creative writing primary school

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

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• Published: 17 June 2023
• Volume 51 , pages 1311–1330, ( 2024 )

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

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

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Introduction

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

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

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

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

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

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

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

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

Studies were peer-reviewed empirical research published in English;

Participants were primary students and/or teachers;

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

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

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

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

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

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

The personal, structural, and cultural conditions surrounding creative writing

Personal emergent properties

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

Personal views about creative writing

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

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

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

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

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

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

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

Creative thinking

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

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

Writer identity

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

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

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

Knowledge and capabilities

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

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

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

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

Structural emergent properties

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

Engaging professional authors and artists

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

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

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

Play(ful) activities, visual arts, and drama

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

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

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

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

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

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

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

Cultural emergent properties

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

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

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

Discussion and implications for classroom practice

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

Focussing on personal views about creative writing

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

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

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

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

Focussing on the structural and cultural resources

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

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

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

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

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

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

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

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

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Barton, G., Khosronejad, M., Ryan, M. et al. Teaching creative writing in primary schools: a systematic review of the literature through the lens of reflexivity. Aust. Educ. Res. 51 , 1311–1330 (2024). https://doi.org/10.1007/s13384-023-00641-9

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51 Creative Writing Activities For The Classroom: Comics, Prompts, Games, And Pretend Play

January 4, 2024 //  by  Milka Kariuki

Creative writing can be tough for learners of any age. From knowing where to start to establishing the vocabulary to develop their story, there are a bunch of different skills they’ll need to perfect their creative writing pieces. There are so many creative writing activities out there, but which ones are best for your kiddos? Our list of 51 creative writing activities is the perfect place to start looking if you’ve got a creative writing unit coming up! Read on and see which ones might grab your little writers’ attention!

1. Make Your Own Comic Books

We bet your kiddos just love comic books! Let them create their very own in the style of the super popular Diary of a Wimpy Kid books! Encourage your students to come up with their own plot, dialogue, and illustrations to spark their creativity. Even your most reluctant writers will love this fun activity! 

Learn More: Puffin Schools

2. Mad Libs

Using Mad Libs is a super popular way to develop your little creative writers! Use these free printables to get their creative juices flowing as they try to come up with words to fill the gaps to create weird and wonderful new stories. The best thing is that you can use these printables as many times as you like as their answers will be different each time!

Learn More: Teacher Vision

3. Flash Fiction

Flash fiction is a fantastic way to get your kiddies writing creatively while keeping things short and sweet! Use the range you prompts included in this resource to challenge them to write a creative story in less than 100 words. Flash fiction is amazing because your students won’t be overwhelmed by a huge writing task and it also means that your more confident writers will need to focus on the quality of their work, not the quantity! 

Learn More: TES

4. Write a Story Based on the Ending

Test your students’ creativity by providing them with writing prompts that start at the end! In backward story writing, your budding writers will need to plan and pen a story that eventually leads to the ending you give them. This idea is a fantastic way to turn your traditional creative writing lesson on its head and in many ways take the pressure off your kids, as ending their stories is often the most difficult part for them!

Learn More: Teachers Pay Teachers

5. Found Poetry

Your learners will love this fun and creative found poetry activity. You can encourage them to collect words or a group of words from a favorite story or song then write them on a piece of paper or cut them out of a printed page. The overall goal is to have them rearrange the words differently to make an interesting poem with a unique writing style or genre!

Learn More: Homeschooling Ideas

6. Picture Dictionary

A picture dictionary is a brilliant way to support every member of your younger elementary class in their creative writing. The words paired with pictures give your writers a ‘dictionary’ that they can use pretty independently, so your less confident writers or non-native English-speaking students can still access your writing lessons! 

Learn More: Twinkl

7. Creative Journal Writing

Why not start a creative journal with your kiddos? Have them engage in daily journaling activities by giving them a different creative prompt each day. For instance, write a story about what would happen if dogs took over the world or what would you do if you were the security guard at a zoo and someone stole an animal? The fun is never-ending with these prompts!  

Learn More: Think Written  

8. Roll a Story

Roll-a-Story is one of the best ways to help any of your kids who are suffering from a bout of writer’s block! They’ll roll the dice to discover the character, setting, and problem for their story then set to work weaving their creative tale! It could be a story about a wise doctor being chased by a mysterious creature in a casino, or maybe a rich artist losing their wallet in a library. Then it’s up to your students to fill in the gaps!

Learn More: TPT

9. Pass-it-on Story Writing

There’s no telling quite where this fun writing game will end up! Start by writing the first sentence of a story on a piece of paper then pass it around your class, having your kids come up with a sentence that continues the story. The paper is then passed around the whole class until every student has contributed. Finally, once it makes its way back to you, read out your collaborative story to the whole class!

Learn More: Minds In Bloom

10. Picture Writing Prompts

Creative writing prompts activities test not only your little ones’ imaginations but also their ability to craft a story and dialogue from that. Display an intriguing picture prompt for your class and have a discussion about it, recording their ideas. You could discuss what the person or animal in the picture is doing or what they’re thinking, where they think the picture was taken, and much more. They can use your collective notes to inspire their story!

