Spring 2014.
Creative writing, emphasis on composing creative nonfiction, fiction, and poetry. In other words, we will study the main genres of creative writing to prepare you for upper level creative writing courses in fiction, creative nonfiction, and poetry. After we go over the genre characteristics and you have read several examples, you will have the opportunity to write an example of that genre. So--you will write a piece of creative nonfiction, a piece of fiction, and two or three poems.
The syllabus is a "contract" between teacher and student. As such, it outlines what you can expect from me, as well as what I expect from you. Please make certain that you have completely read and understand the syllabus, and have asked me if you need clarification on any point. By the end of the course, you should understand the following: These objectives will be accomplished and evaluated through the following work: Your final grade will be a combination of these factors: attendance; class participation; in-class writing & quizzes; workshop critiques; attending an outside event or writing a book critique; a Final Portfolio. All of these are more fully explained below. (100 points): You are required to attend one outside event during the semester. You will need to turn in a one-page report on the event. You may turn in your report at any time up until the last regular class period. Examples of outside writing events include attending a reading sponsored by each final Friday of the month at the Bowtie Cafe, a reading by a visiting writer, or the creative writing panel at the annual meeting English Department Colloquium, which occurs in April of each year. As I learn about opportunities, I will make announcements in class. For the workshop critiques, the grade will be based on the quality of the critiques you are handing in, as well as your spoken input during the workshop. I look here for insightful and valuable criticism that goes beyond a simple reaction to the work. Note, too, that if you’re not in class, you can’t participate in a workshop beyond posting your critique, and you will not receive full credit for that workshop. Attendance can affect this grade as well. : There is no required text for this class -- all class material will be via handouts and/or from material, which you will be able to access and/or copy from Blackboard. Your expense for this class won’t be a textbook, but the copying costs for your workshops and your written critiques of the work of your classmates. Reading, though, is an important part of our course. Our course motto will be "The more you read, the more you will write. The better the stuff you read, the better the stuff you will write" (Annie Dillard). Our reading will differ from reading in other English courses: you will be asked to read as a writer, learning from successful writers the craft of creative writing. It is okay to make mistakes. I'd rather you took risks with your writing than played it safe. My contact information is above. I’m available to you as a resource for this class, and will try to respond to your e-mails (usually the best way to get hold of me) or phone calls as soon as possible, and, if needed, to make time to meet with you at your request. Should you e-mail me, I typically will respond within one working day of receiving the message (and often sooner). The excuse “but I sent you an e-mail about that…” will not be accepted. I would suggest you obtain the phone number or e-mail address of a few other students in the class so that you can check with them on what was missed during any class that you're unable to attend. In addition, I also post lessons plans on the web, though they won't give you the full lecture, the handouts, nor any discussion that might have taken place (or any side-trail we might have followed from questions asked…)
I will be taking attendance during each class session, and your attendance (or lack thereof) does significantly affect your grade. Here’s how the Attendance/Participation part of your grade works. You have three "free" absences during the semesters; once you’re past the three, your final grade will decline by approximately 1/3 of a letter grade (approx. 33 points out of the thousand total for the class) for each additional absence. This means that after 15 absences you will have automatically failed the class. (Actually, after about 9 absences, it’s going to be very, very difficult to pass anyway, since you’ll have missed workshops, class assignments, etc.) In addition, I expect your full participation in the class when you are there, or that will also affect your grade. What is participation? I expect that each student will engage in our workshop discussions, as well as any additional lecture material. The more you have input into the class, the more we’ll all learn. I much prefer not to call on people and force them to respond -- that is class participation. Of course, if you’re absent, you can’t participate at all. I don’t expect everyone to be “on” each and every class day -- we all have our off days -- but I do expect regular participation from each student. If you participate in class, you’ll receive full credit for your attendance; if you don’t, you won’t. Also, if there was a quiz, test, or in-class writing assignment on a day you’re absent, then you’ll receive no credit for that work. In-class assignments and quizzes are not able to be made up. For the attendance policy, I make no distinction between excused and unexcused absences. If you are aware that there are issues that will prevent you from regularly attending this class, then I strongly suggest that you reconsider taking this class, since poor attendance will severely affect your grade. Surfing the internet on your laptop or doing work unrelated to this course during class will also be considered an absence. : I actively encourage students to ask questions during the lecture portion of class and to start discussion of any point that is raised. The more you ask questions, the better you’ll shape the class, and the more you’ll learn. Please don't simply sit there and take notes -- be an active part of your education!
When you're critiqued, in turn, please remember to take any negative feedback as being intended to help you -- remember that your fellow students are critiquing your work, not you personally. : Late assignments, or failure to bring required material to class will make it difficult for all students. Therefore, stories or assignments turned in late will be graded one letter grade (or more) lower. : I would like the chance to meet with each of you individually and discuss your work, and encourage you to take advantage of that. However, conferences should be scheduled in advance, though if I’m in my office and have the time, I’m happy to discuss things with you on an impromptu basis. : Respect is the key. When you’re talking, you should expect that the other students will listen to what you say without talking among themselves, or making non-constructive remarks -- you should do the same when others are talking. Your attitude is an important component of participation. Your attitude should not be confrontational, nor should you put down other students' work or opinions, whether through too-aggressive argument or through use of humor at other students' expense. Like any critical conversation where participants bring different experiences to their understanding of the issues, ours will undoubtedly generate strong emotions, reactions, questions, affirmations, and disagreements. Healthy dialogue requires careful listening, respect for other people's perspectives, and a willingness to examine our own assumptions. We must feel free to disagree--but disagreement needn't imply dismissal of other perspectives. I encourage you to keep an open and inquisitive mind, and realize that intellectual discomfort is not always a negative thing. Our goal is not agreement, but . Understanding is a process that may first require some unlearning of old habits and ways of seeing the world. should be turned off or on vibrate mode: unless a call is an emergency, I expect you to answer it after class or during break. Do not text during class. You will be considered absent for the class if I see you checking your messages or texting on your phone during a lecture or during the workshops. I don’t mind laptops being used to take notes or to reference a workshop critique that you wrote. However, if you’re using the laptop to access Facebook, Twitter, or other social media sites, or if you’re checking your e-mail or surfing the web randomly, I will consider you absent for that class. -- you should have your written critique to look at, and there should be no reason to be on your computer. Please do not bring in work that you have published or written in the past. Our focus is on and making it the best it can be.
