students may be assigned to write essays that explore creative styles and imagination. They’ll be assigned to read novels and stories that are time-tested examples of the finest kinds of creative writing. And they’ll be asked to explore their impressions and feelings, and to exercise their imaginations and analyze the intent of the author.

Creative writing programs go beyond the basics to touch the imagination of the writer.

Creative writing exists just on the other side of those general English and literature courses. Students in creative writing classes will be asked to take the extra step of creating their own stories using the techniques they have learned.

In fact, they may be encouraged to break the same rules that were so laboriously learned in their regular English writing classes. Creative writing works to allow writers to tap into their own imagination and emotion to forge a deeper connection with readers.

Student Workshops Offer an Interactive Way of Learning What Creative Writing Is All About

Creative writing degrees will go much further into developing a sense of what creative writing is. they continue to include many reading assignments. but instructors also introduce concepts such as:.

Genre is the method used to categorize written works. Creative writing programs explore the tropes and expectations that exist for different genres and deconstruct them for better understanding.

Story structure and form

The structure and form of a novel and a short story are very different. Creative writing programs explore different formats and how they impact creative storytelling.

Plot is not a universal feature of creative writing, but a good plot can make or break a creative work. Classes look at the features and composition of plot, and also teach plotting.

Voice, tone, and creative expression all come out of the narration of a piece of creative writing. Creative writing courses explore both the textbook forms of narrative and show how to use it to serve plot and story.

Style and rhythm

One clear feature of creative writing in all genres is that it rests on a sense of rhythm and of styling that other types of writing ignore. Many courses found in creative writing degree programs explore the ways in which writing style serves story and hooks the reader.

In addition to formal classes, students will better learn why creative writing is important and the purposes it serves through workshops. These informal gatherings are designed to foster discussion, to present examples of different types of writing, and to critique and hone individual creative writing skills .

Through that process, creative writing degrees help students better identify what creative writing is and how to use it effectively.

Creativity is Important No Matter What Your Career Goals in Writing May Be

Creative writing training allows writers in any genre to develop more complete, more meaningful, and more memorable ways to get a point across. Using the skills and techniques learned in creative writing courses can inject humor, gravity, and other sensations into any piece of writing. And those very techniques can improve concision and clarity.

Figuring out what creative writing is and what it is not, is the first thing you should leave behind in a writing career. The dry definitions of the dictionary or droning English professors are the last place you should look.

Creative writing is the process of engaging your imagination and talent to serve the purpose of whatever piece of writing you are working on. And that’s why creative writing is important.

When we talk about the different feelings that a work of writing evokes, we’re talking about the types of mood in literature. Creative writers are experts at drawing out specific sensations in their writing. When a poem or story leaves you feeling elated, nervous, hopeful, melancholy, or any other particular emotion, then the writer has successfully harnessed mood in literature.

Mood is something that’s written with intent, and it requires the amalgamation of different craft skills in creative writing. The author must hone their word choice, syntax, and style, while also relaying specific subjects and themes in their writing. As such, mood in literature doesn’t just appear, but it’s the result of painstaking—and rewarding—work.

So, what is mood in literature? This article examines the craft of creating mood in writing. We’ll look at different examples of mood in literature and discuss the difference between tone vs. mood. We’ll also look at examples of mood in poetry, and how this differs from prose. Finally, we’ll give craft tips for honing mood in your own work.

But first, let’s define this important literary device . What is mood in literature?

Mood in Literature: Contents

Tone vs. Mood in Literature

Atmosphere vs. mood in literature, grammatical mood vs. mood in literature, types of mood in literature, examples of mood in literature.

• Examples of Mood in poetry

Tips for Creating Mood in Writing

The elements of mood in literature, what is mood in literature.

Mood refers to the emotions that a text evokes from the reader. When different craft elements are aligned just so, the writer is capable of evoking different feelings from the audience.

Mood in Literature: The emotions a text evokes in the reader.

Note, there’s a difference between emotions evoked from the reader (mood) and emotions imposed upon the reader (atmosphere). We will explain this difference in a moment.

Mood is more than just a statement of feeling. If anything, it’s a way of employing “show, don’t tell” so that the reader feels precisely what the story seeks to convey. Take the below example:

Often, works of literature, especially longform prose and poetry, evoke multiple different emotions. We’ll see this in action through the examples of mood in literature that we’ve provided in this article.