Learn More: Pandora Post

11. What’s the Question?

What’s the Question is a simple, yet super engaging game that requires your young learners to think creatively. Spark their creativity by writing an answer on the whiteboard such as “the moon would explode,” and task your kiddos with coming up with a question to match it. There’ll be lots of laughs as everyone shares what they came up with!

Learn More: That Afterschool Life

12. Creative Writing Printables

This website is absolutely full of quick and fun graphics for children that’ll encourage their creative writing! The cute graphics and simple directions make it an easy bellringer activity for your writing class. Just print out some of these cool sheets and let your students get creative as they write thank-you notes to helpful heroes or finish little cartoon comics!

Learn More: Jarrett Lerner

13. Paint Chip Poetry

Nothing says creative writing quite like figurative language! Grab some of these free paint swatches from your local home improvement store and have your students create metaphors about their chosen color! We love this low-prep activity as once your kids have finished their poems, they’re a ready-made multi-colored display that’ll brighten the walls of your classroom! 

Learn More: Fabulous In Fifth

14. Story Storm Activities

Once again, these Jarrett Lerner activities do not disappoint! Your students will have a blast pretending they are the principal for a day and they’ll get to create their very own rules for the school. Not only will this be an engaging writing exercise that we’re sure they’ll love getting creative with, but it also challenges children to think about why rules in school are important.

Learn More: Tara Lazar

15. Story Bag

Story bags are a fantastic way to destroy any kind of writer’s block! Grab an assortment of random objects from your home or classroom and pop them into the story bag. Next, gather your students around and pull out all the objects in the bag. Can they then write a story connecting all the items? Be sure to leave time to let them share their stories at the end of the lesson!

Learn More: Life Hack

16. Change the Ending

An easy way to ease your kiddos into the writing process is by having them rewrite part of a story. Grab their favorite read-aloud, and challenge them to come up with a new ending! They’ll need to finish the story in a way that makes sense, but aside from that, they can be as creative as they like! Your reluctant readers will like this one as much of the work on setting and characters has already been done! 

Learn More: Make Beliefs Comix

17. Plot Twist Writing Prompts

BUT WAIT – there’s a twist…This fun writing practice is perfect for older middle or high school but could also be simplified for younger students. Write these twist prompts on notecards and have your kids draw one each before letting them go off and write a story around their chosen twist! They’ll be eager to share their finished work with classmates at the end. After all, who doesn’t love a good plot twist?

Learn More: Pinterest

18.  Craft Box Craft

Every kid loves the book The Day the Crayons Quit for its creative narrative about this familiar box of coloring supplies! This extension activity rolls art and creative writing into one! Your students will have fun coming up with dialogue for each of the different crayons and you could even make it into a fun display for your classroom walls!

Learn More: Buggy And Buddy

19. Dialogue Pictures

Personalizing writing activities always makes it more engaging for kids! Print out a picture of yourself with a blank speech bubble, and model how to add in some dialogue. Then, let your kiddos practice speech bubbling with a photo of themselves, a pet, or a favorite celebrity, and have them come up with some interesting things for each of their subjects to say!

Learn More: SSS Teaching

20. Figurative Language Tasting

Your students will be creative writers in no time after practicing their figurative language with food tasting! Not only do tasty treats make this activity incredibly fun, but it also brings the writing process of metaphors and hyperbole to life. Just give each of your kids a few pieces of candy or snacks, and have them practice writing figures of speech relating to each one! They’ll have the words on the tip of their tongue- literally! 

Learn More: It’s Lit Teaching

21. Explode the Moment

One of my favorite writing concepts as a teacher is ‘exploding the moment’. This method is perfect for showing your kiddies that even the smallest moment can be turned into an imaginative, descriptive story! Start by having them brainstorm some ideas and expand on tiny memories like losing a tooth, getting a pet, or making a winning goal in a soccer game!

Learn More: Raise The Bar Reading

22. Round-Robin Storytelling

Round-robin storytelling is the perfect collaborative creative writing activity! This one can be done verbally or in writing, and it challenges your class to build a story using a given set of words. They’ll have a fun and challenging time figuring out how to incorporate each piece into one cohesive story.

Learn More: Random Acts Of Kindness

23. Acrostic Poems

Acrostic poetry is one of the least intimidating creative writing exercises as there are no rules other than starting each line with the letter from a word. Challenge your kiddies to use each letter in their name to write lines of poetry about themselves, or they could choose to write about their favorite food or animal!

Learn More: Surfin’ Through Second

24. Sentence Sticks

This exercise requires minimal prep and can be used in so many different ways. All you’ll need are some craft sticks in which you will write sentences with blanks and word banks. Your young writers can then pull a stick and fill in the blanks to practice creative thinking! Task them with a different goal each time; can they make the sentence silly or sad for example?

Learn More: Liz’s Early Learning Spot

25. Conversation Prompts

These fun prompts require your kids to think creatively and answer a range of interesting questions. They’ll be excited to write stories about waking up with a mermaid tail or describe what is in a mystery package delivered to their doorstep! These creative prompts are perfect for bellringers or transitions throughout the school day!

Learn More: Twitter

26. Pretend Play Writing

Do you remember playing with fake money and fake food when you were younger? This idea takes it a step further by incorporating some writing practice! All you’ll have to do is print the templates for dollars, shopping lists, and recipes then let your little learners have fun with these play-pretend writing ideas!

