creative writing in english

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

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

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

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

What Is Creative Writing (Long Description)?

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

Table of Contents

Let’s expand on that definition a bit.

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

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

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

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

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

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

Types of Creative Writing

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

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

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

Short stories are known for their brevity.

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

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

Novels (The Long Journey)

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

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

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

Readers get an immersive experience.

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

Poetry (The Soul’s Language)

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

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

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

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

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

Plays (The Dramatic Dialogue)

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

This format uniquely explores human relationships and societal issues.

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

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

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

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

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

Memoirs (The Personal Journey)

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

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

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

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

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

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

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

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

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

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

Creative nonfiction includes biographies, essays, and travelogues.

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

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

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

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

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

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

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

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

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

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

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

Clarity makes your writing understandable and accessible.

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

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

Coherence ensures your writing flows logically.

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

Conciseness

Conciseness is about expressing ideas succinctly.

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

Creativity is the heart of creative writing.

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

Consistency

Consistency maintains a uniform tone, style, and voice.

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

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

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

Exploring complex characters and themes is also key.

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

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

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

What Does a Creative Writer Do?

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

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

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

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

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

They may navigate the publishing world with agents and editors.

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

How to Get Started With Creative Writing?

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

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

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

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

Final Thoughts: What Is Creative Writing?

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

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

Read This Next:

• What Is a Prompt in Writing? (Ultimate Guide + 200 Examples)
• What Is A Personal Account In Writing? (47 Examples)
• How To Write A Fantasy Short Story (Ultimate Guide + Examples)
• How To Write A Fantasy Romance Novel [21 Tips + Examples)

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

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

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

What is Creative Writing?

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

Creative writing can take on various forms such as:

• short stories
• screenplays

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

5 Key Characteristics of Creative Writing

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

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

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

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

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

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

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

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

Styles of Creative Writing

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

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

Short Stories

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

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

Screenplays

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

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

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

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

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

Importance of Creative Writing

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

Developing Creativity and Imagination

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

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

Enhancing Communication Skills

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

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

Exploring Emotions and Ideas

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

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

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

4 Steps to Start Creative Writing

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

1. Finding Inspiration

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

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

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

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

2. Planning Your Piece

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

• the main points

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

3. Writing Your First Draft

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

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

4. Editing and Revising Your Work

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

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

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

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

Tips to Improve Creative Writing Skills

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

Read Widely

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

Practice Regularly

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

Attend Writing Workshops and Courses

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

Joining Writing Groups and Communities

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

Seeking Feedback on Your Work

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

Start Creative Writing Today!

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

Happy writing!

Brooks Manley

Creative Primer  is a resource on all things journaling, creativity, and productivity. We’ll help you produce better ideas, get more done, and live a more effective life.

My name is Brooks. I do a ton of journaling, like to think I’m a creative (jury’s out), and spend a lot of time thinking about productivity. I hope these resources and product recommendations serve you well. Reach out if you ever want to chat or let me know about a journal I need to check out!

Here’s my favorite journal for 2024: 

Gratitude Journal Prompts Mindfulness Journal Prompts Journal Prompts for Anxiety Reflective Journal Prompts Healing Journal Prompts Cognitive Behavioral Therapy Journal Prompts Mental Health Journal Prompts ASMR Journal Prompts Manifestation Journal Prompts Self-Care Journal Prompts Morning Journal Prompts Evening Journal Prompts Self-Improvement Journal Prompts Creative Writing Journal Prompts Dream Journal Prompts Relationship Journal Prompts "What If" Journal Prompts New Year Journal Prompts Shadow Work Journal Prompts Journal Prompts for Overcoming Fear Journal Prompts for Dealing with Loss Journal Prompts for Discerning and Decision Making Travel Journal Prompts Fun Journal Prompts

Inspiring Ink: Expert Tips on How to Teach Creative Writing

You may also like, asmr journaling: how to do it + asmr prompts.

How to Make an Intention Journal

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Elements of Creative Writing

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

Copyright Year: 2023

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

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

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

Comprehensiveness rating: 4 see less

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

Content Accuracy rating: 5

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

Relevance/Longevity rating: 5

The book is relevant and up-to-date.

Clarity rating: 5

The text is clear and easy to understand.

Consistency rating: 5

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

Modularity rating: 5

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

Organization/Structure/Flow rating: 5

Topics are presented in logical, clear fashion.

Interface rating: 5

Navigation is good.

Grammatical Errors rating: 5

No grammatical issues that I could see.

Cultural Relevance rating: 3

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

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

Table of Contents

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

Creative Nonfiction

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

Back Matter

• Contributors
• North American Review Staff

Ancillary Material

• University of Northern Iowa

About the Book

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

About the Contributors

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

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

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

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• What Is Creative Writing? The ULTIMATE Guide!

At Oxford Royale Academy, we offer a range of summer school programmes that have become extremely popular amongst students of all ages. The subject of creative writing continues to intrigue many academics as it can help to develop a range of skills that will benefit you throughout your career and life.

Nevertheless, that initial question is one that continues to linger and be asked time and time again: what is creative writing? More specifically, what does it mean or encompass? How does creative writing differ from other styles of writing?

During our Oxford Summer School programme , we will provide you with in-depth an immersive educational experience on campus in the colleges of the best university in the world. However, in this guide, we want to provide a detailed analysis of everything to do with creative writing, helping you understand more about what it is and why it could benefit you to become a creative writer.

The best place to start is with a definition.

What is creative writing?

The dictionary definition of creative writing is that it is original writing that expresses ideas and thoughts in an imaginative way. [1] Some academics will also define it as the art of making things up, but both of these definitions are too simplistic in the grand scheme of things.

It’s challenging to settle on a concrete definition as creative writing can relate to so many different things and formats. Naturally, as the name suggests, it is all built around the idea of being creative or imaginative. It’s to do with using your brain and your own thoughts to create writing that goes outside the realms of what’s expected. This type of writing tends to be more unique as it comes from a personal place. Each individual has their own level of creativity, combined with their own thoughts and views on different things. Therefore, you can conjure up your own text and stories that could be completely different from others.

Understanding creative writing can be challenging when viewed on its own. Consequently, the best way to truly understand this medium is by exploring the other main forms of writing. From here, we can compare and contrast them with the art of creative writing, making it easier to find a definition or separate this form of writing from others.

What are the main forms of writing?

In modern society, we can identify five main types of writing styles [1] that will be used throughout daily life and a plethora of careers:

• Narrative Writing
• Descriptive Writing
• Persuasive Writing
• Expository Writing
• Creative Writing

Narrative writing refers to storytelling in its most basic form. Traditionally, this involves telling a story about a character and walking the readers through the journey they go on. It can be a long novel or a short story that’s only a few hundred words long. There are no rules on length, and it can be completely true or a work of fiction.

A fundamental aspect of narrative writing that makes it different from other forms is that it should includes the key elements of storytelling. As per UX Planet, there are seven core elements of a good story or narrative [2] : the plot, characters, theme, dialogue, melody, decor and spectacle. Narrative writing will include all of these elements to take the ready on a journey that starts at the beginning, has a middle point, but always comes to a conclusion. This style of writing is typically used when writing stories, presenting anecdotes about your life, creating presentations or speeches and for some academic essays.

Descriptive writing, on the other hand, is more focused on the details. When this type of writing is used, it’s focused on capturing the reader’s attention and making them feel like they are part of the story. You want them to live and feel every element of a scene, so they can close their eyes and be whisked away to whatever place or setting you describe.

In many ways, descriptive writing is writing as an art form. Good writers can be given a blank canvas, using their words to paint a picture for the audience. There’s a firm focus on the five senses all humans have; sight, smell, touch, sound and taste. Descriptive writing touches on all of these senses to tell the reader everything they need to know and imagine about a particular scene.

This is also a style of writing that makes good use of both similes and metaphors. A simile is used to describe something as something else, while a metaphor is used to show that something is something else. There’s a subtle difference between the two, but they both aid descriptive writing immensely. According to many writing experts, similes and metaphors allow an author to emphasise, exaggerate, and add interest to a story to create a more vivid picture for the reader [3] .

Looking at persuasive writing and we have a form of writing that’s all about making yourself heard. You have an opinion that you want to get across to the reader, convincing them of it. The key is to persuade others to think differently, often helping them broaden their mind or see things from another point of view. This is often confused with something called opinionative writing, which is all about providing your opinions. While the two seem similar, the key difference is that persuasive writing is built around the idea of submitting evidence and backing your thoughts up. It’s not as simple as stating your opinion for other to read; no, you want to persuade them that your thoughts are worth listening to and perhaps worth acting on.

This style of writing is commonly used journalistically in news articles and other pieces designed to shine a light on certain issues or opinions. It is also typically backed up with statistical evidence to give more weight to your opinions and can be a very technical form of writing that’s not overly emotional.

Expository writing is more focused on teaching readers new things. If we look at its name, we can take the word exposure from it. According to Merriam-Webster [4] , one of the many definitions of exposure is to reveal something to others or present them with something they otherwise didn’t know. In terms of writing, it can refer to the act of revealing new information to others or exposing them to new ideas.

Effectively, expository writing focuses on the goal of leaving the reader with new knowledge of a certain topic or subject. Again, it is predominately seen in journalistic formats, such as explainer articles or ‘how-to’ blogs. Furthermore, you also come across it in academic textbooks or business writing.

This brings us back to the centre of attention for this guide: what is creative writing?

Interestingly, creative writing is often seen as the style of writing that combines many of these forms together in one go. Narrative writing can be seen as creative writing as you are coming up with a story to keep readers engaged, telling a tale for them to enjoy or learn from. Descriptive writing is very much a key part of creative writing as you are using your imagination and creative skills to come up with detailed descriptions that transport the reader out of their home and into a different place.

Creative writing can even use persuasive writing styles in some formats. Many writers will combine persuasive writing with a narrative structure to come up with a creative way of telling a story to educate readers and provide new opinions for them to view or be convinced of. Expository writing can also be involved here, using creativity and your imagination to answer questions or provide advice to the reader.

Essentially, creative writing can combine other writing types to create a unique and new way of telling a story or producing content. At the same time, it can include absolutely none of the other forms at all. The whole purpose of creative writing is to think outside the box and stray from traditional structures and norms. Fundamentally, we can say there are no real rules when it comes to creative writing, which is what makes it different from the other writing styles discussed above.

What is the purpose of creative writing?

Another way to understand and explore the idea of creative writing is to look at its purpose. What is the aim of most creative works of writing? What do they hope to provide the reader with?

We can look at the words of Bryanna Licciardi, an experienced creative writing tutor, to understand the purpose of creative writing. She writes that the primary purpose is to entertain and share human experiences, like love or loss. Writers attempt to reveal the truth with regard to humanity through poetics and storytelling. [5] She also goes on to add that the first step of creative writing is to use one’s imagination.