The words “tone” and “mood” are often used interchangeably, but they’re very different in literature. Tone refers to the author’s attitude towards the subject of the work. It conveys how the author feels about what they are writing about—and this applies for poetry, nonfiction, and even third-person fiction.

Take this sentence from the short story “ Bridging the Years ” by Kathleen Thompson Norris:

“She and Jim chattered rapturously of French windows, of brick garden walks, of how plain little net curtains and Anne’s big brass bowl full of nasturtiums would look on the landing of the absurd little stairway that led from the square hall to two useless little chambers above.”

The words “absurd” and “useless” tell us exactly what the author thinks of the house that Anne and Jim have hastily found themselves in. The tone of this passage seems, if not judgmental, then certainly a bit mocking.

Tone vs. Mood in Literature: Tone is the author’s attitude, whereas mood is the emotion evoked in the reader.

Sometimes, tone and mood are aligned. If the subject matter of a story is sad, then both the tone and the mood conveyed by the author may be sad, too. But, tone is always the author’s attitude, whereas mood is always the emotion evoked by the reader. Oftentimes, these two do not align.

For more on tone, check out our article: What is Tone in Literature?

Atmosphere and mood have a reciprocal relationship. However, the two are clearly distinct devices.

Atmosphere refers to the general feeling that a text tries to evoke from the reader. This is different from mood, because mood is the actual feeling that’s evoked .

In other words, atmosphere is the sensation imposed upon the reader, whereas mood is the actual feeling produced. For example, the text might have an eerie, unsettling atmosphere, but it will produce an intrigued or excited mood from the reader.

Atmosphere vs. Mood in Literature: Atmosphere is the sensation imposed upon the reader, whereas mood is the actual feeling produced.

Additionally, some atmospheres cannot be moods. The atmosphere of a text might be “dangerous,” for example, but dangerous isn’t a mood. You can evoke a sense of danger —the mood might be “scared” or “anxious”—but the atmosphere isn’t scared or anxious, it’s dangerous.

The two devices rely on the same craft skills, so writers sometimes confuse them. The difference comes down to the readers themselves, how they engage with the text, and the author’s intent.

To avoid any confusion, this article is not about sentence moods. A sentence mood is a type of sentence that tells you how the sentence should be read. The five types are the indicative (statement sentences), imperative (command sentences), interrogative (question sentences), subjunctive (hypothetical sentences), and conditional (“if” sentences).

These are unrelated to mood in literature, which focuses solely on how emotions are evoked from the reader.

Because “mood” refers to an emotion evoked by the text, mood words are often the same as emotion words. Here’s a list of common words that describe mood in literature:

• Sentimental
• Pessimistic

Remember, longer texts tend to evoke multiple moods, so you can find different combinations of the above mood words throughout the literary canon.

The following examples of mood in literature come from published works of literature. Most of these examples were written by living or contemporary authors.

Excerpt from “XIV” by Mahmoud Darwish

Longing is the absent chatting with the absent. The distant turning towards the distant. Longing is the spring’s thirst for the jar-carrying women and vice versa. Longing allows distance to recede, as if looking forward, although it may be called hope, were an adventure and a poetic notion. The present tense is hesitant and perplexed, the past tense hangs from a Cypress tree standing on its rooted leg behind a hill, enveloped in its dark green, listening intently to one sound only: the sound of the wind. Longing is the sound of the wind.

Although the subject matter is one of loneliness and distance, the mood of this passage is comfortable and serene. Darwish demonstrates his ideas using natural imagery, invoking the trees, hills, and the sound of the wind. The result is the feeling that longing is natural, that its very existence is rooted in nature, and that it’s a system of different natural elements both propelled towards and repelled by each other. While the intent of this passage is to demonstrate a complex idea through symbolism , the symbols employed evoke a calm, thoughtful mood.

Excerpt from “And Then There Were None” by Agatha Christie

The others went upstairs, a slow unwilling procession. If this had been an old house, with creaking wood, and dark shadows, and heavily paneled walls, there might have been an eerie feeling. But this house was the essence of modernity. There were no dark corners—no possible sliding panels – it was flooded with electric light—everything was new and bright and shining. There was nothing hidden in this house, nothing concealed. It had no atmosphere about it. Somehow, that was the most frightening thing of all. They exchanged good-nights on the upper landing. Each of them went into his or her own room, and each of them automatically, almost without conscious thought, locked the door….