Learn More: Prekinders

27. Question Cubes

Your class will be on a roll with these amazing question cubes! Whether the cubes are used for responding to a story, brainstorming the plot of a story, or practicing speech and listening, they are an easy, affordable tool for your little readers and writers! You can snag some foam dice at the dollar store and hot glue questions on each side to spark some creative writing ideas for your class.

Learn More: A Love 4 Teaching

28. Balderdash

Not only is Balderdash an addicting board game, but it can even be used in the classroom! Your little learners will have a blast as they create made-up, imaginative definitions for words, important people, and dates. Whoever guesses the real answer out of the mix wins the points!

Learn More: EB Academics

29. Two Sentence Horror Story

This creative writing exercise is best for older students and would be a great one to try out around Halloween! You’ll be challenging your learners to write a story that runs chills up their readers’ spines, but there’s a twist…the story can only be two sentences long! Your kiddos will love writing and sharing their writing to see who can come up with the spookiest short story!

30. Telephone Pictionary

Another game that your kids will be begging to play over and over again is telephone pictionary! The first player will write down a random phrase, and the next person must draw their interpretation of the phrase. The third player will write what they think the picture is and so on!

Learn More: Imagine Forest

31. Consequences

You need at least two players for this fun creative writing game. Each pair or group of kids will start by having one person write a random phrase and conceal it by folding the paper. Then, they pass it to the next student to fill in the blank using the prompt. Once all the blanks are filled in, let them unfold the paper and get ready to reveal some seriously silly stories!

32. Story Wands

​​Story wands are a fun way to have your kids respond to stories and study what makes something their favorite. Responding to what they’re reading is a super helpful exercise in preparing them for creative writing as it allows your students to connect to their favorite stories. By figuring out what elements make stories great, this is sure to help them in their own creative writing assignments!

Learn More: Little Lifelong Learners

33. The Best Part of Me

Probably my favorite creative writing activity, this one is infused with social-emotional learning and self-esteem building! Let your students get to choose their favorite physical characteristics about themselves; whether it be their eyes, hands, feet, etc. Then, they take a picture to attach to their written reasoning! Make sure to boost the creative element of this writing task by encouraging your learners to use a bunch of adjectives and some figurative language!

Learn More: Sarah Gardner Teaching

34. Me From A-Z

Challenge your kiddos to get creative by coming up with 26 different words to describe themselves! Me From A-Z gives your students the opportunity to explore who they are by coming up with words describing them in some way using each letter of the alphabet. Why not let them decorate their lists and turn them into a display celebrating the uniqueness of each of your class members?

35. How to Make Hot Chocolate

How-to writing is a great way to get the creative writing wheels turning in your kiddies’ brains! They’ll have a fun time coming up with their instructions and ways to explain how to make hot chocolate! Do they have a secret recipe that’ll make the best-ever hot cocoa!? Once they’ve written their instructions, be sure to try them out and do a taste-test of their recipes!

Learn More: Teacher Mama

36. Give Yourself a Hand

Hands up if you love this idea! For this creative writing activity, have your little ones trace their hand on a piece of paper and decorate it with accessories. Then, encourage them to write a list of all the different things they do with their hands all over their tracing! This is a great warm-up to get the creative gears turning.

Learn More: Write Now Troup

37. Word Picture Poem

A word picture poem is a fantastic way to challenge your kids to write descriptive poetry about a common object! Your little poets will learn to find beauty in ordinary things and strengthen their sensory language skills and their vocabulary. For some added fun, you can even task them with writing a short story about the item as well! The results are sure to be fun to read!

Learn More: Teaching With Terhune

38. Shape Poem

Shape poems are some of the most creative poetry as they combine words and art into one! First, your young poets can choose an object to use as their muse and lightly trace an outline onto some paper. Then, they’ll write words along the outlined shape in the form of a poem that describes the object! The result is a bunch of fun and striking poems that’ll look great displayed around your classroom!

39. Crazy Hair Poetry

Here’s another one that combines writing and art! Start by guiding your kiddos in drawing a self-portrait then adding some crazy hair by blowing watercolor paints around! After the paint dries, have your kids come up with a short but creative poem describing their hair art.

Learn More: Grade School Giggles

40. Fingerprint Poetry

Nothing is more creative than getting your kiddies to let down the barriers in their mind and tap into their stream of consciousness! Show them how to pick a topic and then let their words flow straight from mind to paper in a swirling pattern. This fingerprint idea can be used for a get-to-know-you activity as well!

Learn More: Kristen Dembroski

41. Doggie Haiku Poems

Put a fun twist on classic haiku poetry! Your students will have a paw-some time writing three-line poems about dogs which they can then illustrate afterwards! Before starting the activity, you can use Dogku by Andrew Clements as a read-aloud to get your class hooked on this idea!

Learn More: Teaching Fourth

42. Fractured Fairy Tale

Ever wondered if the Big Bad Wolf was framed? Or if Sleeping Beauty was actually a snorer? Your writers in training will have a fun time taking a classic fairytale and putting their own spin on it! Following five simple steps, your kids will be funky fairytale authors in no time!