When students sign up to our creative writing courses, we will teach them how to write with this purpose. Your goal is to create stories or writing for readers that entertain them while also providing information that can have an impact on their lives. It’s about influencing readers through creative storytelling that calls upon your imagination and uses the thoughts inside your head. The deeper you dive into the art of creative writing, the more complex it can be. This is largely because it can be expressed in so many different formats. When you think of creative writing, your instinct takes you to stories and novels. Indeed, these are both key forms of creative writing that we see all the time. However, there are many other forms of creative writing that are expressed throughout the world.

What are the different forms of creative writing?

Looking back at the original and simple definition of creative writing, it relates to original writing in a creative and imaginative way. Consequently, this can span across so many genres and types of writing that differ greatly from one another. This section will explore and analyse the different types of creative writing, displaying just how diverse this writing style can be – while also showcasing just what you’re capable of when you learn how to be a creative writer.

The majority of students will first come across creative writing in the form of essays . The point of an essay is to present a coherent argument in response to a stimulus or question. [6] In essence, you are persuading the reader that your answer to the question is correct. Thus, creative writing is required to get your point across as coherently as possible, while also using great descriptive writing skills to paint the right message for the reader.

Moreover, essays can include personal essays – such as writing a cover letter for work or a university application. Here, great creativity is needed to almost write a story about yourself that captivates the reader and takes them on a journey with you. Excellent imagination and persuasive writing skills can help you tell your story and persuade those reading that you are the right person for the job or university place.

Arguably, this is the most common way in which creative writing is expressed. Fictional work includes novels, novellas, short stories – and anything else that is made up. The very definition of fiction by the Cambridge Dictionary states that it is the type of book or story that is written about imaginary characters and events not based on real people and facts. [7] As such, it means that your imagination is called upon to create something out of nothing. It is a quintessential test of your creative writing skills, meaning you need to come up with characters, settings, plots, descriptions and so much more.

Fictional creative writing in itself takes on many different forms and can be completely different depending on the writer. That is the real beauty of creative writing; you can have entirely different stories and characters from two different writers. Just look at the vast collection of fictional work around you today; it’s the perfect way to see just how versatile creative writing can be depending on the writer.

Similarly, scripts can be a type of creative writing that appeals to many. Technically, a script can be considered a work of fiction. Nevertheless, it depends on the script in question. Scripts for fictional television shows, plays or movies are obviously works of fiction. You, the writer, has come up with the characters and story of the show/play/movie, bringing it all to life through the script. But, scripts can also be non-fictional. Creating a play or movie that adapts real-life events will mean you need to write a script based on something that genuinely happened.

Here, it’s a perfect test of creative writing skills as you take a real event and use your creative talents to make it more interesting. The plot and narrative may already be there for you, so it’s a case of using your descriptive writing skills to really sell it to others and keep readers – or viewers – on the edge of their seats.

A speech is definitely a work of creative writing. The aim of a speech can vary depending on what type of speech it is. A politician delivering a speech in the House of Commons will want to get a point across to persuade others in the room. They’ll need to use creative writing to captivate their audience and have them hanging on their every word. A recent example of a great speech was the one by Sir David Attenborough at the recent COP26 global climate summit. [8] Listening to the speech is a brilliant way of understanding how creative writing can help get points across. His speech went viral around the world because of how electrifying and enthralling it is. The use of many descriptive and persuasive words had people hanging onto everything he said. He really created a picture and an image for people to see, convincing them that the time is now to work on stopping and reversing climate change.

From this speech to a completely different one, you can see creative writing at play for speeches at weddings and other jovial events. Here, the purpose is more to entertain guests and make them laugh. At the same time, someone giving a wedding speech will hope to create a lovely story for the guests to enjoy, displaying the true love that the married couple share for one another. Regardless of what type of speech an individual is giving, creative writing skills are required for it to be good and captivating.

Poetry & Songs

The final example of creative writing is twofold; poetry and songs. Both of these formats are similar to one another, relying on creativity to deliver a combination of things. Poetry can take so many forms and styles, but it aims to inspire readers and get them thinking. Poems often have hidden meanings behind them, and it takes a great deal of imagination and creativity to come up with these meanings while also creating a powerful poem. Some argue that poetry is the most creative of all creative writing forms.

Songwriting is similar in that you use creativity to come up with lyrics that can have powerful meanings while also conjuring up a story for people. The best songwriters will use lyrics that stay in people’s minds and get them thinking about the meaning behind the song. If you lack imagination and creativity, you will never be a good songwriter.

In truth, there are so many other types and examples of creative writing that you can explore. The ones listed above are the most common and powerful, and they all do a great job of demonstrating how diverse creative writing can be. If you can hone your skills in creative writing, it opens up many opportunities for you in life. Primarily, creative writing focuses on fictional pieces of work, but as you can see, non-fiction also requires a good deal of creativity.

What’s needed to make a piece of creative writing?

Our in-depth analysis of creative writing has led to a point where you’re aware of this style of writing and its purpose, along with some examples of it in the real world. The next question to delve into is what do you need to do to make a piece of creative writing. To phrase this another way; how do you write something that comes under the creative heading rather than another form of writing?

There is an element of difficulty in answering this question as creative writing has so many different types and genres. Consequently, there isn’t a set recipe for the perfect piece of creative writing, and that’s what makes this format so enjoyable and unique. Nevertheless, we can discover some crucial elements or principles that will help make a piece of writing as creative and imaginative as possible:

A target audience

All creative works will begin by defining a target audience. There are many ways to define a target audience, with some writers suggesting that you think about who is most likely to read your work. However, this can still be challenging as you’re unsure of the correct demographic to target. Writer’s Digest makes a good point of defining your target audience by considering your main motivation for writing in the first place. [9] It’s a case of considering what made you want to start writing – whether it’s a blog post, novel, song, poem, speech, etc. Figuring out your motivation behind it will help you zero in on your target audience.

Defining your audience is vital for creative writing as it helps you know exactly what to write and how to write it. All of your work should appeal to this audience and be written in a way that they can engage with. As a simple example, authors that write children’s stories will adapt their writing to appeal to the younger audience. Their stories include lots of descriptions and words that children understand, rather than being full of long words and overly academic writing.

Establishing the audience lets the writer know which direction to take things in. As a result, this can aid with things like character choices, plot, storylines, settings, and much more.

A story of sorts

Furthermore, great works of creative writing will always include a story of sorts. This is obvious for works such as novels, short stories, scripts, etc. However, even for things like poems, songs or speeches, a story helps make it creative. It gives the audience something to follow, helping them make sense of the work. Even if you’re giving a speech, setting a story can help you create a scene in people’s minds that makes them connect to what you’re saying. It’s a very effective way of persuading others and presenting different views for people to consider.

Moreover, consider the definition of a story/narrative arc. One definition describes it as a term that describes a story’s full progression. It visually evokes the idea that every story has a relatively calm beginning, a middle where tension, character conflict and narrative momentum builds to a peak and an end where the conflict is resolved. [10]

Simplifying this, we can say that all works of creative writing need a general beginning, middle and end. It’s a way of bringing some sort of structure to your writing so you know where you are going, rather than filling it with fluff or waffle.

A good imagination

Imagination is a buzzword that we’ve used plenty of times throughout this deep dive into creative writing. Every creative writing course you go on will spend a lot of time focusing on the idea of using your imagination. The human brain is a marvellously powerful thing that holds the key to creative freedom and expressing yourself in new and unique ways. If you want to make something creative, you need to tap into your imagination.

People use their imagination in different ways; some will be able to conjure up ideas for stories or worlds that exist beyond our own. Others will use theirs to think of ways of describing things in a more creative and imaginative way. Ultimately, a good imagination is what sets your work apart from others within your genre. This doesn’t mean you need to come up with the most fantastical novel of all time to have something classified as creative writing. No, using your imagination and creativity can extend to something as simple as your writing style.

Ultimately, it’s more about using your imagination to find your own personal flair and creative style. You will then be able to write unique pieces that stand out from the others and keep audiences engaged.

How can creative writing skills benefit you?

When most individuals or students consider creative writing, they imagine a world where they are writing stories for a living. There’s a common misconception that creative writing skills are only beneficial for people pursuing careers in scriptwriting, storytelling, etc. Realistically, enhancing ones creative writing skills can open up many windows of opportunity throughout your education and career.

• Improve essay writing – Naturally, creative writing forms a core part of essays and other written assignments in school and university. Improving your skills in this department can help a student get better at writing powerful essays and achieving top marks. In turn, this can impact your career by helping you get better grades to access better jobs in the future.
• Become a journalist – Journalists depend on creative writing to make stories that capture audiences and have people hanging on their every word. You need high levels of creativity to turn a news story into something people are keen to read or watch.
• Start a blog – In modern times, blogging is a useful tool that can help people find profitable and successful careers. The whole purpose of a blog is to provide your opinions to the masses while also entertaining, informing and educating. Again, having a firm grasp of creative writing skills will aid you in building your blog audience.
• Write marketing content – From advert scripts to content on websites, marketing is fuelled by creative writing. The best marketers will have creative writing skills to draw an audience in and convince them to buy products. If you can learn to get people hanging on your every word, you can make it in this industry.

These points all demonstrate the different ways in which creative writing can impact your life and alter your career. In terms of general career skills, this is one that you simply cannot go without.

How to improve your creative writing

One final part of this analysis of creative writing is to look at how students can improve. It begins by reading as much as you can and taking in lots of different content. Read books, poems, scripts, articles, blogs – anything you can find. Listen to music and pay attention to the words people use and the structure of their writing. It can help you pick up on things like metaphors, similes, and how to use your imagination. Of course, writing is the key to improving; the more you write, the more creative you can get as you will start unlocking the powers of your brain.

Conclusion: What is creative writing

In conclusion, creative writing uses a mixture of different types of writing to create stories that stray from traditional structures and norms. It revolves around the idea of using your imagination to find a writing style that suits you and gets your points across to an audience, keeping them engaged in everything you say. From novels to speeches, there are many forms of creative writing that can help you in numerous career paths throughout your life.

[1] SkillShare: The 5 Types of Writing Styles with Examples

[2] Elements of Good Story Telling – UX Planet

[3] Simile vs Metaphor: What’s the Difference? – ProWritingAid

[4] Definition of Exposure by Merriam-Webster

[5] The Higher Purpose of Creative Writing | by Terveen Gill

[6] Essay purpose – Western Sydney University

[7] FICTION | meaning in the Cambridge English Dictionary

[8] ‘Not fear, but hope’ – Attenborough speech in full – BBC News

[9] Writer’s Digest: Who Is Your Target Reader?

[10] What is a Narrative Arc? • A Guide to Storytelling Structure

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A Look Into Creative Writing | Oxford Summer Courses

What’s included in an oxford summer course.

Our tailored summer courses for ages 9-24 include all teaching and academic content, accommodation, meals (including Friday night formal dinners), a prize-giving ceremony, all-day trips and activities, airport transfers, access to Oxford Summer Courses Foundations, travel and medical insurance, and a welcome pack. Apply now to secure your spot in one of our comprehensive summer courses.