This passage deftly demonstrates the difference between atmosphere and mood. The atmosphere of the house is modern and bright: everything is clean, clearly lit, and comfortable. But the characters don’t feel that way. They move unwillingly, lock their doors, and feel frightened precisely by the absence of anything frightening. While the atmosphere imposed upon the reader is quiet and clean, the emotion evoked from the reader is anxious, nervous, tense.

Excerpt from “The Goldfinch” by Donna Tartt

Strange, I thought, as I jumped a sheet of water at the curb, how a few hours could change everything—or rather, how strange to find that the present contained such a bright shard of the living past, damaged and eroded but not destroyed. Andy had been good to me when I had no one else. The least I could do was be kind to his mother and sister. It didn’t occur to me then, though it certainly does now, that it was years since i’d roused myself from my stupor of misery and self-absorption; between anomie and trance, inertia and parenthesis and gnawing my own heart out, there were a lot of small, easy, everyday kindnesses I’d missed out on; and even the word kindness was like rising from unconsciousness into some hospital awareness of voices, and people, from a stream of digitized machines.

“Alienated” best describes the mood of this passage. The last line, in particular, clues us in to the narrator’s feeling of separation from the rest of the world—that simple kindnesses felt distanced, as though dispensed by machines. This feeling coincides with ruminations of the past and present, and the realization that the world has marched on while you were trapped in some sort of fugue. The narrator examines all of this as though from a distance, even though it is his own lived experiences, suggesting both an alienation from others and an alienation of self, making the mood of this passage particularly lonely, perhaps even unnerving.

Examples of Mood in Poetry

“wild geese” by mary oliver.

Retrieved from The Dew Drop.

You do not have to be good. You do not have to walk on your knees for a hundred miles through the desert, repenting. You only have to let the soft animal of your body love what it loves. Tell me about despair, yours, and I will tell you mine. Meanwhile the world goes on. Meanwhile the sun and the clear pebbles of the rain are moving across the landscapes, over the prairies and the deep trees, the mountains and the rivers. Meanwhile the wild geese, high in the clean blue air, are heading home again. Whoever you are, no matter how lonely, the world offers itself to your imagination, calls to you like the wild geese, harsh and exciting— over and over announcing your place in the family of things.

Through natural imagery and an emphasis on the world’s beauty, “Wild Geese” offers the reader hope, connection, and tranquility. The poem reminds us that we all have a place on this strange planet—that, to quote Ocean Vuong, “loneliness is still time spent with the world.” While the subject matter of the poem might be loneliness or disconnection, the mood is serene and hopeful, allowing the reader to find comfort in their solitude.

“We Stopped at Perfect Days” by Richard Brautigan

Retrieved from All Poetry.

We stopped at perfect days and got out of the car. The wind glanced at her hair. It was as simple as that. I turned to say something—

This is a poem where form is the biggest contributing factor to mood. Short poetry doesn’t try to baffle or dupe the reader, it simply offers what is. What does it mean to physically stop at a perfect day? The poem doesn’t say, but phrases like “perfect days,” “wind glanced,” and “simple as that” make this poem feel calm and joyful, like running through the hills on a clear summer’s day. (I myself feel like I’m in a Studio Ghibli movie.)

“The Hum” by Maggie Smith

Out of her collection Goldenrod .

It’s not a question without the mark: How do we live with trust in a world that will continue to betray us. Hear my voice not lift at the end. How do we trust when we continue to be betrayed. For the first time I doubt we’ll find our way back. But how can we not. See how the terminal mark allows a question to dress as statement and vice versa. Sometimes if I am quiet and still, I can hear a small hum inside me, an appliance left running. Years ago I thought it was coming from my bones. The hum kept me company, and I thought thank god for bones, for the fidelity of bones—they’ll be there until the end and then some. Now what. How to continue. I’ve started calling the hum the soul. Today I have to hold my breath to hear it. What question does it keep not asking and not asking, never changing its pitch. How do I answer.

This poem does an expert job of manipulating mood through, ironically, sentence moods. Rather than posing questions, it poses declarative statements, asking the reader to look at the world completely unadorned. It then applies this grammatical transgression to the body, wondering if the soul quietly asks statements that resonate through our bones, if our soul knows something our bones are trying to grasp. The mood of this poem can best be described as urgent, imploring us (without asking us) to consider the statements our own souls are trying to tell us, to consider how we continue to live in this world.

Mood forms from the gestalt of different literary devices. As you write and revise your stories and poems, consider these five tips for creating mood in writing.