The structure of each class will no doubt vary, but most classes will consist of: We will very quickly be scheduling pieces for the workshops. For the workshops, you will be submitting the current draft of a short story or essay, with a copy required for each of the students in the class. "Correct" manuscript style dictates double-spaced, single-sided pages, but for the purposes of the workshop (and to hold down copying costs for everyone) please single-space your workshop copies, and use both sides if you prefer. The essays will be one to four pages; the short fiction will be a minimum of five and a maximum of fifteen pages of single-spaced work. You will need to bring in enough copies of your work on the assigned day so that everyone has their own copy. You will hand these out to the class; your work will then be discussed at the workshop the following week after everyone has had the opportunity to read and critique it. Your critique of a student's work should consist of marginalia on the actual manuscript and one (printed, not handwritten) double-spaced page of summary notes and critique (approx. 200 - 300 words). This summary critique should be two-three paragraphs with your general, overall comments on what made the piece work (and why), where it didn't work as well for you (and why), along with any suggestions you might have on revising the work. Because of the structure of the workshop, where everyone will not necessarily be required to speak, you will need to give me, on the night of the workshop, a hard copy of your critique for each manuscript that night, so that I can see your thought processes and read your critique. If I don’t receive a copy of your critique, , and will give you no credit for that workshop. If you must miss a class, to receive credit for that week’s workshop participation you must do two things: you must give a copy of your critique and the marked-up manuscript to the student when you’re next in class, and you must also give me a hard copy of your one-page critique -- you will then receive half-credit for that workshop. Your one-page summary critique to the student Handwritten critiques tell me that you didn’t do the critique until the very last minute and probably gave it very little thought (and besides, then you have to write it twice -- once for the student and once for me. Allow time for you to organize and type up your thoughts! My expectation is that every student will have at least two workshop sessions during the course of the semester. Some may get more. We'll hand out the initial sign-up sheet the second day of class; you'll receive a copy of the schedule the third week, and it will also be posted on the class Web site. You are responsible for making certain that you have your manuscripts to be passed out on the correct evening, and that you're present in class the night of your critique -- You will also have short exercise pieces which will be assigned. These may be individual or group projects, and most (if not all) will be done in-class. You will include these in your final portfolio (see below). : Be here, participate, have a great attitude, do the required work to the best of your ability, and you won't need to worry. For your final revised fiction and creative non-fiction in the portfolio, you will use the proper format for submission of a manuscript to publishers. Don't worry, we'll go over that in great detail... Since the spacing and line usage of poetry is important, you may submit your poems in any format. However, please use a 12 point plain typeface (such as Times) for your poetry -- good poetry is not dependent on fancy fonts for effect. However, to save copying costs for everyone, fiction submitted for the workshops may be single-spaced and double-sided. In-class exercises will be submitted handwritten... however, to save my poor, tired and aging eyes, please write legibly! Plots I prefer not to see at all because they are clichés: If you think you have something like this that nobody has ever seen before, ask me first. writing about them, so unless you can do it better... know the genre inside and out. The work you will do for this course is subject to the Student Honor Code. The Honor Code is a commitment to the highest degree of ethical integrity in academic conduct, a commitment that, individually and collectively, the students at Northern Kentucky University will not lie, cheat, or plagiarize to gain an academic advantage over fellow students or to avoid academic requirements. It should go without saying that plagiarism will absolutely not be tolerated. Plagiarism will result in an “F” for the work in question, or even an “F” for the course depending on the severity of the offense.
. If you are experiencing any roadblocks to your success in college—financial, academic, or personal concerns—NKU has dedicated people in the Early Alert Center to help you find solutions: http://earlyalert.nku.edu. If you require accommodations for a disability, then at the beginning of the semester, before you do any work for the course, you must contact Disability Services. They will provide documentation authorizing accommodations. You must give that documentation to your professor as soon as possible, before you do any assignments that require accommodations. . Northern Kentucky University takes course evaluations seriously. The information they provide helps us improve our teaching and the courses we design. Please participate in the course evaluation process. During the two weeks before the end of the semester, you will be asked to complete the online evaluations. Be assured that student evaluations of courses and instructors are kept strictly confidential. They are not available to the instructor until after final grades are submitted, and precautions are taken to prevent your comments from being identified as coming from you. If you complete an evaluation for a particular course (or opt out of doing so in the evaluation) you will have access to your final course grade as soon as it is submitted by the professor. Otherwise, the MyNKU system will not post your final course grade for two weeks after the university's official date for grade availability. To complete online evaluations go to http://eval.nku.edu, click on "student login," and use your usual username and password. By deciding to stay in this class, you are agreeing to all parts of this syllabus. In fairness to everyone, the syllabus must apply equally to all students without exception. However, this syllabus may change in response to class needs during the course of the semester; should that occur, you will be notified of the change in writing, and the change, if at all possible, will be in your favor. |
There’s nothing quite like the joy of bringing a story to life, watching your characters grow and your world take shape. Storytelling isn’t just about writing; it’s about connecting with others through your words .
But to do that, you need to know the basic elements—like characters, plot, and setting. Think of these as the building blocks of your story. Without them, your story can’t stand strong.
This guide on how to write a story will take you through each step, making the process manageable and even enjoyable, whether you’re just starting out or looking to improve.
Let’s start with the definition of a story in creative writing.
STORY DEFINITION IN CREATIVE WRITING What is a Story? A story is a structured narrative that goes beyond a mere sequence of events. In creative writing, a story is an intentionally crafted experience designed to guide the reader through a progression of events and situations. It involves the creation of a fictional world, the introduction of characters, and the development of scenarios that lead to meaningful change or development in those characters.
To understand how to write a story, you first need to grasp its key components: characters, setting, plot, conflict, and theme.
Characters are the heart of your story. They are the people, creatures, or beings that the reader follows. Think of them as the players in a game. Without characters, there’s no one to move through the story, no one to experience the events you’ve created.
Each character should have a purpose , desires , and challenges . For example, in a mystery story , your main character might be a detective determined to solve a crime. Their actions and choices drive the plot forward .
The setting is the world where your story takes place. It’s the backdrop against which your characters act. This could be a bustling city, a quiet village, or even a distant planet.
The setting influences the mood of your story and can even affect the actions of your characters . For instance, a story set in a haunted house might feel eerie and suspenseful, while a story set on a sunny beach might feel light and carefree.
The plot is the sequence of events that make up your story. It’s what happens to your characters as they move through the setting. A strong plot has a clear beginning, middle, and end. It might start with a problem or goal, build up as the characters face challenges, and end with a resolution.
Imagine a plot as a roadmap. It shows the direction your story will take , guiding the characters from the start to the finish line.
Conflict is what gives your story tension and drama . It’s the struggle between opposing forces that keeps the reader engaged. Conflict can be external, like a character fighting against another character or a natural disaster, or internal, like a character struggling with their own fears or doubts.
In a romance story , the conflict might be the obstacles that keep two characters apart. In a thriller, it could be the protagonist’s battle against a dangerous enemy.
Finally, the theme is the underlying message or lesson of your story . It’s what you want the reader to take away after they’ve finished reading.
The theme is often subtle, woven into the characters’ actions and the plot. For example, in a story about friendship, the theme might be the importance of loyalty and trust.
To survive, you must tell stories. Umberto Eco , The Island of the Day Before
Stories come in many shapes and sizes. Understanding the type of story you want to write can help shape your approach. Different genres and formats offer different challenges and opportunities.
Genres like romance, science fiction, fantasy , and horror each have their own conventions and expectations . For example, a romance story usually focuses on relationships and emotions, while a science fiction story might explore futuristic technology or alien worlds. Knowing your genre helps you meet readers’ expectations while allowing you to play with the boundaries of that genre.
The format of your story also matters. A short story is brief, often focusing on a single event or moment in a character’s life. It requires concise writing and a tight plot. A novel , on the other hand, gives you more space to develop characters, explore subplots, and build a complex world. A novella falls somewhere in between, offering more depth than a short story but requiring more focus than a novel.