Defining Creative Writing

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

The Magic of Imagination

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

What Are the Different Types of Creative Writing?

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

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

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

The Benefits of Creative Writing with Oxford Summer Courses

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

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

Embracing the Journey

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

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

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

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

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Online courses: creative writing.

Stanford Continuing Studies' online creative writing courses make it easy to take courses taught by instructors from Stanford’s writing community. Thanks to the flexibility of the online format, these courses can be taken anywhere, anytime—a plus for students who lead busy lives or for whom regular travel to the Stanford campus is not possible. These courses are open to all adults, and we encourage all levels of writers to enroll.

• Utility Menu

• Creative Writing

The vital presence of creative writing in the English Department is reflected by our many distinguished authors who teach our workshops. We offer courses each term in fiction, poetry, nonfiction, screenwriting, playwriting, and television writing. Our workshops are small, usually no more than twelve students, and offer writers an opportunity to focus intensively on one genre. 

Apply to Creative Writing Workshops

Workshops are open by application to Harvard College undergraduates, graduate students, staff, and students from other institutions eligible for cross registration. Submission guidelines for workshops can be found under individual course listings; please do not query instructors.  Review all departmental rules and application instructions before applying.  

Fall 2024 Application Deadline: 11:59 pm ET on Sunday, April 7, 2024. Spring 2025 Application Deadline: TBD

Please visit our course listings for all the Fall 2024 workshops.

Our online submission manager (link below) will open for Fall 2024 applications on Friday, March 22 , 2024.

Students who have questions about the creative writing workshop application process should contact Case Q. Kerns at [email protected] .

Featured Faculty

Teju Cole  is a novelist, critic, and essayist, and is the first Gore Vidal Professor of the Practice. "Among other works, the boundary-crossing author is known for his debut novel “Open City” (2011), whose early admirers included Harvard professor and New Yorker critic James Wood." 

Faculty Bookshelf

Find me by laura van den berg (2015).

A State of Freedom by Neel Mukherjee (2012)

Mr. Potter by Jamaica Kincaid (2002)

The Emperor's Children by Claire Messud (2007)

Creative Writing Workshops

• Spring 2024

English CACD. The Art of Criticism

Instructor: Maggie Doherty Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.

English CACW. Advanced Fiction Workshop

Instructor: Paul Yoon TBD | Location: TBD Enrollment: Limited to 12 students Advanced fiction workshop for students who have already taken a workshop at Harvard or elsewhere. The goal of the class is to continue your journey as a writer. You will be responsible for participating in discussions on the assigned texts, the workshop, engaging with the work of your colleagues, and revising your work. Supplemental Application Information:   * Please note: previous creative writing workshop experience required. * Please submit ONLY a cover letter telling me your previous creative writing workshop experience, either at Harvard or elsewhere; then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Again, please no writing samples.

English CBBR. Intermediate Poetry: Workshop

Instructor:  Josh Bell   Monday, 12:00-2:45pm | Location: Barker 018 Enrollment: Limited to 12 students Course Site

Initially, students can expect to read, discuss, and imitate the strategies of a wide range of poets writing in English; to investigate and reproduce prescribed forms and poetic structures; and to engage in writing exercises meant to expand the conception of what a poem is and can be. As the course progresses, reading assignments will be tailored on an individual basis, and an increasing amount of time will be spent in discussion of student work. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a portfolio including a letter of interest, ten poems, and a list of classes (taken at Harvard or elsewhere) that seem to have bearing on your enterprise.

English CCEP. Ekphrastic Poetry: Workshop

Instructor: Tracy K. Smith Wednesday, 3:00-5:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site What can a poem achieve when it contemplates or even emulates a work of art in another medium? In this workshop, we'll read and write poems that engage with other art forms--and we'll test out what a foray into another artistic practice allows us to carry back over into the formal methods and behaviors of poetry. With poems by Keats, Rilke, Auden, Hughes, and Brooks, as well as Kevin Young, Evie Shockley, Ama Codjoe and other contemporary voices. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCFC. Poetry Workshop: Form & Content

Instructor: Tracy K. Smith Tuesday, 12:00-2:45pm | Location: Sever 112 Enrollment: Limited to 12 students Course Site

In this workshop, we’ll look closely at the craft-based choices poets make, and track the effects they have upon what we as readers are made to think and feel. How can implementing similar strategies better prepare us to engage the questions making up our own poetic material? We’ll also talk about content. What can poetry reveal about the ways our interior selves are shaped by public realities like race, class, sexuality, injustice and more? Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)   

Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCIJ. Intermediate Fiction Workshop

Instructor: Jesse McCarthy Thursday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site This is an intermediate course in the art of writing literary fiction. Previous experience with workshopping writing is encouraged but not required. The emphasis of the course will be learning how to read literature as a writer, with special attention given to the short story, novella, or short novel. We will read these works from the perspective of the writer as craftsperson and of the critic seeking in good faith to understand and describe a new aesthetic experience. We will be concerned foremost with how literary language works, with describing the effects of different kinds of sentences, different uses of genre, tone, and other rhetorical strategies. Together, we will explore our responses to examples of literature from around the world and from all periods, as well as to the writing you will produce and share with the class. As a member of a writing community, you should be prepared to respectfully read and respond to the work of others—both the work of your peers and that of the published writers that we will explore together. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  This course is by application only but there are no prerequisites for this course and previous experience in a writing workshop is not required . In your application please submit a short letter explaining why you are interested in this class. You might tell me a bit about your relationship to literature, your encounter with a specific author, book, or even a scene or character from a story or novel. Please also include a writing sample of 2-5 pages (5 pages max!) of narrative prose fiction.

English CCFS. Fiction Workshop

Instructor: Teju Cole Spring 2024: Tuesday, 6:00-8:45pm | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD This reading and writing intensive workshop is for students who want to learn to write literary fiction. The goal of the course would be for each student to produce two polished short stories. Authors on the syllabus will probably include James Joyce, Eudora Welty, Toni Morrison, Alice Munro, Jhumpa Lahiri, and Diane Williams.

Supplemental Application Information:   Please submit a cover letter saying what you hope to get out of the workshop. In the cover letter, mention three works of fiction that matter to you and why. In addition, submit a 400–500 word sample of your fiction; the sample can be self-contained or a section of a longer work.

English CLPG. Art of Sportswriting

Instructor: Louisa Thomas Spring 2024: Tuesday, 9:00-11:45am | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD

In newsrooms, the sports section is sometimes referred to as the “toy department” -- frivolous and unserious, unlike the stuff of politics, business, and war. In this course, we will take the toys seriously. After all, for millions of people, sports and other so-called trivial pursuits (video games, chess, children’s games, and so on) are a source of endless fascination. For us, they will be a source of stories about human achievements and frustrations. These stories can involve economic, social, and political issues. They can draw upon history, statistics, psychology, and philosophy. They can be reported or ruminative, formally experimental or straightforward, richly descriptive or tense and spare. They can be fun. Over the course of the semester, students will read and discuss exemplary profiles, essays, articles, and blog posts, while also writing and discussing their own. While much (but not all) of the reading will come from the world of sports, no interest in or knowledge about sports is required; our focus will be on writing for a broad audience.  Supplemental Application Information:  To apply, please write a letter describing why you want to take the course and what you hope to get out of it. Include a few examples of websites or magazines you like to read, and tell me briefly about one pursuit -- football, chess, basketball, ballet, Othello, crosswords, soccer, whatever -- that interests you and why.

English CALR. Advanced Screenwriting: Workshop

Instructor: Musa Syeed Spring 2024: Wednesday, 12:00-2:45pm | Location: TBA Enrollment: Limited to 12 students Course Site Spring 2025: TBD

The feature-length script is an opportunity to tell a story on a larger scale, and, therefore, requires additional preparation. In this class, we will move from writing a pitch, to a synopsis, to a treatment/outline, to the first 10 pages, to the first act of a feature screenplay. We will analyze produced scripts and discuss various elements of craft, including research, writing layered dialogue, world-building, creating an engaging cast of characters. As an advanced class, we will also look at ways both mainstream and independent films attempt to subvert genre and structure. Students will end the semester with a first act (20-30 pages) of their feature, an outline, and strategy to complete the full script.

Supplemental Application Information:  Please submit a 3-5 page writing sample. Screenplays are preferred, but fiction, creative non-fiction, poetry, and plays are acceptable as well. Also, please write a short note to introduce yourself. Include a couple films/filmmakers that have inspired you, your goals for the class, as well as any themes/subject matter/ideas you might be interested in exploring in your writing for film.

English CNFR. Creative Nonfiction: Workshop

Instructor: Darcy Frey Fall 2024: Wednesday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

Whether it takes the form of literary journalism, essay, memoir, or environmental writing, creative nonfiction is a powerful genre that allows writers to break free from the constraints commonly associated with nonfiction prose and reach for the breadth of thought and feeling usually accomplished only in fiction: the narration of a vivid story, the probing of a complex character, the argument of an idea, or the evocation of a place. Students will work on several short assignments to hone their mastery of the craft, then write a longer piece that will be workshopped in class and revised at the end of the term. We will take instruction and inspiration from published authors such as Joan Didion, James Baldwin, Ariel Levy, Alexander Chee, and Virginia Woolf. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with creative/literary nonfiction; what excites you about nonfiction in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of creative/literary nonfiction (essay, memoir, narrative journalism, etc, but NOT academic writing) or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CKR. Introduction to Playwriting: Workshop

Instructor: Sam Marks TBD | Location: TBD Enrollment: Limited to 12 students This workshop is an introduction to writing for the stage through intensive reading and in-depth written exercises. Each student will explore the fundamentals and possibilities of playwriting by generating short scripts and completing a one act play with an eye towards both experimental and traditional narrative styles. Readings will examine various ways of creating dramatic art and include work from contemporary playwrights such as Ayad Aktar, Clare Barron, Aleshea Harris, Young Jean Lee, and Taylor Mac, as well established work from Edward Albbe, Caryl Churchill, Suzan Lori-Parks, and Harold Pinter. Supplemental Application Information:  No experience in writing the dramatic form is necessary. Please submit a 5-10 page writing sample (preferably a play or screenplay, but all genres are acceptable and encouraged). Also, please write a few sentences about a significant theatrical experience (a play read or seen) and how it affected you.

English CACF. Get Real: The Art of Community-Based Film

Instructor: Musa Syeed Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 student Course Site

“I’ve often noticed that we are not able to look at what we have in front of us,” the Iranian director Abbas Kiarostami said, “unless it’s inside a frame.” For our communities confronting invisibility and erasure, there’s an urgent need for new frames. In this workshop, we’ll explore a community-engaged approach to documentary and fiction filmmaking, as we seek to see our world more deeply. We’ll begin with screenings, craft exercises, and discussions around authorship and social impact. Then we each will write, develop, and shoot a short film over the rest of the semester, building off of intentional community engagement. Students will end the class with written and recorded materials for a rough cut. Basic equipment and technical training will be provided.

Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a brief letter explaining why you're interested to take this class. Please also discuss what participants/communities you might be interested in engaging with for your filmmaking projects. For your writing sample, please submit 3-5 pages of your creative work from any genre (screenwriting, poetry, fiction, non-fiction, etc.)

English CAFR. Advanced Fiction Workshop: Writing this Present Life

Instructor: Claire Messud Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site Intended for students with prior fiction-writing and workshop experience, this course will concentrate on structure, execution and revision. Exploring various strands of contemporary and recent literary fiction – writers such as Karl Ove Knausgaard, Rachel Cusk, Chimamanda Adichie, Douglas Stuart, Ocean Vuong, etc – we will consider how fiction works in our present moment, with emphasis on a craft perspective. Each student will present to the class a published fiction that has influenced them. The course is primarily focused on the discussion of original student work, with the aim of improving both writerly skills and critical analysis. Revision is an important component of this class: students will workshop two stories and a revision of one of these. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:  Please submit 3-5 pages of prose fiction, along with a substantive letter of introduction. I’d like to know why you’re interested in the course; what experience you’ve had writing, both in previous workshops and independently; what your literary goals and ambitions are. Please tell me about some of your favorite narratives – fiction, non-fiction, film, etc: why they move you, and what you learn from them.

English CAKV. Fiction Workshop: Writing from the First-Person Point of View

Instructor:  Andrew Krivak Tuesday, 9:00-11:45 1m | Location: TBD Enrollment: Limited to 12 students Course Site This course is a workshop intended for students who are interested in writing longer form narratives from the first-person point of view. The “I” at the center of any novel poses a perspective that is all at once imaginatively powerful and narratively problematic, uniquely insightful and necessarily unreliable. We will read from roughly twelve novels written in the first-person, from Marilynne Robinson and W.G. Sebald, to Valeria Luiselli and Teju Cole, and ask questions (among others) of why this form, why this style? And, as a result, what is lost and what is realized in the telling? Primarily, however, students will write. Our goal will be to have a student’s work read and discussed twice in class during the semester. I am hoping to see at least 35-40 pages of a project —at any level of completion—at the end of term.  Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a substantive letter telling me why you’re interested in taking this class, what writers (classical and contemporary) you admire and why, and if there’s a book you have read more than once, a movie you have seen more than once, a piece of music you listen to over and over, not because you have to but because you want to. Students of creative nonfiction are also welcome to apply.

English CCSS. Fiction Workshop: The Art of the Short Story

Instructor: Laura van den Berg Tuesday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site This course will serve as an introduction to the fundamentals of writing fiction, with an emphasis on the contemporary short story. How can we set about creating “big” worlds in compact spaces? What unique doors can the form of the short story open? The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Ted Chiang, Lauren Groff, Carmen Maria Machado, and Octavia Butler. This workshop welcomes writers of all levels of experience. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. Please also include a very brief writing sample (2-3 pages). The sample can be in any genre (it does not have to be from a work of fiction). 

Write an Honors Creative Thesis

Students may apply to write a senior thesis or senior project in creative writing, although only English concentrators can be considered. Students submit applications in early March of their junior year, including first-term juniors who are out of phase. The creative writing faculty considers the proposal, along with the student's overall performance in creative writing and other English courses, and notifies students about its decision in early mid-late March. Those applications are due, this coming year, on TBA . 

Students applying for a creative writing thesis or project must have completed at least one course in creative writing at Harvard before they apply. No student is guaranteed acceptance. It is strongly suggested that students acquaint themselves with the requirements and guidelines well before the thesis application is due. The creative writing director must approve any exceptions to the requirements, which must be made in writing by Monday, February 7, 2022. Since the creative writing thesis and project are part of the English honors program, acceptance to write a creative thesis is conditional upon the student continuing to maintain a 3.40 concentration GPA. If a student’s concentration GPA drops below 3.40 after the spring of the junior year, the student may not be permitted to continue in the honors program.

Joint concentrators may apply to write creative theses, but we suggest students discuss the feasibility of the project well before applications are due. Not all departments are open to joint creative theses.

Students who have questions about the creative writing thesis should contact the program’s Director, Sam Marks .

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Creative Writing

Stanford’s Creative Writing Program--one of the best-known in the country--cultivates the power of individual expression within a vibrant community of writers. Many of our English majors pursue a concentration in creative writing, and the minor in Creative Writing is among the most popular minors on campus. These majors and minors participate in workshop-based courses or independent tutorials with Stegner Fellows, Stanford’s distinguished writers-in-residence.

English Major with a Creative Writing Emphasis

The English major with a Creative Writing emphasis is a fourteen-course major. These fourteen courses comprise eight English courses and six Creative Writing courses.

English majors with a Creative Writing emphasis should note the following:

All courses must be taken for a letter grade.

Courses taken abroad or at other institutions may not be counted towards the workshop requirements.

Any 190 series course (190F, 190G, etc.), 191 series course (191T, etc.), or 192 series course (192V, etc.) counts toward the 190, 191, or 192 requirement.

PWR 1 is a prerequisite for all creative writing courses.

Minor in Creative Writing

The Minor in Creative Writing offers a structured environment in which students interested in writing fiction or poetry develop their skills while receiving an introduction to literary forms. Students may choose a concentration in fiction, poetry.

In order to graduate with a minor in Creative Writing, students must complete the following three courses plus three courses in either the prose or poetry tracks. Courses counted towards the requirements for the minor may not be applied to student's major requirements. 30 units are required. All courses must be taken for a letter grade.

Prose Track

Suggested order of requirements:

English 90. Fiction Writing or English 91. Creative Nonfiction

English 146S Secret Lives of the Short Story

One 5-unit English literature elective course

English 190. Intermediate Fiction Writing or English 191. Intermediate Creative Nonfiction Writing

English 92. Reading and Writing Poetry

Another English 190, 191, 290. Advanced Fiction, 291. Advanced Nonfiction, or 198L. Levinthal Tutorial

Poetry Track

English 92.Reading and Writing Poetry

English 160. Poetry and Poetics

English 192. Intermediate Poetry Writing

Another English 192, or 292.Advanced Poetry or 198L.Levinthal Tutorial

Creative Writing minors should note the following:

To declare a Creative Writing minor, visit the Student page in Axess. To expedite your declaration, make sure to list all 6 courses you have taken or plan to take for your minor.

Any 190 series course (190F, 190G, etc.), 191series course (191T, etc.), or 192 series course (192V, etc.) counts toward the 190, 191, or 192 requirement.

For more information, visit the Stanford Creative Writing Program.

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WEEKLY WRITING PROMPTS

Join (probably?) the world's largest writing contest. Flex those creative muscles with weekly writing prompts.

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The five stages, write a story about someone finding acceptance..

LIVE – Character

Start your story with a character in despair.

LIVE – Dark

Center your story around a character bargaining for something that's important to them.

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Write a story about anger.

LIVE – Angst

Write a story about a someone who's in denial.

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Write a story in the format of a gossip column.

Write a story where an important conversation takes place during a dance., write a story about two characters who start as mortal enemies but learn to embrace their differences., write a story where a rumor starts to spread. your protagonist is either the topic or the source., set your story at a regency-themed fair., subscribe to our prompts newsletter.

Never miss a prompt! Get curated writing inspiration delivered to your inbox each week.

Write about a character who has the ability to pause the passage of time.

Write a story that contains the line, "i wish we could stay here forever.", start your story with a character canceling their plans., set your story over the course of a few minutes; no flashbacks, no flashforwards., write a story about a highly-strung character learning to slow down, or someone pursuing a quieter way of life., write a story that includes someone saying, “be careful what you wish for.”, make a character’s obsession or addiction an important element of your story., write a story in which one of the characters is a narcissist., write about a character who struggles to do the right thing., start your story with a character being followed., win $250 in our short story competition 🏆.

We'll send you 5 prompts each week. Respond with your short story and you could win $250!

Contest #255 LIVE

Enter our weekly contest.

This week's theme: The Five Stages

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Contest entries, closes at 23:59 - jun 21, 2024 est, recent contests ✍️.

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Creative Writing Prompts

When the idea to start a weekly newsletter with writing inspiration first came to us, we decided that we wanted to do more than provide people with topics to write about. We wanted to try and help authors form a regular writing habit and also give them a place to proudly display their work. So we started the weekly Creative Writing Prompts newsletter. Since then, Prompts has grown to a community of more than 450,000 authors, complete with its own literary magazine, Prompted .  

Here's how our contest works: every Friday, we send out a newsletter containing five creative writing prompts. Each week, the story ideas center around a different theme. Authors then have one week — until the following Friday — to submit a short story based on one of our prompts. A winner is picked each week to win $250 and is highlighted on our Reedsy Prompts page.

Interested in participating in our short story contest? Sign up here for more information! Or you can check out our full Terms of Use and our FAQ page .

Why we love creative writing prompts

If you've ever sat in front of a computer or notebook and felt the urge to start creating worlds, characters, and storylines — all the while finding yourself unable to do so — then you've met the author's age-old foe: writer's block. There's nothing more frustrating than finding the time but not the words to be creative. Enter our directory! If you're ready to kick writer's block to the curb and finally get started on your short story or novel, these unique story ideas might just be your ticket.

This list of 1800+ creative writing prompts has been created by the Reedsy team to help you develop a rock-solid writing routine. As all aspiring authors know, this is the #1 challenge — and solution! — for reaching your literary goals. Feel free to filter through different genres, which include...

Dramatic — If you want to make people laugh and cry within the same story, this might be your genre.

Funny — Whether satire or slapstick, this is an opportunity to write with your funny bone.

Romance — One of the most popular commercial genres out there. Check out these story ideas out if you love writing about love.

Fantasy — The beauty of this genre is that the possibilities are as endless as your imagination.

Dystopian – Explore the shadowy side of human nature and contemporary technology in dark speculative fiction.

Mystery — From whodunnits to cozy mysteries, it's time to bring out your inner detective.

Thriller and Suspense — There's nothing like a page-turner that elicits a gasp of surprise at the end.

High School — Encourage teens to let their imaginations run free.

Want to submit your own story ideas to help inspire fellow writers? Send them to us here.

After you find the perfect story idea

Finding inspiration is just one piece of the puzzle. Next, you need to refine your craft skills — and then display them to the world. We've worked hard to create resources that help you do just that! Check them out:

• How to Write a Short Story That Gets Published — a free, ten-day course by Laura Mae Isaacman, a full-time editor who runs a book editing company in Brooklyn.
• Best Literary Magazines of 2023 — a directory of 100+ reputable magazines that accept unsolicited submissions.
• Writing Contests in 2023 — the finest contests of 2021 for fiction and non-fiction authors of short stories, poetry, essays, and more.

Beyond creative writing prompts: how to build a writing routine

While writing prompts are a great tactic to spark your creative sessions, a writer generally needs a couple more tools in their toolbelt when it comes to developing a rock-solid writing routine . To that end, here are a few more additional tips for incorporating your craft into your everyday life.