1. Creating Mood in Writing: Style, Syntax, & Word Choice

Writers craft mood with careful attention to language. Lime green and forest green have starkly different moods. So do the words “melancholy” and “despairing”: melancholy feels lonely and thoughtful, like wandering through a dark field. “despairing” is more sharp and abrupt, a sadness intensified in a moment. Precise moods require precise language.

Have you noticed how short sentences read faster than long ones? Have you noticed that long sentences, with a series of clauses connected by commas, can build an eerie, foreboding mood—especially when the sentence is describing something in setting, or in the psychology of a character? The way you play with sentence lengths and structures also contributes to the emotion evoked from a reader.

Studying language and how to manipulate it is essential to crafting mood. Even if you only write prose, I highly encourage you to read and study poetry, if only to learn how to use language with proper tension, pacing, and flow.

For more on style, check out these articles:

• What is Style in Writing?
• The Importance of Word Choice in Writing

2. Creating Mood in Writing: Show, Don’t Tell

The “Show, Don’t Tell” rule is inextricably linked to mood in literature. “Show, Don’t Tell” means that you create immersive experiences for the reader, rather than describing a sequence of events. It’s the difference between watching something on TV and feeling like you’re there inside of the screen.

“Show, Don’t Tell” is best demonstrated through this quote by Anton Chekhov:

Don’t tell me the moon is shining; show me the glint of light on broken glass.

To create powerful, evocative moods, create sensorily immersive experiences through “Show, Don’t Tell.” Learn more about this important craft device at our article “Show, Don’t Tell” in Creative Writing .

3. Creating Mood in Writing: Hone Imagery

Imagery creates doorways for the reader to experience what happens in the text. Although the word “imagery” sounds visual, it actually encompasses all sensations: sight, touch, smell, sound, taste, and even motion and internal feelings.

We are innately visual, sensory thinkers. A clear blue sky often invokes a positive feeling, but what if that sky sits above groves of leafless trees? How about the awful smell of rotting things, the excitement of running with the wind, or the terror as a pit drops in the center of your stomach?

Finely crafted imagery is essential to building mood, and also a key component of “Show, Don’t Tell.” Learn more here: Imagery Definition: 5+ Types of Imagery in Literature .

4. Creating Mood in Writing: Be Intentional

What mood do you want this scene to have? How about this paragraph? This stanza? This line?

Mood in literature is constructed with intention and attention. The writer hones every part of the work to evoke specific emotions from the reader. This is one of the trickiest parts of writing, and is a key reason why writers should revise, revise, revise, and revise again.

As you write and, especially, as you edit, always ask yourself what mood you’re trying to evoke. Mood contributes to how the reader engages with the text, so for any author to get across their message and ideas, mood is essential!

5. Creating Mood in Writing: Surprise the Reader

Don’t always go for moods that the reader can predict. We expect a wedding to be happy, a funeral to be sad, a first date to be exciting, a haunted house to be scary, etc. But, what if we subvert expectations?

A sad wedding, a joyful funeral, a boring first date, and a funny haunted house are all ways you could entice the reader to tune in. The juxtaposition of setting and mood is ripe with possibility. And, when you create unexpected moods, you give the reader opportunities to feel those moods more deeply, and to ask questions about the story that’s unfolding.

Above all, be playful with the moods you craft in your work. Such playfulness will surely keep the reader engaged long after the story or poem has ended.

The following are just some of the tools, devices, and elements that contribute to mood in literature, including mood in poetry.

• Word choice
• “Show, Don’t Tell” writing
• Syntax and sentence length
• Writing style
• Subject matter
• The personality of the speaker / narrator
• Storytelling elements like setting, narrative pacing, conflict , and tension
• Poetic elements like line and stanza breaks, rhythm, and poetry form
• Tone and atmosphere, which are distinct but help inform the mood of a work

Master Mood in Literature at Writers.com!

As writers, we can’t always tell how our work reads for the reader, or what emotions it might evoke. That’s why the feedback in a writing class can be instrumental in sharpening your poetry and prose. Take a look at our upcoming writing classes , where you’ll receive expert feedback on the writing you receive, helping you shape the moods you harness in your writing.