Choosing the right genre and format is like choosing the right tool for a job. It helps you focus your ideas and guides your storytelling . Whether you’re writing a quick, impactful short story or a sprawling epic novel, understanding these basics will set you on the right path.
The first step in learning how to write a story is developing a solid idea . This process involves finding inspiration and then refining that inspiration into something you can work with.
Inspiration for a story can come from anywhere. It might spark from a conversation you overhear, a place you visit, or even a memory.
To find inspiration, start by observing the world around you . Pay attention to the small details—the way the light hits a building, the expressions people wear on their faces, or the rhythm of a crowded street. These observations can serve as the seeds for your story.
Reading widely also fuels inspiration. Explore different genres, styles, and authors. Notice how they craft their stories, how they build characters, and how they create tension. As you read, ask yourself what you would do differently. This can help you generate new ideas and find your unique voice.
Brainstorming is another effective way to develop story ideas. Sit down with a notebook and write down anything that comes to mind, no matter how vague or disconnected. You might start with a single word, a character, or a situation. Don’t worry about making sense at this stage. The goal is to let your imagination run free and gather raw material.
Once you have a list of potential ideas, it’s time to refine them. Broad ideas often need narrowing down to become workable. Start by asking yourself some key questions : What is the main conflict in this idea? Who are the characters involved? Where and when does the story take place? These questions help you focus your idea and give it structure.
Originality is crucial in refining your idea. While it’s fine to take inspiration from existing stories, your version should bring something new to the table. Avoid clichés and overused tropes. Instead, think about how you can twist the familiar into something fresh . For example, if your idea involves a classic hero’s journey , consider how you might change the setting or alter the character’s motivation to make the story uniquely yours.
Adding personal touches also strengthens your story idea. Draw from your experiences, emotions, and perspectives. These elements give your story authenticity and depth. For instance, if you’re writing a story about overcoming fear, reflect on a time when you faced something scary. This personal connection will resonate with readers.
For example, let’s say you start with a basic concept: a person who wants to escape their small town . To refine this into a workable story, you might decide that the protagonist is a young woman who dreams of becoming an artist. The conflict arises because her family expects her to take over the family business. The setting could be a rural town that feels isolated and stifling. This simple idea now has direction, characters, and a central conflict, making it a strong foundation for your story.
In learning how to write a story, creating compelling characters is one of the most crucial steps. Characters are the driving force behind your story . Readers connect with them , root for them, and follow them on their journey. To make your characters stand out, they need to be relatable, complex, and dynamic.
Character development begins with understanding who your character is at their core . Think of your character as a real person. They should have goals, motivations, and flaws. Goals drive your character forward , giving them something to strive for. For example, a character might want to win a race, solve a mystery, or find love. These goals give your story direction.
Motivations explain why your character wants to achieve their goals . They add depth and make your character’s actions believable. If your character wants to win a race, their motivation might be to prove their worth, escape a difficult past, or fulfill a promise. Understanding these motivations helps you write actions and decisions that feel true to the character .
Flaws make your character human . No one is perfect, and your characters shouldn’t be either. Flaws could be anything from stubbornness to insecurity to a quick temper. These flaws create tension and conflict in your story, making it more engaging. For instance, a character who is too stubborn might refuse help when they need it, leading to further challenges.
A character arc describes how a character changes throughout your story . A well-written arc adds depth and makes your story more satisfying. There are different types of character arcs, and the one you choose depends on your story.
A positive arc shows a character growing or improving . They start with a flaw or a false belief, but through the events of the story, they learn, change, and become better. For example, a character who begins as selfish might learn the value of helping others.
A negative arc shows a character’s downfall . Instead of growing, the character makes poor choices or refuses to change, leading to their decline. This arc can be powerful in tragedies or dark stories.
A flat arc involves a character who doesn’t change much but influences the world around them . This type of character often has strong beliefs or principles and helps others grow. Think of a mentor figure who stays consistent while guiding the protagonist.
Dialogue is a key tool for revealing character . It’s not just about what your characters say, but how they say it . To write authentic dialogue , consider each character’s background, personality, and current emotional state. A well-educated character might speak formally, while a teenager might use slang or short sentences.
Differentiating your characters through their speech patterns is crucial. It helps readers instantly recognize who is speaking, even without dialogue tags. For example, one character might be sarcastic, always making jokes, while another might be straightforward and serious. These differences make your characters more distinct and memorable.
Voice is another important aspect of a character. It refers to the unique way a character views and describes the world. A character’s voice should match their personality and background. For instance, a cynical character might describe things with a negative twist, while an optimistic character sees the bright side. This consistency in voice strengthens your character and makes them feel real.
Learning how to write a story involves mastering the art of plot crafting. The plot is the backbone of your story. It guides your characters from beginning to end and keeps your readers engaged. To create a strong plot, you need to understand plot structure, pacing, tension, and the use of subplots.
Plot structure is the framework that shapes your story . It provides a roadmap for your characters’ journey. Two common plot structures are the three-act structure and the Hero’s Journey.
In the three-act structure , the story is divided into three parts: setup, conflict, and resolution. The setup introduces the characters, the world, and the main problem. The conflict is the core of the story where challenges build, leading to the climax. The climax is the peak of the story, where everything comes to a head. After the climax, the resolution ties up loose ends and concludes the story.
The Hero’s Journey is another popular structure. It follows a character (the Hero ) who starts in their ordinary world but is soon called to an adventure. Along the way, they face trials, make allies, and confront their greatest challenge. After overcoming this challenge, the hero returns home, transformed by their experiences .
Both structures provide clear steps to follow, making it easier to organize your story. Whether you use the three-act structure or the Hero’s Journey, the goal is to create a plot that feels complete and satisfying.
Pacing is how you control the speed of your story . It’s important to maintain a balance between fast-paced action and slower, more reflective moments. If your story moves too quickly, readers might miss important details. If it moves too slowly, they might lose interest.
To maintain good pacing, vary the length of your scenes . Short, quick scenes can build excitement and move the story forward. Longer scenes can slow things down and give readers a chance to catch their breath. Also, consider where you place important events. Spacing out major plot points keeps readers engaged and eager to see what happens next.
Tension is what keeps readers on the edge of their seats . It’s the sense that something important is at stake and that the outcome is uncertain. To build tension, gradually increase the obstacles your characters face. Start with smaller challenges, then escalate to bigger, more threatening situations. For example, in a mystery story, the tension might rise as the detective uncovers clues, leading to a final confrontation with the villain.
Subplots are secondary stories that run alongside your main plot. They add depth and complexity to your narrative, making it richer and more engaging. Subplots can explore side characters, develop themes, or provide a different perspective on the main story.
When creating subplots, ensure they complement the main plot . They should not distract from the primary narrative but instead enhance it. For example, if your main plot is about a hero saving the world, a subplot might explore the hero’s relationship with a close friend, adding emotional depth.
Weaving subplots into your story requires balance . Introduce them naturally, and make sure they connect to the main plot at key points. This connection helps to maintain the story’s focus and ensures that all elements of the plot work together.