43. Letter Writing

These creative letter-writing prompts are sure to boost your kiddies’ imaginative writing skills! Whether writing to a pen pal or a favorite celebrity, letter writing is a great way to practice handwriting, word flow, descriptive language, and communicating all rolled into one! Have your writers grab their pencils and let the creativity flow as they write fun response letters to these prompts!

44. Hersey’s Kisses Similes

Teach sensory language and similes by connecting this tasty treat with the sense of taste! Your students will have a lovely time brainstorming how chocolate connects to each of our senses and applying that knowledge by writing some sweet similies! What a fantastic way to teach them how to use these essential creative writing tools!

Learn More: Teacher By The Beach

45. Sensory Poetry

Another great way to teach sensory details is to have your learners write poems about their favorite foods! Task them with writing a line for each sense to describe the food! Everyone will be hungry after this creative writing lesson so it might be a good idea to have some snacks on hand!

Learn More: Mrs. Tice’s Class

46. Season Personification

Each season of weather has an array of characteristics making this the perfect activity to practice personification in creative writing! Allow your little writers to choose a season to write about as if it were a person with human characteristics. Winter is a no-brainer! It’s Elsa!

Learn More: Write Shop

47. Class Book of Character Traits

To be creative writers, your kids need to know how to create realistic characters for their stories. For this class book, you’ll start by giving each student two opposing character traits. Next, have them demonstrate these traits by illustrating two characters and displaying them through dialogue!

Learn More: Crafting Connections

48. Socialgrams

With Instagram being all the rage these days, your kiddos will have a fun time creating a ‘socialgram’ on paper! Challenge them to create a descriptive and engaging caption to go along with their “photo” in the post. Then, classmates can comment on each other’s work! 

Learn More: Breezy Special Ed

49. Story Introduction Worksheets

Creative writing worksheets are a simple, minimal-prep tool to use in your creative writing units. Print out a variety of options, and have your kids practice their skills by finishing imaginative story introductions. By giving them a place to start their story, you can really take the pressure off your kids which will help ease them into the creative writing process!

Learn More: Lanternfish ESL

50. Dialogue Worksheets

Here’s another low-prep option for the last-minute planners! Pre-written dialogue can help guide the mood of the story and allow your kiddies to just focus on filling in the characters’ actions. This is also a great way to model how dialogue is spaced out and balanced in a story!

Learn More: ESL Writing Worksheets

51. Character Trait Posters

In this personalized character trait activity, your students will create a poster of themselves and label it with a bunch of different character traits. Descriptive, interesting characters are what make a story captivating, so this is a great introduction to understanding characters and their physical as well as personality traits! This is an activity that’s sure to help them build a strong foundation for their creative writing skills to build from!

Learn More: Life In First Grade

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Literacy | Primary schools

9 strategies for improving writing skills in primary school

By Michelle Casey

06 Jan 2023

In this article:

The importance of building writing skills in primary years

Understanding 5 basic writing skills, spelling and punctuation, handwriting, reading comprehension, sentence structure, how to improve learners’ writing in primary school, 1. teach the different writing styles, 2. encourage regular reading in the classroom and at home, 3. give learners a real-life situation to write about, 4. encourage students to keep a diary, 5. give learners opportunities to read aloud, 6. use sentence starters and prompts, 7. engage in cooperative writing, 8. get creative with the teaching, 9. encourage parents to help at home, how bedrock helps primary pupils develop strong writing skills.

Learners use writing as a vehicle through which to express themselves and their ideas, both in and out of the classroom, in every subject across the curriculum. By improving learners’ writing skills, you prepare them for success in wider life.

In this guide, you will find practical advice for teachers on developing fundamental writing skills within the primary classroom.

The ability to express ideas in writing is one of the most important of all skills. Good writing is a mark of an educated person and, perhaps for that reason, it is one of the most important skills sought by employers and higher education institutions (Conley, 2003; Schmoker, 2018).

Developing our learners as writers is more than just asking them to remember tricky spellings, handwriting joins or grammatical constructs. It is a process which is intricate and complicated, but if done consistently and thoroughly, gives learners a tool which is vital for their school years, across all subjects and in life after education.

Writing makes learners’ thinking and learning visible. It provides them with the opportunity to clarify and refine their ideas for others and to themselves.

For learners to progress in their writing, they must have a solid understanding of the 5 basic writing skills and plenty of opportunity to practise and develop these skills.

Grammar is the system and structure of a language and comes with certain rules . It underpins how words are put together meaningfully and sentences are constructed. When writers use good grammar, they can effectively communicate what they want the reader to know. Through learning about nouns , punctuation , tense and aspect , brackets , semicolons , and connectors , learners can make their writing clearer and control its impact on their readers.

Spelling instruction helps learners to develop a connection between letters and their sounds. It also helps learners to recognise high-frequency common exception words. Teaching students strategies for spelling supports them in communicating effectively through writing.

While sentences can be written without punctuation, writing becomes a lot more effective if punctuated correctly. Good punctuation allows writers to convey what they mean and enables readers to understand the intended message or meaning. Every piece of punctuation has a particular role; they all work to give clarity and meaning to our written words.

Read more about the rules behind punctuation.

Handwriting is an important skill for learners to develop. Poor handwriting can harm school performance.

If a learner views handwriting as something arduous, this can reduce their motivation to write. This lack of motivation may lead to a reduction in practice which can further compound handwriting difficulties.