• NNWT. Or, as book coach Kevin Johns calls it , “Non-Negotiable Writing Time.” This time should be scheduled into your routine, whether that’s once a day or once a week. Treat it as a serious commitment, and don’t schedule anything else during your NNWT unless it’s absolutely necessary.
• Set word count goals. And make them realistic! Don’t start out with lofty goals you’re unlikely to achieve. Give some thought to how many words you think you can write a week, and start there. If you find you’re hitting your weekly or daily goals easily, keep upping the stakes as your craft time becomes more ingrained in your routine.
• Talk to friends and family about the project you’re working on. Doing so means that those close to you are likely to check in about the status of your piece — which in turn keeps you more accountable.

Arm yourself against writer’s block. Writer’s block will inevitably come, no matter how much story ideas initially inspire you. So it’s best to be prepared with tips and tricks you can use to keep yourself on track before the block hits. You can find 20 solid tips here — including how to establish a relationship with your inner critic and apps that can help you defeat procrastination or lack of motivation.

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Explore more writing prompt ideas:

Adults Writing Prompts ⭢

Adventure Writing Prompts ⭢

Angst Writing Prompts ⭢

Character Writing Prompts ⭢

Christmas Writing Prompts ⭢

Dark Writing Prompts ⭢

Dialogue Writing Prompts ⭢

Dramatic Writing Prompts ⭢

Dystopian Writing Prompts ⭢

Fall Writing Prompts ⭢

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Halloween Writing Prompts ⭢

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Horror Writing Prompts ⭢

Kids Writing Prompts ⭢

Middle School Writing Prompts ⭢

Mystery Writing Prompts ⭢

Narrative Writing Prompts ⭢

Nonfiction Writing Prompts ⭢

Novel Writing Prompts ⭢

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Valentine's Day Writing Prompts ⭢

Vampire Writing Prompts ⭢

Winter Writing Prompts ⭢

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Creative Writing Program

The University of Washington English Department's Creative Writing Program offers a BA in English with a concentration in Creative Writing and a two-year Master of Fine Arts  degrees in Poetry and Prose. 

Founded in 1947 by Theodore Roethke, the Creative Writing Program's tradition of transformative workshops continues with our current faculty:  David Bosworth , Nikki David Crouse ,  Rae Paris ,  David Shields,  and  Maya Sonenberg  (Prose), and  Linda Bierds (part-time) ,  Andrew Feld ,  Richard Kenney,  and  Pimone Triplett  (Poetry).  They include among their many honors fellowships from the MacArthur Foundation, the Guggenheim Foundation, and the National Endowment for the Arts, as well as prizes such as the Flannery O’Connor Award in Short Fiction and the McCarthy Prize. The list of our alumni publications represents a significant chapter in the history of American literature. To see recent examples of our MFA Program alumni publications, see the article MFA Program Graduates Publish at Impressive Rates in our Spring 2022 English Matters newsletter .

The MFA Program remains purposely small, admitting only ten students per year. The relatively small size of our program (20 students at most at any given time) allows for close associations to develop among students and faculty. The first year is devoted to participation in workshops and literary seminars, and the second year allows for concentrated work on a creative manuscript and critical essay under the supervision of two creative writing faculty members. 

The BA in English with a Creative Writing Concentration prepares students not only to be more effective communicators and artists, but also creative problem solvers and more nuanced critical thinkers. By situating small, student-oriented writing workshops alongside literary models, Creative Writing classes enhance the broader study of literature and critical theory, helping students gain a greater understanding of the social and cultural forces informing their work. A student completing the program is more able to situate themselves in a larger aesthetic and social context and make more meaningful, informed decisions about their own artistic practice. In addition, through the intense practice of creative writing, students are able to see the world more clearly, in a more nuanced and meaningful manner, and apply these skills to a wide variety of work and life situations.

Director:  Nikki David Crouse

Program Coordinator: Shannon Mitchell 

Graduate Program Advisor: Tim Cosgrove

Undergraduate Program Advising: Humanities Academic Services

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Learning English with Oxford

The latest language learning tips, resources, and content from oxford university press., creative writing in english.

• by Oxford University Press ELT
• Posted on September 8, 2022 May 24, 2023

Creative writing starts with reading – this is the source. You’ve got to read A LOT. This will show you what’s possible and how it’s done. It will also give you ideas. A great way to start reading more is by using Oxford Reading Club – here you can find hundreds of graded readers which are right for your level. The more you read, the more you’ll see different styles, mix them up, and then write in a way which is completely new and completely you .

Every creative idea has possibilities . It could become a brilliant story, poem, play, or song lyric. It doesn’t matter. What’s important is to get it down on paper or on screen. Don’t let it just stay in your head. After you’ve written down the idea, you can decide how good it is and what form it might take. Then you can start to write it!

3. BEGINNING

Most creative writing is about telling a story of some kind. Every story has three parts: a beginning, a middle, and an end. If you’re having trouble getting started, try writing from the middle of the story, or even the end. You might discover it’s a better approach. Wherever you start, your first line really needs to ‘hook’ the reader’s attention and make them want to continue. Look at these three examples:

• There was a hand in the darkness, and it held a knife ( The Graveyard Book by Neil Gaiman)
• It was a bright, cold day in April and the clocks were striking thirteen . ( 1984 by George Orwell)
• On the morning of its first birthday, a baby was found floating in a cello case in the middle of the English Channel. ( Rooftoppers by Katherine Rundell)

Where does your story happen? Some people think you should write about places you know really well. But you can also do research and use your imagination. Maybe the setting is one place – that dark, little wood at the end of your garden or schoolyard – or several places which are connected: Chinese megacities, for example. Or maybe it’s somewhere fantastic that no human has ever seen: inside the blood, on the surface of Saturn, or in a parallel world where teachers are students and robots are gods. What does it look like? How does it smell? What sounds are there? If you can describe it in detail, you’ll create that place for your reader.

This is where your creative writing can sometimes slow down. It’s natural – you’ve made a start, but you still haven’t reached the end. Stop … and try writing out the whole idea in just one sentence. Does it make sense? Is that the story, poem, or play which you’re actually writing? If it feels like your writing is losing speed or getting boring, introduce something quick and surprising. For example a gun, a ticking time bomb, a truck with no brakes, or a talking cat.

6. CHARACTERS

Creative writing is written by people (you), for people (your readers), and about people (your characters). Dealing with life’s challenges is what makes us interesting, and it’s exactly the same for the characters in a story, poem, or play. What do they want – and why can’t they get it? You also want to make your characters convincing. If you can’t invent someone completely new, try combining a few real people. Take the name of one person, the looks and voice of a second person; then add the house and car of a third person. See what kind of character appears!

By this time, you could have built up speed and be racing downhill. But don’t rush the end! Ask yourself what’s changed and – more importantly – what your characters have learnt. Before you write or type the final full stop, check the logic of the story up to this point. Does it all make sense? If so, make sure the end is definitely an end. Here are three famous examples:

• Out of the ash I rise with my red hair And I eat men like air. ( Lady Lazarus by Sylvia Plath)
• Max stepped into his private boat and waved goodbye and sailed back over a year and in and out of weeks and through a day and into the night of his very own room where he found his supper waiting for him—and it was still hot . ( Where the Wild Things Are by Maurice Sendak)
• The scar had not pained Harry for nineteen years. All was well. ( Harry Potter and the Deathly Hallows by JK Rowling)

Do you want to improve your story writing in English ? Check out our latest blog to get all the tips you need to improve your story-writing skills.  

Andrew Dilger is a Managing Editor at Oxford University Press. He has been involved in English language teaching as a teacher, trainer, and editor for over a quarter of a century. He is passionate about the power of reading and claims to have read something every day of his life since he first went to school.

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Every year we help millions of people around the world to learn English. As a department of the University of Oxford, we further the University’s objective of excellence in education by publishing proven and tested language learning books, eBooks, learning materials, and educational technologies. View all posts by Oxford University Press ELT

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Creative Writing Application

Creative Writing classes at UC Davis are unique and rewarding experiences, and we encourage you to watch the following videos before opening up the application. The videos will help you understand the different types of creative writing classes we offer, how English Majors can complete the emphasis in creative writing (see category #10 in the  Major Requirements Guide  for more info), and how to apply to the upper division ENL 100's.  Below the videos are links to the applications for the upper division CW courses required to complete the emphasis. Please watch them all, and watch them in order.

• Video #1 - Watch this video to learn more about creative writing courses & why they are called "workshops".
•   

• Video #2 - Watch this video to learn more about the difference between lower & upper division workshops, and learn more about how to complete the Creative Writing Emphasis for English Majors.
• Video #3 - Watch this video to learn more about the applicaiton process for the upper division workshops (applicaiton link below).
• https://youtu.be/Ur59I4Y_w5g 

ENL 100F, 100P & 100NF

Admission to  ENL 100F, 100P & 100NF  is by online application (link below) and acceptance of instructor.

CREATIVE WRITING APPLICATION LINK:

ENL 100F/100NF/100P Creative Writing Application

2023-2024 APPLICATION DUE DATES:

• Fall 2024  Application period closes 9/6/2024, 5:00 PM.
• Winter 2025 Application period closes 12/6/2024, 5:00 PM.
• Spring 2025 Application period closes 2/21/2025, 5:00 PM.

ENL 100FA/100PA

Admission to ENL 100FA/PA is by online application (link below)

ENL 100FA/PA Creative Writing Application

Please note that 100FA/100PA require a separate application process with a deadline date of: February 1, 2025, 5:00 PM.

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The Creative Penn

Writing, self-publishing, book marketing, making a living with your writing

Writing Through Fear With Caroline Donahue

posted on June 17, 2024

Podcast: Download (Duration: 1:11:35 — 58.0MB)

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What are some of the common fears that writers face? How can we work through them in order to create more freely? Caroline Donahue gives her tips in this interview.

In the intro, How to avoid indie author scams [ ALLi ; Writer Beware ]; Financial strategies and mindset [ Self Publishing Advice ]; Apple Intelligence at WWDC [ The Verge ; Marketing against the Grain]; “Not a chef, but an emotion creator.” Massimo Bottura on the Possible Podcast .

Plus, Spear of Destiny is on its last day ; Thoughts on photography permissions for commercial use — and permission in general ; Voodoo Vintners ; Winchester pictures ; Limeburn Hill vineyard pictures .

This podcast is sponsored by  Kobo Writing Life , which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the  Kobo Writing Life podcast  for interviews with successful indie authors.

This show is also supported by my Patrons. Join my Community at  Patreon.com/thecreativepenn  

Caroline Donahue is an author, podcaster, and book coach. Her latest book is Writing Through Fear: A Story Arcana Guide .

You can listen above or on  your favorite podcast app  or read the notes and links below. Here are the highlights and the full transcript is below. 