When learning how to write a story, setting plays a crucial role. A well-crafted setting does more than provide a backdrop; it immerses the reader in your world and shapes the entire narrative. Let’s explore how to build a compelling setting and use it to enhance your story.
World-building is the process of creating a believable and immersive setting for your story. Whether your story takes place in a real location or a fictional one, the setting must feel real to the reader .
Start by developing the physical landscape . Think about the environment—are there mountains, forests, cities, or oceans? What’s the climate like? How does the weather affect the characters’ daily lives?
Next, consider the cultural landscape . What are the customs, traditions, and values of the people who live in this world? How do these influence the characters and their actions? For example, in a society where honor is highly valued, a character might go to great lengths to protect their reputation.
Finally, think about the emotional landscape . How does the setting make the characters feel? A bustling city might create a sense of excitement or stress, while a quiet village could evoke feelings of peace or isolation. These emotional cues help the reader connect with the setting on a deeper level.
The setting is not just a backdrop; it influences the mood, theme, and character actions . Use the setting to create a specific atmosphere. For example, a story set in a dark, rainy city might feel tense and mysterious, while a story set in a bright, sunny field might feel warm and hopeful.
Setting can also reinforce the theme of your story. In The Great Gatsby , for example, F. Scott Fitzgerald uses the opulent settings of West Egg and East Egg to highlight the theme of wealth and its corrupting influence.
By carefully crafting your setting and using it to enhance the story, you can create a world that feels alive and integral to the narrative . As you continue to learn how to write a story, remember that a strong setting can be as important as the characters and plot.
When learning how to write a story, the first draft is a crucial step. It’s where your ideas take shape on the page. This stage can feel daunting, but with the right approach, you can overcome the fear of the blank page and start writing with confidence.
Starting your first draft can be intimidating. The blank page often feels like a huge obstacle. To overcome this fear, remind yourself that the first draft doesn’t need to be perfect . It’s about getting your ideas down, not about crafting flawless prose. Think of it as building the foundation of a house—you’re just putting up the framework. The details can come later.
To start strong, consider beginning with a scene or moment that excites you . Don’t worry about writing in order. If there’s a particular scene that’s clear in your mind, write that first. This helps you build momentum. Once you’re in the flow, it becomes easier to tackle other parts of the story.
Several writing techniques can help you move through your first draft. Freewriting is a useful method. Set a timer for 10-15 minutes and write without stopping. Don’t edit or second-guess yourself; just let the words flow. This technique helps you bypass your inner critic and get your ideas on paper.
Word sprints are another effective strategy. Set a timer for a short period, like 20 minutes, and challenge yourself to write as much as possible. The pressure of the timer can push you to write faster and worry less about making it perfect.
Setting daily goals can also keep you on track. Decide on a specific word count to hit each day, whether it’s 300 words or 1,000. Consistent progress, even in small amounts, adds up over time.
Remember, the goal of the first draft is to get the story down. Don’t get caught up in editing or fixing every sentence. There will be time to refine your work later. For now, focus on moving the story forward.
Writer’s block is a common challenge during the first draft. When you feel stuck, it’s important to take a step back. Breaks are crucial . Step away from your writing, take a walk, or do something else you enjoy. This gives your mind a chance to reset.
Changing your scenery can also help. If you’ve been writing at your desk, try moving to a different room, a coffee shop, or even outside. A new environment can spark fresh ideas and break through mental barriers.
Revisiting your inspiration can reignite your creativity. Look back at what inspired you to write this story in the first place. Read a favorite book, watch a movie that relates to your theme, or browse through your notes. These activities can remind you of your passion for the story and help you push past the block.
Once you’ve completed your first draft, the real work begins. Learning how to write a story doesn’t stop at getting your ideas down; it involves shaping and refining those ideas into a polished narrative. Revising and editing are essential steps in this process.
The first draft is just the start. Think of it as the rough clay that you’ll now mold into its final form. Revisions allow you to step back and see the bigger picture . This is your chance to rework the plot, deepen character development, and improve pacing. For example, you might find that a subplot needs more attention or that a character’s motivations aren’t clear. Revising helps you address these issues and strengthen your story.
During revision, focus on the structure of your story . Does the plot flow logically? Are the character arcs satisfying? Is the pacing consistent? These questions guide your revisions and help you see where changes are needed. For instance, if the middle of your story drags, you might need to cut unnecessary scenes or add more conflict.
After revising, it’s time to edit your work. Self-editing is a crucial skill in learning how to write a story. Start by checking for consistency . Ensure that characters act in ways that align with their personalities and that the plot doesn’t have gaps or contradictions. For example, if a character is afraid of heights, they shouldn’t suddenly climb a mountain without explanation.
Next, tighten your prose . Look for areas where you can be more concise. Remove unnecessary words, redundant phrases, and anything that doesn’t serve the story. This makes your writing clearer and more engaging. Also, watch out for clichés . These overused expressions can weaken your story. Replace them with original descriptions that better capture your unique voice.
External feedback is vital in the revision process. After you’ve done your self-edits, consider sharing your story with beta readers or a writing group. These readers can spot issues you might have missed, such as unclear plot points or characters that need more development.
When receiving feedback, it’s important to stay open and objective . Criticism can be tough, but it’s meant to help you improve. Focus on the suggestions that resonate with you and use them to strengthen your story. For example, if multiple readers mention that a certain scene feels out of place, it’s worth re-examining that part of your story.
You’ve revised and edited your story, and now it’s time to polish it. This final stage is crucial in learning how to write a story that’s ready to share with the world. Polishing involves careful proofreading, proper formatting, and preparing your story for submission or publication.
Proofreading is the last line of defense before your story goes out into the world . It’s about catching those small errors in grammar, spelling, and punctuation that can distract readers and undermine your professionalism. Take the time to read through your manuscript slowly, line by line. Look for common mistakes like misplaced commas, incorrect verb tenses, or misspelled words.
A clean, error-free manuscript shows that you care about your work and respect your readers . It also makes a better impression on agents, publishers, or anyone else who might read your story. Consider reading your story out loud . Hearing the words can help you catch mistakes that your eyes might skip over.
Once your manuscript is error-free, focus on formatting. Proper formatting makes your manuscript look professional and easy to read. If you’re submitting to a publisher or agent, follow their specific guidelines. Common formatting standards include using a readable font like Times New Roman, double-spacing the text, and including page numbers.
Different formats may require different presentation styles . For instance, a manuscript intended for print might need different margins or paper size than one intended for digital platforms. If you’re self-publishing, make sure your manuscript is formatted correctly for the platform you’re using, whether it’s an eBook or a print-on-demand service.
Presentation matters because it’s the first thing a reader or publisher sees. A well-formatted manuscript shows that you’ve taken the time to present your story in the best possible way.
After polishing your story, it’s time to decide how you want to share it with the world. There are several avenues for publishing, each with its own process.
Traditional publishing involves submitting your manuscript to agents or publishers . If you choose this route, you’ll need to write a query letter. This letter is your pitch, a brief introduction to your story, and why it would be a good fit for the publisher. Keep it concise and professional. Highlight the main points of your story, such as the genre, the central conflict, and what makes it unique.