Sean Glatch

Mr. Glatch, I so appreciate your informative article on Creating Mood in Writing. I am a retired MS level psychologist. As a researcher and therapist my professional writing had to be precise, objective and third person. That professional underpinning forms the foundation with which I’ve grappled for the last 30+ years. I wrote my first poem when I was 63 years of age—a lengthy, pastoral, doggerel-muse—partly to confess to myself my own inscape—and too, give vent to the very issues you have addressed—in an attempt to rejoin the subjective world I had set aside for 35+years. Thank you for your encouragement.

Your research sounds fascinating! If you keep writing poetry, I’m sure you’ll uncover many new things about our weird and wonderful brains. Thanks for commenting–I’m so happy to hear this article inspired you.

Warmest, Sean

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Master of Fine Arts in Creative Writing The Write Stuff for Writers

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Unraveling the Japanese prose of Yukio Mishima

Even before 三島由紀夫 ( Mishima Yukio , Yukio Mishima) committed 切腹 ( seppuku ), a ritual samurai suicide rite that involved disemboweling himself with a katana before being beheaded by his co-conspirators, on Nov. 25, 1970, he had already secured his place in infamy.

Mishima’s right-wing politics are controversial to the extreme, but his writing is not — at least in terms of his brilliant prose. By the age of 45, when he died, he had written masterworks that included “金閣寺” ( Kinkaku-ji , The Temple of the Golden Pavilion) and the tetralogy “豊穣の海” ( Hōjō no Umi , The Sea of Fertility). His novels scrutinize the theme of 美 ( bi , beauty), and his characters drive themselves beyond the point of madness in their pursuit of beauty, love and glory alike. His politics, his prose, his aesthetics — everything collides for an immersive and at-times overwhelming reading experience. His books are not meant for everyone.

In English-language publishing, the past five years have seen something of a Mishima boom. Several previously untranslated Mishima novels have come out, including “The Frolic of the Beasts” (2018), “Life For Sale” (2019), “Star” (2019) and “Beautiful Star” (2022). The literary value of Mishima in the 21st century is readily apparent: His relentless, unflinching journeys into the darker obsessions of humanity ring true, even if in a twisted way.

Students of Japanese can also learn a lot about Japanese literature, language and literary language in particular by exploring his works. Dense ideas, literary conceits and, of course, 美 can be found on nearly every page of his novels. His second work, 1949’s “仮面の告白” ( kamen no kokuhaku , Confessions of a Mask) is what launched him into both the mainstream and the ranks of acclaimed modernist authors. Mishima was just 24 at the time of its publication.

“仮面の告白” is a semi-autobiographical account of a young gay man who hides behind a mask to fit into society at the height of Japan’s right-wing militaristic empire. Mishima’s powerful but readable prose in this novel is the perfect entry point into the world of 純文学 ( junbungaku , pure literature) or high literary Japanese. [Note: The English in this article is not the official 1958 translation by Meredith Weatherby, but a literal translation that closely follows the original Japanese.]

Mishima begins: 永いあいだ、私は自分が生まれたときの光景を見たことがあると言い張っていた ( Nagai aida, watashi wa jibun ga umareta toki no kōkei o mita koto ga aru to iihatte-ita , For a long time, I insistently said that I saw the scenery at the moment of my own birth). From the very first word, Mishima introduces a concept that is essential to reading high literary Japanese: using unique kanji and/or unfamiliar readings for certain characters. 長 ( Naga ) is the standard character used for 長い ( nagai , long), but Mishima opts for the slightly more unusual yet richer choice of 永 ( naga ). This character, used in words such as 永遠 ( eien , eternity), 永久 ( eikyū , eternity/permanence) and 永生 ( eisei , eternal life), has a more literary and dramatic resonance. Mishima uses this technique throughout the novel to emphasize certain words and give them nuances that they wouldn’t otherwise have.

The paragraph continues: それを言い出すたびに大人は笑い、しまいには自分がからかわれているのかと思った ( Sore o iidasu tabi ni otona wa warai, shimai ni wa jibun ga karakawarete-iru no ka to omotta , Every time I began to talk about it, adults laughed, and, eventually, I thought they were making fun of me). Here you can see Mishima’s second use of a compound verb in two sentences: 言い張る ( iiharu , to insist/assert) in the first and 言い出す ( iidasu , to bring up/start saying) in the second. These compound verbs add more flavor than simply using 言う ( iu , to say). Mishima uses a variety of compound words in the first few paragraphs alone, including, 喋りだす ( shaberidasu , to start chatting) and 笑い去る ( waraisaru ), a compound of Mishima’s own invention that combines 笑う ( warau , to laugh) and 去る ( saru , to leave), and more.