• The most common fears writers face
• How the fear of not being considered a “real writer” holds you back
• Overcoming the fear of judgement and being cancelled
• Fearing things before you are anywhere near them in the process
• Breaking down projects into smaller, more manageable tasks
• Embracing the unpredictable nature of creativity
• The challenges and reasons for rebranding a book
• Substack as a podcasting platform and community tool

You can find Caroline at CarolineDonahue.com , her Substack at book-alchemy.com , and her podcast at SecretLibraryPodcast.com .

Transcript of Interview with Caroline Donahue

Joanna: Caroline Donahue is an author, podcaster, and book coach. Her latest book is Writing Through Fear: A Story Arcana Guide . So welcome back to the show, Caroline.

Caroline: Thank you so much for having me. This is such a treat.

Joanna: You were on the show back in 2019 when we talked about your background and writing with the tarot. So we're just going to jump straight into the topic today.

Why did you want to write about fear? What sparked the book, and why structure it around Tarot?

Caroline: Well, I think that the topic of fear evolved because there were a couple of projects I considered doing before I landed on this one.

There was a desire to take a course I created during the pandemic, called Dream to Draft, and I thought, oh, I'll make a book version of that course. I tried to do that for most of a year, actually, and realized that I couldn't really recreate the experience of taking that course .

So I was trying to distill down elements of what made the difference for people of being able to finish a book or not finish a book. I noticed that they were able to overcome fears that they had while being in the course.

The main difference between people who were finishing books and delighted with their progress, and those who were getting kind of stuck in the swamps of sadness —if you'll forgive the 1980s film reference of The NeverEnding Story—were those who just got completely mired in fear about their writing . So I thought, okay,

If I can help people to engage with their fear differently, then they'll be able to write

— and I can do that from a distance. So that was what I ultimately got excited about. As for why I paired it with the tarot, for one thing, it made it a much easier book to write because I had a built-in structure. I had wanted to return to the tarot ever since writing the previous book, which focused on the first 22 cards, the Major Arcana.

I thought, oh, this is a great way to address the Minors because those are everyday life situations that people face. So I matched one fear to each card . Also, I could imagine people pulling a card.

I've already had one person who's read the book respond that when they're about to start a difficult scene or difficult project, they'll pull a card and then read the corresponding fear entry in the book. This helps them get into the writing. So that was delightful to hear.

Joanna: That is one of the very useful things about tarot or any of these kinds of things that spark ideas by looking at images or thinking about symbolism . So I think that's actually quite a good way into these fears. It feels like if you try and tackle it head on, it's often much harder. Did the people in your course recognize their fears?

Caroline: I think in some cases, yes. In some cases, it looked like other things. When I studied psychology ages ago, you have this kind of fight or flight, or we now have freeze that we know about, and fawn.

There are different ways that people engage with things that scare them.

Sometimes they look like the cartoon Scream face, if you think of the horror movie, but not always. So I thought that I wanted them to increase their vocabulary of how they could think about fear, so that it wouldn't feel like they had gone wrong and that this was a sign that they shouldn't continue writing.

I mean, fear comes up inevitably when we write. As you know, looking at the shadow and writing dark fantasy and suspense, that's part of the process of going into the fictional world, but that doesn't have to be the end point.

J ust because fear comes up, doesn't mean you have to stop writing . So I wanted them to be able to move through that and get to the other side.

Joanna: Let's identify some of the most common fears that writers face.

What are some ones that you've encountered again and again in your students, and also in yourself?

Caroline: Oh, yes, completely. I think if we had to boil it down, like if we could boil down almost every fear, underneath there is a fear of doing it wrong , that I am doing this wrong. There's a lot that we can pick apart out of that because we have this weird language and belief structure around books.

We'll read a book that we love in a bookstore, say, or we read one of the “classics”, and we perceive it like, oh, that book is perfect. It couldn't have been written any other way. It had this exact shape and form that it was supposed to take, and that nothing about it could change, or else it wouldn't exist as it does today. I don't think that that's true, but —

A lot of people have this fear that they're going to make a mistake, or they're going to do something wrong, and the whole thing is going to fall apart.

There are many flavors of this particular fear, but it's like if you go back to the Robert Frost poem, “Two roads diverged in a wood, and I took the one less traveled by.”

Most writers fear that two roads diverged in a wood, and they're going to take the wrong one for their writing project, and then everything is going to fall apart as a result.

Joanna: That could be at different stages, right? That could be I'm writing the wrong genre, or I'm writing the wrong story, and then I made the wrong publishing choice, I've chosen the wrong marketing platform. I mean, it's not just one choice, it's over and over again.

Caroline: There's so many. It can come up again and again. It's like a whack a mole fear. It's like, oh, I ended the chapter at the wrong point, this character should have this motivation, or the character has the wrong personality trait, or I've formatted the dialogue incorrectly, my grammar is wrong.

Like all of this sense is that “real writers”—I could write a whole book on that, this concept of the “real writer”—but that “real writers” do it the “right way” . I am scared that I am not doing it the right way, therefore, I'm not a real writer, therefore, I shouldn't be allowed to write at all.

Joanna: So it's interesting you picked that one.

How has this [fear of not being a “real writer”] come up for you?

Caroline: I think this used to really paralyze me. I mean, in my 20s, I wrote and abandoned about five or six novels, thinking that I had picked the wrong project . I thought that I had picked an idea that was unsalvageable, and I don't feel that there's any idea that's unsalvageable anymore.

Part of that is because I read a book, it was a very short novel by an independent press, called Love Notes from a German Building Site . Unfortunately, I can't remember the author in this exact moment. It was essentially a character’s musings and vocabulary lists. It's an Irish author writing about working on an abandoned mall in Germany.

So it's one of those ideas where if you presented it to me and said, “Would you like to read a novel about some guy hanging out on a mall construction site, and he's just randomly thinking about his relationship and is not quite sure where that's going?” that really wouldn't get me going. However, I read this book, and I could not put it down. I loved it, and I haven't stopped thinking about it for years. It's always been my example that there is no idea that cannot be executed on. You may not want to execute on it, or you may not be interested in it, but —

If you're engaged with the material, then you can keep going, and you can find a way through.

I think that I didn't believe that was possible early on. So I gave ideas up when I got scared, or when I felt like, oh, this isn't interesting enough, or I don't know if it was going to work. I felt like this means I've done it wrong, I've gotten lost. I'm lost in the woods, and I'm never going be able to find my way back.

That was rather than seeing it as a challenge and thinking there is a way for this story to be interesting. How can I find the parts that I'm most excited about? How can I make the story about those? I didn't have the ability to trust at that point.

I think the antidote for this fear is trusting that there is a way through.

Joanna: Yes, and this is so interesting as well being an independent author. So my first novel, Stone of Fire , I originally released it in 2011 as Pentecost by Joanna Penn. I've rewritten it like three times, and now it's Stone of Fire by J.F. Penn.

The bones are still the same, but as my craft grew, I rewrote it, I learned about publishing, I learned about marketing. I mean, pictures of me with that book back then, I did do a lot of things wrong, but equally, I had to take some steps in a direction in order to fix things later.

I wonder if the traditional publishing model is why people get so scared about this. I mean, either you feel you failed because you didn't get a deal, or you do get a deal, and then your craft improves, and you look back. You speak to a lot of traditionally published authors on your podcast, The Secret Library Podcast, which we'll come back to.

Where do you see this being perhaps worse for traditionally published authors?

Because you just don't get the chance to change things.

Caroline: I think this fear starts much, much earlier in life. I think it starts with the way our education system is organized . I mean, we have an education system that was built for an industrial age, which is not entirely relevant anymore.

I mean, I think back to Sir Ken Robinson's incredible talk on YouTube about how creativity is as important as literacy, and we need to be able to get something wrong and be willing to change it.

Essentially, from a very young age, we have to take tests, and we get a mark, and then it's determined what we should be doing, what we think we're good at, what paths we're allowed to follow. I think that that sense of being sorted into being an artsy kid, or being a science kid, or not being good at school, if that's the case, can have a really strong impact.

It's like, I have one chance to take this test, and I won't have a chance to take it again. Or if I write a paper, and I misunderstood the assignment, then I just get a bad grade, there's no chance to take that back. I think we internalize that message really, really early.

Since so much of our education when this happens is about writing essays, and writing papers that we then get graded on, I think it all comes back up when we write later in a way that's going to be published. Yes, we don't get grades, but we do get reviews, however we publish. I think that this is really deeply embedded.

I hope that we are more willing to write things, learn from them, and be willing to change, grow, and write more things.

Joanna: I think you're right. Actually, this brings me to a fear—and I talked about it in Writing the Shadow —which is this fear of judgment. I was told as a kid, when I wrote in school a dark essay about a nightmare I had, I was told that really wasn't appropriate to write and that I shouldn't write these things.

So I still struggle with this fear of judgment. Like, what will people think of me if I write this? I feel like this fear, in particular, is amplified in our cultural situation where people worry about getting canceled.

So the fear of judgment is not just a bad review, or someone saying, “what type of person are you?” but it's also, your career is over. I mean, people should probably fear not selling any books more.

What do you think about fear of judgment and fear of being canceled?

Caroline: I think it is very present, and it's very loud, I think, in the world right now. I think the fear of being judged, I mean, to an extent, I have to go into putting any book out knowing that somebody is not going to like it. So somebody is not going to like my book, and I have to be okay with that.

If everybody likes my book, then I feel like I haven't taken a real stand on anything. So there is that side of it. However, I feel like the fear of getting cancelled is a whole other can of worms. I am seeing that more, that kind of real, large-scale rejection of authors or writers in certain situations, in the arena of traditional publishing , for sure. That's where you're seeing sort of dramatic—not often, anymore—but whenever someone gets a big advance, then there's a lot of pressure and everything gets amplified in that situation.

I think the other thing that happens is that a lot of people fear judgment and fear getting cancelled when they haven't finished the book yet .

The internal critic yammering these fears in your ear tends to leap ahead to the next unknown step in the process.

I've watched this over and over and over again with students. So in the beginning, it's like, “Oh, I don't know if I can finish a whole novel. I don't know if I have enough to say. I don't know if this idea will carry a long enough story.”

So then we move forward, and they've written an entire draft. Then it's like, “I don't know how to revise. I don't know how to do this.” Then they immediately forget how difficult writing the first draft was, and they just want to write a new book. They're like, “Oh, it was so much easier. Writing first drafts was so much easier.”

I think, “Remember that part when you thought it wasn't going to be possible, and it was totally impossible to do this?” It's as soon as they get comfortable with revision, then there starts to be fears about publication, fears about rejection, fears about bad reviews. Sometimes this is quite far away from when the book is coming out.

I always encourage people to try any aspect of the story that they think should be included and that you can always decide later if you feel good about it being in there, if it feels right.

If you have a sense, “Oh, I think this character needs to go in this direction,” try it, because you're always going to regret holding back and not exploring a deep line of story.

So I think that the cancelled thing is almost like a blown-up fear of people misunderstanding what you're trying to say, fear of being misread, fear of being just wrong . I think, again, it's a fear of doing it wrong.