Self-publishing is another option. It allows you to maintain control over your work and how it’s presented. Platforms like Amazon Kindle Direct Publishing (KDP) or IngramSpark make it easy to publish your book as an eBook or in print. However, self-publishing requires more responsibility , as you’ll handle everything from editing to marketing.
Online platforms , like blogs or writing communities, offer a way to share your story with a wide audience. These platforms often have less formal submission processes, making them a good option if you’re looking to get feedback or build an audience quickly.
bibisco novel writing software is a powerful tool that simplifies the writing process. It offers features designed for creative writing , helping you organize your ideas and stay focused. With bibisco, you can create and develop your characters, structure your plot, and manage your scenes.
bibisco provides a clear overview of your story , making it easier to see how all the pieces fit together. You can track your progress, set writing goals, and keep everything in one place.
Whether you’re just starting or refining your draft, bibisco supports every step of your writing journey .
In this guide, we’ve explored the key steps a writer should follow to learn how to write a story. Each step brings you closer to creating a story that resonates.
Writing is a journey, and every story you create is a step forward. Embrace the creative process, even when it feels challenging.
Remember, storytelling has the power to connect people and share experiences across time and place. Your story, no matter how small it seems, has the potential to touch someone’s life. Start writing and let your voice be heard.
Elevate your storytelling with bibisco!
Grab the best novel writing software for authors and dive into a world of creative writing.
Start your story today!
Adorei as orientações! Um resumo muito útil inclusive para professores de linguagens.
I enjoyed reading this article as it gives a complete guide to creative writing in a quick read rather than a 400-page book. Thank you.
Thank you for reading, Hamish.
Your email address will not be published. Required fields are marked *
A guide to picking the best paper writing service.
Share this:
Providing the right atmosphere can encourage students to take their creative writing to a whole new level, says Claire Sheffield…
Today you will….
Starting a piece of creative writing can be a source of frustration for many young people; so much so that it can lead to loss of confidence. If ideas aren’t flowing, learners can quickly switch off and give up. Creative writing lessons, therefore, need to stimulate all of the senses and inspire students. Creative writing in the gothic genre – spooky stories – offers a wonderful opportunity for just this. This is a topic that always manages to enthuse pupils and one of the most exciting aspects is that the outcome is completely different with every group. Giving students time for thinking and the creation of ideas is essential. Therefore, this plan should be seen as just a starting point; it provides the stimulus from which a number of sessions can be developed. Subsequent periods can also focus on the development of different writing skills as required by the individual needs of a group. As a way into creative writing, this opener allows learners to be independent; an environment that enables them to thrive. Most importantly, it’s a lesson that students always leave talking about!
Creating a spooky word wall.
Preparation is key to this lesson. For maximum impact, everything needs to be ready so that students enter the room and immediately feel a mysterious atmosphere. This can be created by closing blinds, turning off the lights, playing spooky music and displaying an image on the whiteboard of an old, decrepit, haunted-looking house (easily sourced from the internet). It is great to see students entering the room and looking around confused, wondering what is happening and therefore immediately engaged!
Ideally learners need to be seated in small table groups; this should be a buzzy lesson with lots of group discussion and sharing of ideas. As they take their seats they see on their table a map/floor plan of a house with a cross in one of the rooms; it’s one of the rooms from the house displayed on the board. This can be easily created in a word document using text boxes to create the floor plan and labelling each room. The idea is that each table will focus on a different room.
On each table an instruction card for the starter activity is also displayed. This should say something along the lines of: ‘As a group create a word wall of spooky words to describe the room you are in. Be as ambitious as possible! You have 5 minutes’. This could be completed on A3 paper or on post-it notes to stick up on the wall next to them; students will then have created their own bank of vocabulary that will help them in later parts of the lesson.
1 developing the plot.
This lesson works well if very little is said by the teacher to the whole class. This adds to the mysterious atmosphere because students have to read and find out what to do at different stages. The teacher very much facilitates the learning in this lesson, by circulating the room, supporting and stretching groups as appropriate.
As the 5 minutes for the starter activity draws to a close, the spooky background music should be turned off and a short, shocking sound should be played. This could be a scream or a crash, for example. As this point another slide should be displayed on the board to move students onto the next stage of the lesson. This could read: ‘What has happened? Write the opening for a spooky story about a mysterious incident that has happened in the room you are in. Discuss for 5 minutes.’ Students are now using their imaginations to create a plot for their gothic story; it is important that students are encouraged to discuss and develop ideas before beginning the writing stage.
After around five minutes discussion, another slide can be displayed which reads: ‘Look for a clue about what has happened. You will find this somewhere near you!’ Underneath each table, students will find an envelope with a picture of a clue. This could be anything (e.g. a book or a camera). Equally, props could be placed around the room for students to find. The more unusual the better! It just gets pupils thinking more creatively. They will naturally want to talk about what they have found and start to revise their previous thinking
After a few moments, the final slide of instruction can be displayed. This time, students are told: ‘Time to start writing. You have 25 minutes to use the clues so far to write the opening to a spooky story. Remember your objectives – be imaginative and use ambitious vocabulary to achieve a spooky effect.’ Spooky background music can be played throughout the writing stage. It is also important that learners have access to a thesaurus in order to locate more ambitious vocabulary.
The lesson can be used as a starting point and developed in a number of ways… + Subsequent lessons/home learning activities could focus on developing other writing skills such as structuring a plot from beginning to end, using literary devices or using a variety of sentence structures and punctuation for effect.
+ The written work could lead into a speaking and listening lesson where students devise, rehearse and perform dramatic readings of their stories. + Students can explore a variety of gothic literature, researching different writers in the genre, reading different works and learning about the conventions of the genre. They can then develop their work to incorporate more of these conventions themselves.
After the main writing stage of this lesson, students are usually desperate to read their work out. To be able to do this in a meaningful way though, more time is usually needed, so it is appropriate to dedicate the following lesson to this. However, an opportunity to share work with others can be achieved through groups swapping their work and providing some feedback to consider for the following lesson. Questions such as those below can help students to structure their feedback in a constructive manner:
The following lesson can then begin with students considering this feedback in order to improve the work they have begun in this lesson.
Subscribe to Our Newsletter
I agree to the Terms & Conditions and Privacy & Cookies Policy.
Is competitive PE and sport in schools a good thing?
10 great classroom ideas with technnology
Top Tips to Engage Parents in their Children’s Learning
Dara O Briain and Brian Cox on STEM
Maths and Science
Browse by Secondary Subject
Assessment plan: creative writing.