When learners can write comfortably, legibly and at a good pace, it gives them more ‘mental space’ to think about the content and creativity of their writing, as opposed to the logistics.

Learn more about handwriting in primary school.

Reading comprehension is the capacity to read a piece of text and understand the meaning or intent. It is important in the development of writing skills. Before learners can write with meaning, they need to be able to read.

The skills developed in reading and reading comprehension activities feed into many skills required for effective writing. It helps them to:

• Sound out and blend words for meaning
• Extend their vocabulary and learn how to use it contextually
• See how words in a paragraph or in a sentence relate to each other

When the concept of reading at a base level has been achieved, learners can then start to think about a text critically ; they can infer meaning and intent and transfer this to their own writing. As well as this, reading comprehension relies on a strong understanding of vocabulary and grammar ; writing skills work together and strengthen one another.

For writing to progress, learners should have a good grasp of sentence structure. They should know the basic types of sentences : simple, compound and complex.

Learners should also be able to modify sentence structure for effect - for example, by using fronted adverbials or passive voice. Learning different ways they can structure a sentence helps learners convey their intended meaning in their writing.

Improve primary learners' writing skills

Explicit vocabulary and grammar instruction through a deep-learning algorithm to support learners of all abilities.

Teaching learners to recognise the different genres of writing and their characteristics and purpose will help them to implement these techniques in their own writing.

Throughout their schooling, learners should be exposed to a wide variety of nonfiction, narrative and poetry texts.

Within nonfiction , they will be exposed to explanation texts to inform; non-chronological reports to explain and persuasive texts to persuade and entertain, to name a few.

Within narrative texts , learners will examine stories with dilemmas, traditional tales and stories in a historical setting, among others.

Learners will also have the opportunity to explore poetry including structured poetry, visual poetry and free verse .

Learners should be given the opportunity to become familiar with a text type and its features. They should examine the language used, sentence structure, grammatical features and layout. They could highlight and annotate features of the text as they identify them - in this way, they form a kind of checklist for their own writing.

Well-chosen texts provide learners with good-quality models for their writing. In this way, they are exposed to rich language structures which lets them see how writing works and the effect it can have on the reader. Students draw on their reading experiences when producing their own writing.

Learners should be exposed to these high-quality texts across a range of genres, demonstrating a variety of writing styles. It is important that the texts chosen reflect the social and cultural diversity of the class while introducing them to a world outside the familiar.

This exposure can involve Independent Reading, Guided Reading, Shared Reading and just good old Reading for Pleasure, where the teacher or the learners take the lead.

According to the Centre for Literacy in Primary Education (CLPE), ‘Reading texts to children that they are not ready to access independently exposes them to language they can own.’ This gives those struggling readers an opportunity to be enriched by high-quality vocabulary with the right scaffolding .

Learners should be given plenty of opportunities for regular reading in the classroom. Some schools implement a whole-school policy whereby one session per week or fortnight is blocked out for Reading for Pleasure.

Reading is often not only encouraged but required as part of homework tasks. It is normal for there to be certain expectations for reading sessions to be carried out at home. This is often a book from a specific level that the teacher has matched to the learner’s reading ability. However, whatever age-appropriate texts students are reading at home is beneficial: magazines, catalogues, leaflets, websites, and books from home.

Parents/guardians should be encouraged to read with students at home too; this gives learners another perspective on the text from their parent/guardian and (hopefully!) helps foster a love, or at least a like, for reading.

When learners are writing, they should be clear on who their intended audience will be. Will it be their peers? Younger students? The headteacher? The King? The MD of a company?

In being clear on their intended audience, learners can further develop their understanding that writing is a tool for communication and expression. And of course, writing is not limited to literacy lessons - writing is used across all subjects, which gives learners even more opportunity to write for an intended audience and purpose.

The teaching of writing is more effective when learners see the purpose of it, and with an audience in mind, they can adapt their tone accordingly.

Some examples of writing students could produce inspired by text or real life:

• A letter to the headteacher persuading him/her to allow a longer break time.
• A newspaper report on a school/ local event.
• Instructions on how to play Minecraft (or another game that is relevant and appropriate to them).
• Within a topic (e.g., superheroes), learners create their own superhero, then write an explanation text to explain the superhero’s powers, special gadgets, crimes/issues targeted and how they became a superhero.
• After reading a story or part of a story, learners write about an event from a character’s point of view not presented in the text.

Children could have access to free writing journals and, if possible (in the jam-packed curriculum we are all navigating!), time to develop their own personal writing projects, allowing their personal writing style to emerge.

With the popularity of diary-style series like Wimpy Kid and Tom Gates, the idea of keeping a diary may be very attractive to some learners. It is a good way to get children writing outside the classroom environment. Learners who keep a diary are twice as likely to exceed age expectations in writing .

According to the National Literacy Trust , the vast majority of children state that they enjoy writing more when they can choose what to write about. If learners can begin to derive pleasure from writing in this way, then hopefully this can be transferred to writing in a more formal setting.

Giving learners the opportunity to read aloud enables them to hear how punctuation and sentence structure combine in the sentences they read. It may even help them to think more deeply about perspective as they read from the point of view of new characters.