Skipping a paragraph ahead, Mishima combines various literary elements into a long, twisty sentence. Prepare in advance to look for commas and particles such as とか ( toka , or/and the like), に ( ni , in/at) or で ( de , at/of) as places to try to pause and comprehend individual fragments of the sentence before piecing everything together. Collectively, this sentence discusses what the adults think when the young protagonist declares that he remembers the moment of his birth:

その時赤ん坊はまだ目が明いていないのだとか、たとい万一明いていたにしても記憶に残るようなはっきりした観念が得られたはずはないのだとか、子供の心に呑み込めるように砕いて説明してやろうと息込む時の多少芝居がかった熱心さで喋りだすのが定石だった ( Sono toki akanbō wa mada me ga aite-inai no da toka, tatoi man’ichi aite-ita ni shitemo kioku ni nokoru yō na hakkiri shita kannen ga erareta hazu wa nai no da toka, kodomo no kokoro ni nomikomeru yō ni kudaite setsumei shite yarō to ikikomu toki no tashō shibai ga katta nesshinsa de shaberidasu no ga jōseki datta , At that time his eyes couldn’t have been open yet or, even in the off-chance that they were open he couldn’t have been able to gain any sensation that would’ve concretely remained in his memory — their standard practice was to start blabbing [such things] with a somewhat theatrical enthusiasm as they broke it down and explained it so [their explanation] could be swallowed up by a child’s mind).

When faced with such a long sentence, readers can look for those aforementioned particles. Once the sentence is split up, the component parts are easier to understand: two different thoughts the adults have after hearing the young protagonist speak, and then a description of the way they respond. In this single sentence, Mishima uses unusual kanji — 明 ( ai ) instead of 空 ( ai ) for 目があいている ( me ga aite-iru , open eyes) — and original verb compounds such as 呑み込める ( nomikomeru ), a variation of 飲み込む ( nomikomu , to swallow/gulp down). That’s in addition to vocabulary such as 定石 ( jōseki ), which refers to a standard sequence of moves in shogi, understood to mean a standard or established practice or tactic.

If you can persevere, however — breaking apart and penetrating these dense, long sentences — poetic beauty awaits. Mishima describes what exactly that memory of his birth is: a memory of being washed in the hospital right after he was born.

盥のゆらめく光りの縁は、何度となく、たしかに私の見た私自身の生湯の時のものとして、記憶の中に揺曳した ( Tarai no yurameku hikari no fuchi wa, nando to naku, tashika ni watashi no mita watashi jishin no ubuyu no toki no mono to shite, kioku no naka ni yōei shita , The edges of the tub’s swaying light, countless times, have fluttered in my own memory as the unmistakable sight of my own first bath). It’s a sentence full of vivid images, shifting from the gentle 揺らめく( yurameku , to flutter/quiver) to the stern and powerful 揺曳 ( yōei , to flutter/linger); clever wordplay, such as the use of 縁 ( fuchi /en), which means both “edge/rim” and “fate/affinity”; and complex, bitter, stirring emotions. Mishima’s work is a linguistic puzzle that is well-worth solving.

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2024 wellspring launched the first event and recording is now available.

On the evening of Thursday 18 April, the ANU School of Literature, Languages and Linguistics, together with The Street Theatre, launched the first event of the 2024 Wellspring Series, 'Memory In the City', an imaginative and interactive reading of André Dao's novel Anam .

'Memory in the City’ celebrated the power of creative and historical writing and art to reimagine cities as places of memory, solidarities, narratives, and new perspectives.

Featuring Anam 's author André Dao, ANU School of Literature, Languages and Linguistics's Ann-Sophie Levidis and Leslie Barnes, and ANU College of Law's Desmond Manderson, the panel took us on a journey through different urban landscapes – Melbourne, Hanoi, Paris, and Cambridge, to explore the long-lasting impact of migration on the cultural tapestry of our cities and the potential for new pasts and futures.

Recording of the event is now available. You can watch it below on this page or here .

Moderator,  Ann-Sophie Levidis , Lecturer in French Studies, ANU  André Dao, Refugee Advocate and Novelist  Leslie Barnes , Associate Professor in French Studies, ANU Desmond Manderson , Professor of Law, Director of the Centre for Law Arts and Humanities, ANU  Sue Thompson , Associate Professor of Southeast Asian Studies, ANU 

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Wellspring: Memory In the City

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