To determine the effectiveness of the department's academic program, the Creative Writing Emphasis in the English BA/BS degrees developed an assessment plan built around measuring student work vis-à-vis three key learning objectives. Creative Writing collects annual data from the academic year (spring semester, fall semester) by gathering senior papers from its courses and designating faculty readers from its curriculum committee to assess the student work in relation to the key learning objectives. Each emphasis evaluates the papers and posts its Outcomes Data on the department's assessment website. Each emphasis then makes decisions on the basis of this data and delineates its Data-Based Decisions on the assessment website. Along with this direct measure of student learning, Creative Writing also employs an indirect measure, student interviews, as well. For the Creative Writing Emphasis in the department’s BA/BS degrees, the three key Learning Objectives are:
Identify and artfully explain significant questions (writing for an audience)
PART 1 of 2: DIRECT MEASURES (Rubric of Student Work)
Evidence that the student has mastered this objective is not provided, is unconvincing, or very incomplete | Evidence that the student has mastered this objective is provided, but it is weak or incomplete | Evidence shows that the student has generally attained the objective | Evidence demonstrates that the student has mastered this objective at a high level |
Student work does not demonstrate a basic understanding of writing for an audience in the following specific areas: of writing invites reader into the work on the part of the reader or makes a good case why the reader should care about the writing | Work shows evidence that the student understands the concept of writing for an audience, but execution of the concept is weak or incomplete in the following specific areas: of writing invites reader into the work on the part of the reader or makes a good case why the reader should care about the writing | Work shows evidence that the student understands the concept of writing for an audience and does so with competence in the following specific areas: of writing invites reader into the work on the part of the reader or makes a good case why the reader should care about the topic | Work shows evidence that the student not only understands the concept of writing for an audience but also does so at a highly proficient level, as defined by these specific areas: of writing invites reader into the work on the part of the reader or makes a good case why the reader should care about the writing |
2. Gather and analyze relevant information in writing
Evidence that the student has mastered this objective is not provided, is unconvincing, or very incomplete | Evidence that the student has mastered this objective is provided, but it is weak or incomplete | Evidence shows that the student has generally attained the objective | Evidence demonstrates that the student has mastered this objective at a high level |
Student work does not demonstrate a basic understanding of writing for an audience in the following specific areas: of others’ ideas associated with the genre and subject of the writing artistic vision, thesis, or research contribution | Work shows evidence that the student understands the concept of writing for an audience, but execution of the concept is weak or incomplete in the following specific areas: of others’ ideas associated with the genre and subject of the writing artistic vision, thesis, or research contribution | Work shows evidence that the student understands the concept of writing for an audience and does so with competence in the following specific areas: of others’ ideas associated with the genre and subject of the writing artistic vision, thesis, or research contribution | Work shows evidence that the student not only understands the concept of writing for an audience but also does so at a highly proficient level, as defined by these specific areas: of others’ ideas associated with the genre and subject of the writing and into the work artistic vision, thesis, or research contribution and does so in a way that is particularly |
3. Gather and analyze relevant information in writing
Evidence that the student has mastered this objective is not provided, is unconvincing, or very incomplete | Evidence that the student has mastered this objective is provided, but it is weak or incomplete | Evidence shows that the student has generally attained the objective | Evidence demonstrates that the student has mastered this objective at a high level |
Student work does not demonstrate a basic understanding of writing for an audience in the following specific areas: at the sentence level (syntax, usage, grammar) language well from paragraph to paragraph | Work shows evidence that the student understands the concept of writing for an audience, but execution of the concept is weak or incomplete in the following specific areas: at the sentence level (syntax, usage, grammar) language well from paragraph to paragraph | Work shows evidence that the student understands the concept of writing for an audience and does so with competence in the following specific areas: at the sentence level (syntax, usage, grammar) language well from paragraph to paragraph | Work shows evidence that the student not only understands the concept of writing for an audience but also does so at a highly proficient level, as defined by these specific areas: at the sentence level (syntax, usage, grammar) language (sophisticated word choice) well from idea to idea via |
PART 2 of 2: INDIRECT MEASURES (Student Interviews)
Faculty members meet with students annually and ask them the following questions: Courses
What was your experience getting the classes you wanted? What was the longest you had to wait to get into a workshop? Was there a course you wanted to take but weren't able to? Could you tell a difference between the intro courses in a genre and the advanced ones? Did the intro classes prepare you for the advanced classes? Were you challenged? Is there a course we should be offering but aren’t? Do you perceive any gaps in your learning? Did the literature courses help you as a writer?
Workshops Was there a workshop model that you thought was especially effective? Was there an organization to the course schedule you found especially helpful? Was there an approach to grading and feedback that you found especially effective?
Profession Do you feel you learned enough about the writing profession? Are you prepared to submit creative work? Are you familiar with the journals of the field? Do you know how to apply to MFA and PhD programs? Are these things that matter to you?
Extracurricular We have tried to offer additional outlets to our majors. We have guest speakers, Scribendi , Helicon West, and the creative writing club. Did you take advantage of these extracurricular activities? Why or why not? How could we make these additions more appealing or central to our students?
Faculty Did the faculty who taught your creative writing courses seem knowledgeable? Did they share experiences with you as writers, model for you aspects of the profession?
This dialog contains the full navigation menu for this site.
Creative writing program learning objectives, outcomes, and assessment measures.
Taking classes to write fiction, poetry and creative non-fiction is a great way to excite your writing spirit and discover your hidden talent. Besides, discovering a ‘new you’, creative writing units also have numerous other objectives and potential outcomes. If the courses work right for you, it enables you to enhance your knowledge of reading and writing. Before enrolling in a creative writing class, you may, however, want to know what benefits you will get by completing such classes. So, here we list the objectives of creative writing for students. But one thing is guaranteed that the learning will stay with you for rest of your life.
Here are the general objectives and expected outcomes of creative writing classes.
(i) Objective 1: You will have the ability to apply critical and theoretical approaches to the reading and analysis of literary texts in multiple genres.
(ii) Objective 2: You will understand how to identify, analyze, interpret and describe critical ideas, themes, values that consist of literary texts and perceive the ways to evaluate how ideas, themes and values create an impact on societies, both in the past and present.
(iii) Objective 3: You will become capable of producing poems or literary non-fictional pieces that are original and engaging.
(iv) Objective 4: You will be able to articulate an awareness of the relationship between the individual works and conventional literary work.
(v) Objective 5: You will become capable of passing judgment whether a journal or a press is better venue for publishing literary work.
(vi) Objective 6: By critical reading and analysis, you become someway an expert to analyze and critique the quality of literary journals as well as the work of particular writers.
Now that you know the general outcomes, let us go into more specialized objectives based on various parameters of creative writing.
Literary techniques are defined by three main genre’s foundational styles that equip students to write their own creative work. Here are the objectives of the three most primitive genre of writing —
‘Prose is architecture, not interior decoration’ – Ernest Hemingway
Writing must have building blocks, structured against characters, plot and setting. This rule becomes more pronounced when it comes to fiction writing. This type of writing always revolves around imagination, passion and hard work. A new world created by authors that certainly influence the readers. That’s what fiction writing is all about.
(i) Objective 1: Identify the structural elements of fiction
(ii) Objective 2: You might emphasis on characterization, setting and plot development
(iii) Objective 3: You become able to analyze how people act and react, their facial expression and their body language
(iv) Objective 4: As fiction helps you to disconnect with your everyday life, it lifts you from the mundane and walks you on the path that you have never experienced before
(v) Objective 5: Through fiction, we experience emotions and new adventures that connect us with the rest of the world. Whether historical or contemporary fiction, patterns do emerge: sorrow or joy, hopelessness or hope, life or death etc.