Reading aloud also provides the teacher with chances to correct misconceptions, such as mispronunciations and new vocabulary. These are all skills that can be channelled into their own writing composition.

As well as this, reading aloud is a good way to celebrate a student’s written work - they can present their achievements to their classmates.

Providing students with sentence starters can help with writing flow. It provides reassurance that they are on the right track in their writing. With all the different writing genres our learners are exposed to and then expected to write, it can be beneficial for some learners to have this scaffold .

Sentence starters could be in the form of a ‘word bank’ on the board or on a piece of paper, generated by the teacher. To give learners a little more ownership, this ‘word bank’ of sentence starters could be generated as a class and left on display.

More independent learners may enjoy coming up with their own word banks as they read texts; they can ‘magpie’ sentence starters they’d like to use for their writing.

Cooperative writing is a useful tool in helping learners on their writing journey.

One aspect of this is shared writing. It involves the teacher crafting a piece of writing on a whiteboard. The learners are encouraged to give input, often aided by teacher questioning and prompts. The result is a collaborative passage which learners can use to help with their independent writing.

Another type of cooperative writing is modelled writing. This requires less student input, but the students get to watch the act of writing. The teacher might write a sentence, and then articulate their thought process as to how the vocabulary in the sentence can be improved or what form of punctuation would work best here. In this way, learners can see the strategies the teacher draws on as he or she writes.

A third method of cooperative writing is guided writing. This involves the teacher working with a smaller group of children within the lesson (when the others are ‘on task’). This usually focuses on a specific objective that this group in particular needs support with, e.g., adding more detail to writing by using fronted adverbials. In this approach, the children usually produce their own writing in their English books with the teacher prompting and questioning.

Where possible, try to connect what the children are interested in with their writing. For example, if you have learners interested in Minecraft, they could write a letter of persuasion to the Prime Minister to persuade him to allow Minecraft lessons in school .

Another way of getting the children interested and excited about writing is to use humour. Show learners two emails to compare - both could be complaining about something. One could be written using formal language and the other could be written informally, bordering on being rude.

This lets learners see the effect of both pieces of writing.

Another way to use humour is in writing an explanation text. It could be about something perceived as mundane such as ‘How a Dishwasher Works’ but could be made humourous in the following way:

Children can then use this to write their own explanations in a similar way.

Another idea is to set something up to happen, e.g., to use the superhero topic again - have an adult in school dress up as a ‘thief’ and another adult as a superhero. They could burst into your classroom at an agreed time and have a very dramatic ‘chase’ around the room and the superhero could catch the ‘thief’. Of course, you would have to consider the children in your class and if this would be appropriate for them. This dramatic action could be a good springboard to inspire children to write.

It is important to encourage parental support with writing at home . Parents may need guidance in how they can help their children with writing at home. It might be a good idea to put together a list of ways they can help, for example:

• Allow children to help with everyday writing such as emails, shopping lists, writing birthday cards.
• Try to make sure your child has an area (no matter how big or small) where they can write, as well as the tools for writing.
• Let children write about what interests them: a recipe they have helped make, a film review, a similar story to one they have read, similar lyrics to a song they have heard.

Talking homework tasks are a good way to involve parents. Talking homework is used as part of Ros Wilson’s Big Write approach. Big Writing is when learners produce an extended piece of writing independently.

The night before the Big Write, learners are given a homework task to discuss their ideas with someone at home, for what they could write the next day. This means children are getting lots of input and parents are sharing in the learning.

To learn to write, students need a blend of different skills such as vocabulary knowledge, grammar knowledge, an understanding of sentence structure, fine motor skills and more. While some of these skills come down to dedicated instruction in the classroom, such as when transcribing and practising handwriting, some of the fundamental skills of writing can be boosted by a digital literacy curriculum such as Bedrock Learning.

Bedrock’s vocabulary curriculum teaches learners aged 6-16 the Tier 2 vocabulary they need to thrive, from Year 3 level all the way to advanced reading and vocabulary. Tier 2 vocabulary is taught through an intelligent Block system, ensuring each learner is placed into the right Block for their reading level - this ensures the texts are challenging, yet accessible. The smart Block system differentiates teaching for learners of different abilities, stretching confident readers and supporting struggling readers.

In addition to this, Bedrock’s core curriculum teaches vocabulary alongside a complete grammar curriculum, differentiated for primary and secondary learners . Grammar is taught through bespoke fiction and nonfiction texts , engaging teaching videos and mastery tasks , ensuring long-term retention.

Informed by the National Curriculum, Bedrock’s core curriculum not only teaches learners the grammar they need for their KS2 SATs , but also combines grammar and vocabulary instruction to boost reading comprehension and writing skills overall.

Discover how Bedrock’s curricula can support your learners throughout primary school - and beyond!

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Explicit literacy instruction, the uk's #1 literacy solution.

Explicit vocabulary, grammar and GCSE English instruction to support learners across the curriculum and beyond the school gates.

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08 Nov 2022

01 Nov 2022

Primary Creative Writing

Primary creative english writing class.

In our most popular and highly-effective Primary Creative Writing Classes, we employ a dual-pronged approach of skills-based and thematic-based lessons as we prepare children for the Composition Writing component in Primary School Leaving Examinations (PSLE).