Joanna: Yes, I agree. It's funny you said that. I often get people who will email me, and they'll be like, “I'm really worried that I'm writing this memoir and someone's going to sue me, like one of my family is going to sue me. What if I say something bad?” I'll often reply, “So where are you?” and they may not have even started the book.

Caroline: Yes, absolutely.

Joanna: It's very, very common, and I think you're right. So this comes to a fear—so we're recording this the day before my next Kickstarter launches. Now, this is my third Kickstarter. By the time this episode goes out, it will probably have finished.

There is this fear, I have a great fear, this is my third one , I've been doing writing and publishing for 15 years, I am scared of failure, and like you said, doing something wrong . There's almost a problem—it's a good problem to have—but some people know who I am at this point. I do have people who will watch this.

That is kind of scary, because what if I don't fund? What if I am a public failure? It is terrifying. What's interesting is I know lots of people who will not even do a Kickstarter, and I was one of them a couple of years ago, because of fear of this public failure because everyone can see how much money you make.

So I wondered about you on this because I think I had said to you, why don't you do a Kickstarter for this one or one of your other books?

What do you think about [a Kickstarter for] this book?

Caroline: I think some of it is about what kind of experience do you want to have putting this book out. I think that part of being a creative, part of the reason that we're not accountants, which is always the profession I seem to gravitate to and use examples, is that things are unpredictable . We never know what's going to happen.

We have to accept that we're unsure how this Kickstarter is going to go. The question that I always ask, and this is one of the ones that I put in the book is, what am I making this mean?

There are two things that are happening here. You've got a book that's coming out, and there's a Kickstarter that people can support, and people may or may not support that.

There are lots of reasons why that might happen that has nothing to do with the value of your writing or your book.

I think that we are very quick to assign all the blame that something might not work on ourselves and to make it mean something global and permanent about us as writers.

When in reality, you know, let's think about it, if we had a Kickstarter start the day various global disasters that we've had over the past few years happened, would that impact the Kickstarter? Probably. So that doesn't mean that it isn't a very well written exciting project.

So I think we take a lot of responsibility on ourselves, and we give a lot of authority to the outside world to determine the value of what we're doing . I think that, in many ways, is what makes it so debilitating.

Joanna: Yes. So acknowledging these fears are an important part of it, and realizing that that might be a form of a block. Being scared of doing something is a block to our growth, even if it's not a block to our writing. It might be the fear of publishing, as we said, or the fear of marketing.

What are some other practical ways to get past these fears, other than recognizing them?

Caroline: I find that breaking them down into much smaller pieces is very helpful. So if you have an item on your list—whether it's a bucket list or your project list because you're working on a project—that is so large you could not complete it in a day, let alone a week, let alone months.

So if there's an item on there like “finish novel”, then that tends to create blocks because your mind doesn't know how to engage with it at all. Rather than, okay, “make notes on chapter three about how this character is going to get stuck in a cave.” I just made that up. You know, that's something that you can actually do in a sitting.

So I find that making sure to break things down into smaller bits helps to deal with blocks. Often blocks are not even about fear, they're just about the brain is not able to process an item that large and has no way to engage with it productively. So that's one thing that can happen.

Another thing that can happen is that there's something going on underneath . I think that this Kickstarter example you gave is one of those examples. So it's like okay, “plan the Kickstarter,” “execute the Kickstarter.” You've broken it down into little tiny steps, and it's still not happening. I think that's because there's some sort of belief lurking underneath.

So if you find you're trying to do something with your writing project, and that might be making notes about chapter three and how we're going to get her stuck in the cave, and you just cannot sit down and make any notes about this cave, then I think it's important to look at, okay, what am I making this mean in this moment?

What am I feeling underneath here? Where am I afraid I'm headed? Where am I afraid this is going to happen? With the Kickstarter, it could be, I'm going to be humiliated. No one is ever going to buy another one of my books again if they see this flop.

If you have this issue about making notes about going into the cave, it could be about that I'm afraid I'm going to make the wrong choice for the story. So whenever we get to the heart of what the fear is, I try looking at, okay, well what if that happens?

Don't try to avoid it. We're all like la-la-la with our fingers in our ears, and we don't want to think about what if the Kickstarter flops. We can't think about that. Or what if I make the “wrong choice” about the story?

What if we think about it like, okay, if the Kickstarter doesn't work out for this book, then what will I do next? If we have a plan in place, I find that immediately it doesn't feel quite as loaded because things that are unknown, and amorphous, and undefined are very difficult to engage with, in the same way that a giant to-do list item is very difficult to engage with.

If I say, okay, the Kickstarter fails, then I would probably go ahead and release the book and just not do the hardback edition or whatever I had planned to do with the Kickstarter. That's probably what I would do.

Then we have to ask the question—I mean, I'm getting in the weeds with the Kickstarter—but it's like, okay, what was I kickstarting? Is this more about people being strapped for cash at the moment than it is about book sales or interest?

Joanna: Yes, I think you're right. Coming to that question —

What's the worst that can happen?

With a Kickstarter, the worst that can happen is you don't fund, and as you said, you have to figure out a different way of publishing. Sure, it's pretty embarrassing, but hey, you can mitigate that by putting a really low number on your funding. You know, even now, I do.

I think what's interesting, you said this earlier, that part of being creative is this unpredictable nature, and that is why we do it. As you say, if we wanted a repeatable monthly career, like in accounting or bookkeeping, that kind of monthly, it's the same every month, and that's not what we do.

If there wasn't a level of on predictability, then I guess we would be bored, and we wouldn't do this. I mean, one of the reasons people stop writing books in a series and they move to another series, or they change genre, is because they get bored.

I think embracing the unpredictable nature of creativity is part of the fun.

Caroline: I think we just have to remind ourselves that sometimes. One thing, this is a really weird neurological trick, is that the physiological symptoms of anxiety and fear and the physiological symptoms of excitement are quite similar . Sometimes you can reroute it because the nerves are actually quite close together that fire when this happens.

So I had a psychologist once say, “You know, you can get it to jump the track if when you're feeling all of that pent up anxiety and excitement, to just say over and over, ‘I'm excited. I'm excited. I'm excited.'” Like, what if this is really about you being super excited about the Kickstarter, rather than scared?

Joanna: Yes, that actually used to come up in professional speaking, and most people are more scared of speaking in public than they are of dying.

Caroline: They're more scared speaking in public than anything, like literally anything. They'd rather get their leg torn off than speak in public.

Joanna: When I did my training more than a decade ago, I remember — 

One of my professional speaking teachers used to say, “It's not about getting rid of the butterflies, it's about getting them to fly in formation,” so harnessing the butterflies.

When I'm about to speak, I still get a bad stomach, and I need the toilet every five minutes, and all of this kind of stuff. I still feel very, very nervous, but I try and reframe it, as you say, as excitement.

It's interesting because with speaking, you've got that moment when you're going to step onto a stage. So I guess for authors, it could be pressing like the launch button on Kickstarter, which actually is a launch button, which is different to setting up a pre-order, which isn't quite so scary. I guess sending off a pitch letter, for example. Again, when you do that with publishing, there's more of a time delay, right?

Caroline: Yes, yes.

Joanna: When we're speaking, it's like, there's the stage.

You're either on stage or you're not.

Caroline: Exactly, and it's so clearly defined, so I think it's easier to deal with. The thing with writing is that there is a lot of lurchy process. There's a lot of hurry up and wait.

I spent months writing this draft, then I went through the process of edits, then I went through the process of a cover designer, giving notes, all of this, and then formatting all the files and getting them uploaded everywhere. That's all a lot of busy work. Then it goes out, and you just have to wait and see.

I mean, you keep talking about the book, you share it, but there's really a point when you have to let go of control . I think that in many cases, at least for me, is the scariest part. Having to just sit and wait and be patient, and not know exactly how it's going to go and not be able to do something constantly to influence that.

Joanna: Yes, well, coming to changing things later and the business side of things. This is interesting because you rebranded that first book, and you re-covered it to match this new release.

Tell us about why you rebranded the first book and the challenges of changing a book title and a book cover.

Caroline: Yes, I decided to rebrand the book, which came out as Story Arcana in 2019 because—this is one of those, why was this not completely obvious to you, Caroline—I subsequently launched a course also called Story Arcana, and then wondered why people were getting confused as to what content was included in the course and what content was included in the book.

They are quite different, so I was having to explain this constantly. So when this book was going to come out, I thought it would be really nice to have a cohesive look for a series of books . I've always admired your cohesive look on your series of guides for writers.

So I thought, okay, this is my chance to do that, and this is also my chance to really make it clear that this book is different than the course, and yet related . They're all related to tarot, but there are different content in each piece. So that was the original thought process.

Then I wanted to dive into a look that felt more reflective of the Tarot aspect . So it was fun to get a cover designer to share the look and feel that I wanted. I wanted it to feel a little bit like a tarot card, and yet be linked in some ways to the brand that I have.

She used the same font for my name that I have on my website so that it was all sort of connected. I just wanted something that stood out more and that stood out as a unit. It ended up being a really satisfying process.

Joanna: So what are the challenges of doing it, though? I mean, like practicalities? I've done this multiple times, but people always are like, “Oh, my goodness, how do you do that? Don't you lose all your reviews on the first book?” What were some of the more technical challenges?

Caroline: Oh, yes. What my big fear was, if we're going into the fears, was that somebody would buy the book titled The Author's Journey , get it, and then say, “This is just like the book I have already. What is this?”

One of the technical challenges was figuring out how to be very clear. So I put it on the copyright page, “This is a second edition.”

I have it listed as the second edition on all of the sites. So I had to find places to mention that it was a second edition, that it had been formerly published under this title. I wanted to be really transparent about that. So that was one of the challenges.

I think I was okay with losing the reviews because I just wanted to start fresh, and I just wanted it to feel different. So yes, you do go back to zero with those, but I was confident that those who had read the new book would then possibly want to read the old book or would just be able to jump over to that, and that it would just take care of itself over time.

Joanna: Okay, well, that is interesting because you don't have to lose your reviews if you upload the files into the same Kindle. You do have to publish a new print book. With Stone of Fire , there's reviews on there from when it was called Pentecost , originally.

So all I've done with the Kindle, and we're just talking about Amazon, but all the sites are the same, with the Kindle book you can just change the title, you can change the author name, you can change pretty much everything. You can upload a new cover, upload a new file.

Print books, as you said, you have to upload a new print book. What I found is, because most of my reviews were on the Kindle book anyway, when you link a new print edition, it just links up like that. You have to use a new print book when you do all of that new. So you don't have to lose it, but as you said, you were happy starting again. I think there's a difference between deciding it's a completely new edition, which is different to a new cover, basically.

Caroline: I didn't want to mislead anyone, but I also changed the cover to increase discoverability. I now had people who were willing to blurb the book, so I wanted people to see a cover with those on it. I was hoping that this wasn't about a pretty new addition for the existing reader, but that this would increase discoverability for additional readers.