‘Poetry is the spontaneous overflow of powerful feelings, it takes its origin from emotions recollected’ – William Wordsworth
Writing poetry involves undertaking a new way of life that takes a form of strong words, powerful feelings and vivid imagination.
(i) Objective 1: Make you understand the concepts and basic terms of poetry writing
(ii) Objective 2: It teaches you the concept of rhythm, rhyme and alliteration
(iii) Objective 3: It enables you to perceive the fugitive language like simile, metaphor and personification
(iv) Objective 4: Involves different patterns of poetry
(v) Objective 5: Understand and appreciate poetry as a literary art form.
3. Creative Non-fiction
‘Writing non-fiction is like cracking a safe. It seems impossible at the beginning, but once you are in, you are in’ – Rich Cohen
Writing non-fiction may seem difficult, but it has an array of genres to cover. The writer of non-fiction has a huge responsibility to present the truth or accuracy of the events, people and/or information presented.
(i) Objective 1: Creative non-fiction allows reflecting your personal experience and how to conduct good research, collect data and convey a sense authority in your work while creating your own literary nonfiction
(ii) Objective 2: You learn to recall and understand the language and organizational features of all main non-fiction text types
(iii) Objective 3: You perceive how to go about reading a non-fiction literary piece
(iv) Objective 4: You can choose different types of imageries and transform them into structured non-fiction prose
(v) Objective 5: You learn to write non-fiction effectively for a particular purpose and audience, combining organizational features as appropriate.
Being able to analyze reads is the key understanding of how creative writing works. When you join creative writing classes, it typically includes intensive reading and discussion of poems and other literary works that enables you to see the technique in action.
(i) Objective 1: According to Ohio University of English Department, as a critical reader, you understand the styles and traditions of different genres and gain inspiration from different authors. For example, let say, you might read Flannery O’Connor’s famous short story, ‘A Good Man is Hard to Find’ and discuss with your class how O’Connor developed her characters. Later, you can use her work as an inspiration for your writing
(ii) Objective 2: Many believed that their vocabulary could be improved
(iii) Objective 3: You gain the ability to comprehend and extract appropriate meaning and relevance of what is being read
(iv) Objective 4: A critical reader who is constantly looking for new ideas and inspiration welcomes written piece with an open mind, but at the same time questions the content and of the text by testing against its knowledge and experience
(v) Objective 5: You become competent to discover the hidden message in the text and to ascertain how the ideas in the text accords with writer's opinion, values and objectives.
Many students make mistakes by assuming that good writing is effortless and natural. In reality, all writing requires revision, sometimes multiple drafts and total rewrites of a single piece.
(i) Objective 1: You leave the class knowing the technique of brainstorming, composing a draft and determining the piece’s revision
(ii) Objective 2: Since creative classes sometimes involve giving peer feedback through a writing workshop, students also learn how to give constructive reviews and feedback to improve a piece
(iii) Objective 3: You become able to decide how a writing piece should be revised towards improvement.
Ultimately, when you finish the creative writing class, you should be able to explain their creative values and strengthen your future plans.
(i) Objective 1: When you get in touch with different and numerous writers, you are able to identify authors whose work left an impact on you
(ii) Objective 2: You will understand what genre attracts you the most and you enjoy writing in
(iii) Objective 3: In the course, you will be comfortable to share how you are going to pursue your writing after class’s conclusion. For example, you might go onto graduate creative writing program, others may want to continue writing on their own
(iv) Objective 4: The students should leave the class with an appreciation for creative writing and better understanding of the unique voice of the different authors.
The list does not end here. The more you get involved in the course, the more outcomes come in your way. The above-mentioned are common learning objectives of creative writing and its different sections. But it works differently on distinct natured personalities. And to experience that, you need to join a creative writing class.
EssayGator.com is proud to ensure the best quality writing help in all academic sectors. Thousands of customers all over the world approach us for top-quality assignment writing help every day. And we as a writing service provider fulfill the need of our customers in the best possible manner. Fortunately, all our experts, that’s 3000+ experts, have at least master’s credentials in their respective subjects and also years of experience in essay writing industry. Moreover, all our experts are familiar with the most popular referencing style and formatting of written assignments.
No matter what educational course you are pursuing or what subject you are working on, assignment writing will follow you. Fortunately, you have EssayGator at your disposal. While other writing services ensure you timely delivery, we are the one and only writing service to worry about the quality of assignment writing solutions. Everything else is secondary to us. That is why we stand out in the crowd of writing service providers.
All our writers care about is the quality of each individual work delivered. Each assignment solution created by our experts undergoes strict quality check. During quality check, the assignment solution is check for plagiarism, factual pieces and whether the requirements are fulfilled. After ensuring everything in its places, our operation team delivers completed assignment solution to our customers. You can easily download your copy from your account.
Let us tell you, it is totally okay to have an expert write your assignments like ours. When you are not completely confident about your skills, you can always knock on our doors. We assure that our friendly nature customer care executives will answer every time. You just have to be prompt with your actions.
(i) Send your requirements
(ii) Choose a writer
(iii) Get completed assignment solutions in your account
Leave a reply, place your order.
Get help to our Experts
publisher November 14,2021
publisher November 11,2021
publisher October 27,2021
publisher October 25,2021
publisher September 30,2021
Math Assignment Help
Assignment Help
Homework Help
Essay Topics
Essay Format
Referencing And Citation
Dissertation Writing
Research Paper
Admin March 08,2016
publisher April 30,2018
Admin March 31,2016
publisher September 17,2020
You can place your order for free now. Simply submit your order and see what our writers can Subscribe to get regular update!
Hurry! Time is running out. Place your order with us now and be the topper of your class.
Learning objectives aren’t just a list of what you’re covering in class. Good learning objectives are what you want your students/trainees to learn or achieve (“by the end of this course, you will be able to...”). If you don’t know the end goal—and you don’t have certain measurable checkpoints—you can get lost along the way. Here are some tips to help you get started:
Before you begin writing objectives, stop and think about what type of change you want your training to make. In other words, what do you want your participants to do differently when they return to work? The domains of learning can be categorized as affective (attitude), psychomotor (skills), and cognitive (knowledge). An easy way to remember this is with the acronym ASK :
Now that you’ve identified what domain you intend to focus on for your objective, it’s time to start crafting your objective. To do that, it’ll help to have an action verb to describe the behavior at the appropriate level of learning. Here’s a list of action verbs, separated by domain. Avoid having more than one action verb for each level of learning, and make sure it’s a verb that can be measured. “Understand” is too vague, but “complete,” “identify,” or “recognize” are specific.
3. create your very own objective.
Now it's your turn to give it a whirl.
Make sure your objectives include four pieces: audience, behavior, condition, and degree of mastery. For every one, identify and label the component. Here are the A, B, C, D's every objective should contain:
Behavior: , condition: , degree of mastery: .
Try labeling each of the four components in your objectives to make sure you didn't forget anything. In the following examples, the audience will be italicized, the behavior will be underlined, the condition will be in regular type, and the degree of mastery will be bolded.
Given an expense report, the learner will complete the company form with no errors .
After completing the three-day design training, the learner will be able to list the 8 steps in the design process in order .