Creative Writing Skills & New Vocabulary

Students are taught how to apply a consistent set of Creative Writing skills in their compositions. New vocabulary is introduced through different story topics each week.

Small Class Size Of 6-8 Students

Honing their writing skills in a small, conducive class size of 6-8 students will give students the space to fully develop their craft. Teachers are also able to give individual students close attention and guidance in their writing.

Students Progress

Students will be faced with more writing challenges as they progress to the next school level. They will thus be exposed to, and learn more complex skills like “foreshadowing” and “building suspense”.

As students progress up each level, we prepare them by introducing more skills progressively.

Composition Writing

Students complete a full composition in class every 1-2 weeks. Each student will receive detailed, written feedback at the end of each lesson. Our lessons are structured according to skills-based, guided writing, and independent writing classes.

Guided Writing Lessons

Together with our teachers, students will explore a comprehensive list of topics and themes found commonly in MOE School, Prelim, and PSLE are covered. They will also be exposed to model essays with captivating plots, whilst learning to apply them with relevant vocabulary across various topics.

Students are taught systematically how to craft a well-developed story.

• Explore a comprehensive list of topics and themes
• Exposure to model essays with captivating plots
• Learn relevant vocabulary across various topics
• Reinforcement of WE skills and plot elements throughout term
• Vocabulary exercises assigned after each guided practice to encourage retention
• Common MOE School, Prelim and PSLE topics covered

Independent Writing Lessons

Students will put what they have learnt to the test. They will come up with plot ideas for each topic independently with minimum help from their teachers or materials.

• Students to attempt to use 1, 2, or 3 pictures as a focal point in the story
• Students will have the chance to apply skills and vocabulary learnt independently to their writing.
• Parents are encouraged to bring school practices for teachers to evaluate their learning progress
• Mock Assessments are conducted for P1-P4 students in Term 2; P5 & P6 students in Term 2 and 3

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At Write Edge, teachers spend a substantial amount of time to teach the children a set of Creative Writing Skills (such as Show-Not-Tell, 5 Senses, Speech + Speech tag + Action Tag, Varied Sentence Structures, Ways to say “Said”, Personification etc.) These skills are reinforced weekly to ensure that they are familiar with how to use and apply them in their work.

Through the teachers’ close guidance and clear, instructional materials, we help our students apply these skills to their writing weekly.

Students will write a composition every week and we cover as many themes/topics/story ideas as we can throughout the year. For more complex topics like ‘dilemma’ or ‘loyalty’, the compositions will be completed across two weeks. As the students progress up each level from Primary 1 to 6, more advanced skills, phrases and themes will be introduced to them.

We strictly run small classes of 6-8 students and this promotes higher interaction between the teachers and the students. Not many centres offer such a low student-teacher ratio.

Our small classes of 6-8 allow our teachers to give every individual close attention and guidance.

This is particularly helpful and important for writing classes. Teachers are able to do detailed marking and give meticulous feedback on your child’s progress.

Our learning materials are also specially curated by our curriculum specialists and senior teachers. They are improved frequently to ensure clarity and effectiveness.

We are also up to date with the latest MOE syllabus.

Our teachers are trained, dedicated and passionate! We do our best to ensure that every child learns at Write Edge regardless of ability.

Yes. Your child may attend a trial class before deciding if our programme is suitable for him/her.

Yes. All students are required to do a draft 2 of every composition written in class. Draft 2 is the corrected copy of their draft 1. This helps them to learn from their mistakes, revise their story plot, impressive phrases, sentence structures and other skills taught in class.

If the student is unable to finish what was tasked for that day, they will have paragraphs to complete at home. Over time, as they familiarise themselves with the skills, phrases and the writing duration, they should be able to finish what is tasked for the lesson.

As we run a small class of 6-8 students, the teacher is typically able to give enough attention to all students, including the students who might not be able to catch up as quickly as the rest.

Attending a creative writing class should help to improve your child’s overall English Language competency. Through the writing process, they are able to put practice their usage of grammar, spelling, punctuation and vocabulary.

Over time, as the students practise what is taught in class and learn to apply them in school, they should be able to see an improvement in their composition grades.

However, there are some instances where we recommend students to attend a regular English class instead of a Creative Writing class.

We strongly encourage that students attend all four terms as we teach different creative writing skills and cover different topics every term. Attending the classes for the whole year will provide the students with a well-rounded experience at Write Edge.

Progress differs from child to child. Some students see good improvement within 3 to 6 months of attending Write Edge, while others take longer. For children who have a weaker foundation in their sentence structures, grammar, spelling, punctuations, teachers will spend more time building their foundation before focusing on other more complex aspects of writing.

Ultimately, beyond attaining stellar grades, we believe that providing the platform for students to write, practise, make mistakes and revise their drafts weekly will benefit them in the long run. The important language and writing skills acquired will prepare them for their examinations and beyond.

– Lessons are conducted as usual during the MOE school holidays (March, June and September). Our term ends in November ie: no classes during December holiday.

– With the exception of Chinese New Year, New Year and Christmas, lessons will be conducted as usual for any other Public Holiday that falls on a Saturday or Sunday,

– Classes will not be scheduled on gazetted Public Holidays that falls on weekdays and fees will be prorated accordingly.

Replacement lessons are scheduled within the week at a maximum of twice a term and is subjected to availability.

Worksheets will be given if there are no suitable timings for replacement.

Strictly no prorate, credit or refund for lesson missed.

Most Primary 1s are suitable for Write Edge’s creative writing programme. Students are exposed to a wide range of interesting story plots, good language and writing skills.

As young writers, a lot of guidance is given throughout the lesson. It is common for some P1s to struggle with spelling, grammar, punctuation, sentence construction and coming up with logical plot ideas. With practice and guidance from our teachers in a small class, they should see gradual improvement in these areas.

However, there are instances where we recommend students to attend a regular English class before joining our creative writing class.

We will suggest for the student to try for about a term so we can more accurately assess if he/she is suitable for the class.

Have other questions in mind?

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Creativity Collaboratives

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Exploring creative writing in primary schools

Judy waite, author and senior lecturer in the department of english and creative writing at winchester university, shares her experiences of teaching primary pupils creative writing.

Creative writing can be a transformative experience, especially in primary schools. Judy Waite, an accomplished author and Senior Lecturer in the Department of English and Creative Writing at Winchester University, has dedicated much of her career to integrating creative writing into educational settings. Her journey and innovative methods offer valuable lessons on how to make writing an engaging, holistic activity for young students and she has been working with Awbridge Primary, Wellow Primary and Droxford Junior school over the past 3 years. All of these schools are part of The University of Winchester Academy Trust Creativity Collaborative and you can read more about the wider work of the Collaborative here .

Judy's creative writing career began with conferences and competitions, where she encountered opportunities such as writing for DC Thompson, a comic publisher. These early experiences, combined with her diverse writing portfolio, spanning picture books, young adult fiction, and special needs education, shaped her approach to teaching. As she transitioned into educational roles, Judy's understanding of the school environment deepened, providing a unique perspective that she later brought into her creative writing projects.

In her work with The University of Winchester Academy Trust Creativity Collaborative, Judy has developed a distinctive approach to incorporating creative writing within primary schools. She emphasises techniques such as silence, meditation and visualisation. These methods aim to slow down the classroom pace, allowing students time to think, role-play, and immerse themselves in their creative processes. The goal is to foster a more thoughtful, imaginative, and engaging learning environment.

By doing this type of work Judy faces challenges such as ensuring that her creative methods align with the existing school environment and curriculum. Schools are often cautious about incorporating new techniques that could disrupt their established routines. Judy's solution is to work alongside teachers, introducing new ideas gradually and ensuring they complement the current educational framework. This collaborative approach helps teachers feel more comfortable and willing to experiment with innovative methods.

A technique that is popular with teachers is taking a book that is already on the curriculum such as the boy who swam with piranhas and re-working the text so the children come up their own main character and pet, by using props and prompts and visualisation techniques the children can develop their own version of the story. It's also nice to get the children to draw out some illustrations to accompany their story too. Or if they prefer to express themselves through drawing they can just draw or just write.

One standout project in Judy's work involved creating characters and stories set in a local historical context. Students developed characters who ended up living in a local workhouse in the 1800. This holistic project included role-play, writing, and even field trips to gather sensory details, connecting students to their own community and bringing history to life through sensory experiences such as walking through the local woods, looking at old photographs, and mapping out the lives of people from the past. Such projects exemplify how creative writing can transcend traditional classroom activities, offering students a deeper connection to their studies and surroundings.

An example of the work that the children did was to imagine the life of a local person before they went into the workhouse. They picked historically accurate names for their characters, thought about where they would have lived, what they would have worn and eaten etc. Then they thought about what could have happened in their lives that led them to have to enter the workhouse. Then the children discovered that often children would enter the workhouse with an object such as an acorn or a pinecone or a stone etc. They were not expensive items as these people didn’t have much money but they had huge sentimental value and may have been picked up on a favourite walk. So the children all chose an item they wanted to bring to the workhouse with them and they wrote a paragraph about their lives before they entered. The day they entered and while they were in the workhouse. This process took place over several weeks and by the end the children had 4-6 paragraphs that they had written that could then be made into a story and it was so much easier for them to write these stories because they felt completely immersed within these people’s lives. They cared about them and their journey. And the physical objects, notes and overall history helped the children to discover what life was really like for people living in their local area in the not so distant past.

Sustainability and integration are crucial to the success of these creative writing projects. Judy works closely with teachers to ensure that the methods she introduces can be continued long after her involvement ends. She provides materials and encourages teachers to incorporate creative techniques into their lesson plans, aiming for these practices to become a natural part of their teaching toolkit.

One of the most significant impacts of Judy's creative writing initiatives is on students who struggle with traditional literacy methods. These creative approaches often resonate with such students, making literacy feel less like a chore and more like an engaging, imaginative activity. Role-playing and creative exercises provide alternative pathways to connect with writing, fostering a more inclusive and supportive learning environment.

Judy's vision for the future of creative writing in education is one where it becomes an integral part of the curriculum, not just an occasional project. Overall, Judy paints a compelling picture of how creativity, storytelling, and mindfulness can transform traditional educational landscapes. Her insights are a testament to the transformative power of inclusive and innovative teaching methods that enable students to think, create, and learn beyond the confines of standardised curriculum.

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