Go through this process for each objective. Don’t stop until you feel that you have enough objectives to effectively measure your performance. Remember, objectives work as checkpoints that lead to a completion of a goal. It’s important you have enough of them to keep yourself from getting lost. Start with what you want to achieve and work backwards.
If you'd like to up your game creating objectives or designing a class, check out one of our courses , particularly the workshop on Instructional Design.
Need help with virtual training or learning? Take a look at the Interactive Virtual Trainer workshop.
Published originally by Jordan Meyers, adapted from Becky Pluth’s session on writing objectives at the 2014 Creative Training Techniques conference.
Never miss a post! Get blogs and more delivered directly to your inbox.
Stay connected to what’s going on in the training industry.
10800 Lyndale Avenue South - Suite 151 - Bloomington, MN 55420
IMAGES
VIDEO
COMMENTS
Beyond its objectives, Creative Writing plays a crucial role in our lives and society, contributing to personal growth, cultural preservation, inspiration, and connection. Catharsis . One of the profound and therapeutic purposes of Creative Writing is catharsis. This aspect of Creative Writing is deeply personal, as it offers writers a means to ...
Learning Objectives: Creative Writing. For the Creative Writing Emphasis in the BA/BS degrees, the three key Learning Objectives are: Students can identify and artfully explain significant questions (writing for an audience). Specifically, student work shows evidence that the student understands the concept of writing for an audience and ...
Learning Goals & Outcomes. Minor in Creative Writing. As a student of creative writing, you will create original works of literature, culminating in a significant, extended body of poetry, fiction, and/or creative nonfiction that manifests your artistic potential. These literary works will demonstrate the following aspects of your craft:
Creative Writing Department Goals and Objectives. Program Goal 1: Students will demonstrate effective critical thinking. Program Goal 2: Students will demonstrate effective oral and written communication abilities. * Creative Writing and English define and assess their programs' communications and technology outcomes separately.
Setting clear objectives in creative writing is crucial for achieving success and taking your writing to the next level. By establishing specific goals, you provide yourself with a clear direction and purpose, helping you stay focused and motivated throughout the writing process. These objectives can range from improving your storytelling ...
An easy lesson plan for creative writing that will pay off later is to activate prior knowledge. Brainstorm creative, memorable, unforgettable stories with students. Share your thoughts too! You will start to build relationships with students who share the same tastes as you (and those that are completely different!).
Emotional goals. "I want more creativity in my life.". "I want to feel like I am using my talents.". "I want to prove to myself that I can write a book, even if it's hard.". "I want to help at least one reader with my hard-earned knowledge on X subject.". "I want to write something that brings comfort to a reader.".
Creative writing is a form of writing that extends beyond the bounds of regular professional, journalistic, academic, or technical forms of literature. It is characterized by its development, and the use of literary tropes or poetic techniques to express ideas in an original and imaginative way. express their thoughts, feelings, and ideas in a ...
Learning Objectives: Creative Writing For the Creative Writing Emphasis in the BA/BS degrees, the three key Learning Objectives are: 1. Students can identify and artfully explain significant questions (writing for an audience). Specifically, student work shows evidence that the student understands the concept of writing for an audience and ...
Creative Writing is a form of self-expression that allows you to use your imagination and creativity. It can be in the form of personal essays, short stories, or poems. It is often used as an outlet for emotions and experiences. Start with creative writing by reading through creative writing examples to help get you in the mood.
English- Creative Writing Mission Statement . The Creative Writing Program deepens students' understanding of literary composition and actively engages them in the craft and practice of creative writing. Students learn to read literature as writers, paying particular attention to voice, style, form, language, and technique.
Welcome to ENG 231 Intro to Creative Writing! Creative writing, emphasis on composing creative nonfiction, fiction, and poetry. In other words, we will study the main genres of creative writing to prepare you for upper level creative writing courses in fiction, creative nonfiction, and poetry. After we go over the genre characteristics and you ...
1. Creative Writing Exercise: Using an Objective Correlative by Whitney Newton; Menlo School, Atherton, California, 2016 Objective The purpose of the assignment is to allow students in a fiction writing course to intuitively grasp what an objective correlative is and to experience how it does economical emotional work in fiction.
Creative Writing Lesson Plan. Dana teaches social sciences at the college level and English and psychology at the high school level. She has master's degrees in applied, clinical and community ...
In creative writing, a story is an intentionally crafted experience designed to guide the reader through a progression of events and situations. It involves the creation of a fictional world, the introduction of characters, and the development of scenarios that lead to meaningful change or development in those characters.
Creative writing in the gothic genre - spooky stories - offers a wonderful opportunity for just this. This is a topic that always manages to enthuse pupils and one of the most exciting aspects is that the outcome is completely different with every group. Giving students time for thinking and the creation of ideas is essential.
For the Creative Writing Emphasis in the department's BA/BS degrees, the three key Learning Objectives are: Identify and artfully explain significant questions (writing for an audience) Gather and analyze relevant information in writing. Communicate ideas effectively through competence in form. PART 1 of 2: DIRECT MEASURES (Rubric of Student ...
GENERAL PERFORMANCE OBJECTIVES: 1. To encourage students in diverse forms of verbal self-expression. 2. To emphasize personal experience as a source of creative writing experiences and products. 3. To generate a positive attitude toward the process of creative writing, as well as toward specific writing. 4.
This resource covers the integral, surface and deep features of creative writing. It contains full-on activities and assessments to cover the skills of literacy in an easy, structured, cover-your-bases system. It includes everything you need to get going with Creative Writing in your classroom. This Resource Includes: 1. A Detailed Lesson Plan. 2.
Creative Writing Program Learning Objectives, Outcomes, and Assessment Measures Objectives. To produce graduates familiar with representative literary texts from a significant number of historical, geographical, and cultural contexts, with particular focus on the Modern and contemporary periods.
Storytelling exercises like role-playing and picture prompts help spark creativity. Ways to integrate fun writing games like story chains and story cubes can improve student writing skills and foster a positive learning environment. How to use writing prompts to show understanding and develop technical writing skills while being creative.
1. General Objective. Here are the general objectives and expected outcomes of creative writing classes. (i) Objective 1: You will have the ability to apply critical and theoretical approaches to the reading and analysis of literary texts in multiple genres. (ii) Objective 2: You will understand how to identify, analyze, interpret and describe ...
Bloom's Taxonomy is a classification of the different objectives and skills that educators set for their students (learning outcomes). ... Steps towards writing effective learning outcomes: Make sure there is one measurable verb in each objective. Each outcome needs one verb. Either a student can master the outcome , or they fail to master it.
Identify the Level of Knowledge Necessary to Achieve Your Objective. Before you begin writing objectives, stop and think about what type of change you want your training to make. ... Published originally by Jordan Meyers, adapted from Becky Pluth's session on writing objectives at the 2014 Creative Training Techniques conference. Never miss a ...
Plan and track enterprise projects, gain visibility into capacity, ensure alignment to business objectives, monitor insights and results, and support data-driven decision-making. ... Saved 1,000 hours each year on creative workflows. Saved 1,000 hours each year on creative workflows. Consolidated 74 request systems into one. Consolidated 74 ...