Then the other bit was that previously I did all my distribution through Ingram, and this time I distributed through Amazon separately, in addition to doing distribution through Ingram.

Joanna: Okay, for your print. So you did eBooks through Ingram before?

Caroline: I did. Now, I have done again, just because I do not have this sort of enthusiasm that you have to separately go to Kobo, and Nook, and all of these places to upload files . I was like, it's okay with me, it's going go to all of them under that umbrella. I haven't gone quite as wide, but I sort of shift that as I go. That was part of the reason as well, was that I had not gone through KDP the first time, and now I have.

Joanna: That makes sense. This is also interesting, it kind of circles back to the beginning.

You didn't do it wrong. You did it the way you wanted to do it at the time.

Caroline: Yes.

Joanna: Then you changed your mind later on , and you wrote another book, and it emerged, and thus it became something different, and so you changed it. This is the magic, right? This is the magic of being in control. You can do whatever the hell you want. Yay!

Caroline: Yes, and that has been really great. I could dip my toe in and do what I was comfortable with in 2019. I've learned a lot since then, and I was excited to apply it, and so that's what I did.

Joanna: Well, then on that—

Are you narrating the audiobook?

Caroline: That has been a fun question to consider because given that, and I'm sure you face this conundrum as well, given that I have a voice that people know from the podcast, I feel like I want to narrate it myself.

I have had someone offer to narrate it who has a lovely voice, and I have been going back and forth about that. I think in the end, I will probably do it myself, just because I feel like podcast listeners would expect my voice as part of it.

I think that with fiction, I do not plan to narrate my own fiction because I have a limited range of voices I can do, but most of them are impersonating my cats. I don't think anyone wants to hear a murder mystery with cat voices.

Joanna: I don't know. Cozy cat mystery is a thing.

Caroline: It is, but that's not what I write. So, sadly, there's a mismatch on that one. I think part of it is mostly just having the personal bandwidth to go back in and do this . So I think the audiobook is probably going to have to wait until the fall because I've got a novel up on deck to finish this summer.

I'm so excited to get back into that, that I don't want any distractions from it. So I think the audiobook is maybe going to come out later this year.

Joanna: Yes, I think it's a good choice to narrate it when it's nonfiction, when it's like a personal book, when you have a podcast and you're used to doing audio . All of those are very good reasons.

So coming to the podcast, you are currently on season 10 of The Secret Library Podcast, which is great. People should go listen to that. You have recently moved to Substack as a platform.

Could you comment on podcasting and Substack as a platform?

As marketing platforms for new authors or for existing creators who are thinking about different options?

Caroline: Yes, absolutely. Well, there were many reasons why I wanted to bring the podcast over to Substack. I had spoken to a number of creatives who had done so and had had a positive experience.

I think that one of the first reasons was the sort of justification, or the original logic of creating the podcast, was to build a community around the topic, and also to build a community resource for writers.

I had done a lot of bizarre things which I don't recommend, like I don't recommend having multiple Substacks that are separate publications. I think that the sections feature is a better way to go. So at the end of 2023, I just decided I wanted one Substack to rule them all, which is now called Book Alchemy .

So podcast episodes go live, but I also write longer form, or not always longer form, but different reflections on writing life that feels like a blog. I very much enjoy that. So I wanted those two to live together, and I wanted there to be an opportunity for people to comment and to just have more conversation around the process.

As a podcaster, it can feel quite weird and lonely to just record a bunch of stuff and put it out there . Then people would write back to newsletters and such and say how much it meant to them, but there isn't really a dialogue around the content. So part of moving to Substack was around wanting that conversation to happen.

That hasn't entirely developed yet because I think after nine years of doing this podcast, people are really used to being subscribed in their podcast app, and they listen when a show shows up, but they are not really trained. I never really encouraged or trained them to click through to the show notes and interact. So I think that has been a slower process.

I think it's more about encouraging people already on Substack to listen and then be in the conversation there. The people who read my articles are very eager to have comments and chat, and we go back and forth all the time. I love it. So that has been really nice. It's just about getting the podcast into that headspace as well.

Joanna: Do you think your book sales are primarily from your existing audience? Or—

Have you found that Substack has been useful for the book launches as well?

Caroline: I think it has, in that I have done some things, like currently as we as we record this, I have a book giveaway open. So I'm going to give away three books in a couple of days, and they're open to anyone who is an annual subscriber to my Substack. So I'll be drawing.

So it's sort of like, if you're a member, you're entered into this drawing. I plan to continue that practice because it's really fun. With people who are on the podcast who have books coming out, we can do book giveaways for their books and such. So that's been really fun.

People are really eager to reshare this kind of thing. If you have an event like that going, people are happy to share. It's just a really nice supportive community that I've found in my corner of Substack, specifically.

Joanna: That's great.

Where can people find Writing Through Fear , and your Substack, and the podcast, and everything you do online?

Caroline: Absolutely. I think the easiest place to go is CarolineDonahue.com . You can find the book page, there is a handy-dandy banner at the top that you can click on to get to the book order page.

The book is available on Amazon pretty much everywhere. It's on Kobo all over the world. It's at Barnes and Noble. Many, many outlets. There is a page for the book when you click through, and it has all of the places that are currently available in pretty much every English language market. So that is there.

Then the Substack is at book-alchemy.com . You can get to the podcast at SecretLibraryPodcast.com . It'll forward you right to the podcast page, but you can search for the podcast on pretty much any podcast player and it's there.

Joanna: Fantastic. Well, thanks so much for your time, Caroline. That was great.

Caroline: Thank you so much for having me. It's always a joy to talk to you.

Reader Interactions

June 17, 2024 at 4:32 pm

Hi Jo! In regards to permissions, I received a flat out rejection from a pirate museum to publish a picture of an artifact for the end notes of my MG adventure novel. I sat there scratching my head over the missed opportunity for FREE MARKETING for this business!

June 17, 2024 at 4:33 pm

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• Grades 6-12
• School Leaders

100 Last-Day-of-School Activities Your Students Will Love!

101 Exciting 4th Grade Writing Prompts for 2023 (Free Printable!)

Use them for journal writing, essay topics, and more!

Fourth grade is a time for students to continue to hone their writing chops as they put to use the skills they’ve learned and gain confidence in their abilities. We’ve collected this list of fourth grade writing prompts—including opinion, persuasive, informational, and narrative—to spur your students’ imaginations and get them writing!

You can get 50 of these fourth grade writing prompts in a free PowerPoint slideshow bundle! They make it easy to share these writing ideas with your students.  Grab your free PowerPoint bundle by submitting your email here .

• Persuasive and Opinion Writing Prompts
• Descriptive and Expository Writing Prompts
• Narrative and Personal Writing Prompts
• Creative Writing Prompts
• Current Events Writing Prompts

Persuasive and Opinion 4th Grade Writing Prompts

Would you rather be good at sports or good in school? Why?

Would you rather have lots of money or lots of friends? Why?

What is your favorite subject in school? Why?

Are fourth graders ready to stay home alone? Why or why not?

Name two characters from different books that you think might be good friends. Why?

Which is more important for success, skill or luck?

Should kids be paid an allowance to do chores around the house? Why or why not?

Why are classroom rules important?

If you had a time machine, what era of history would you visit?

Why is math important?

Why is science important?

Should fourth graders have cell phones? Why or why not?

If you could open a store, what type of store would it be and why?

Which would you rather read: a scary story that gives you goosebumps or a funny story that cracks you up? Why?

What is the hardest thing about being a fourth grader?

If I were the ruler of the world, the first law I would pass would be … because …

If you found a backpack filled with dollar bills, what would you do?

Is it ever OK to tell secrets? Why or why not?

What animal makes the best pet? Why?

Is it better to spend an hour a day reading or an hour a day exercising? Why?

Descriptive and Expository 4th Grade Writing Prompts

If you had a YouTube channel, what would you talk about?

What’s the best book you’ve read recently? What was it all about?

If you won a million dollars, how would you spend the money?

Describe what you think of as perfect weather.

Describe how to build a birdhouse step by step.

Write five rules for staying organized.

What is the worst book you ever read?

Describe the physical appearance of someone in your family in detail.

Imagine you are in a hot-air balloon above your house. Describe everything you can see.

Describe how to play your favorite board game.

There’s an old saying: “The squeaky wheel gets the grease.” What do you think this saying means?

Describe your perfect day.

One of your little cousins is very nervous about starting kindergarten. What would you tell them to make them feel better?

Imagine you are an adult and describe your dream job.

Explain your morning routine in detail, from waking up to arriving at school.

Describe the perfect meal, including what you’d eat and where you’d dine.

Share what you do on a typical non-school day.

Explain the right way to do one of your household chores, like making your bed or cleaning your room.

Describe your favorite room at home in detail.

How do you prepare for a big test? Describe the ways you study or practice.

Narrative and Personal 4th Grade Writing Prompts

Share one of the stories your family has told you about when you were a baby.

What is the funniest thing that has ever happened to you?

Write about an adult you look up to.

What’s the nicest thing anybody has ever done for you?

If you could change one thing about yourself, what would it be?

Write about a time you felt like quitting but didn’t. How did you keep yourself going?

Do you like nonfiction books or fiction books better? Why?

What makes your family unique?

What would you say is your greatest strength? Greatest weakness?

Are you a patient person? Why or why not?

What is something you’ve never done that you would like to try?

What is the weirdest thing that has ever happened to you?

Write about a time you tried something new and how you felt before, during, and after.

What is your earliest memory?

What’s your favorite holiday? What makes it so special?

Write about a time when you felt proud of yourself.

Tell the story of your favorite field trip of all time.

If you could relive any day in your life, what would it be? Would you want it to be the same or different?

What holiday is important to your family? Describe how you celebrate it together.

What’s the best gift you’ve ever gotten? How did it make you feel?

Creative 4th Grade Writing Prompts

If you met an alien, what three questions would you ask them?

Pretend you drank a magic potion that made you as tiny as an ant. Where would you go and what would you do?

Pretend you ate a magic pill that made you as tall as a redwood tree. Where would you go and what would you do?

Write a story that includes these five words: keys, spaghetti, uncle, jellyfish, spaceship.

What would the world be like if dinosaurs still existed?

If you could invent something new the world really needs, what would it be? How would it work?

Retell a classic story, making the villain the hero instead.

Imagine that one day you woke up and found everyone in the world could no longer talk. What would happen next?

Write a new chapter of your favorite book, with yourself as a new character.

Imagine you woke up one morning with a superpower, like invisibility or the ability to fly. Describe your experiences learning how to use that power.

Use these words to start a story: “When I opened the box that came in the mail, I never expected to find …”

Describe a world where it rains fruit juice and snows M&Ms.

Come up with the most ridiculous excuse possible for why you are unable to turn in your homework today.

Describe a world where all the adults are robots, but kids are still human kids.

Imagine a conversation between yourself and a talking animal.

Describe the kind of creature you’d create if you were a mad scientist. Would it be scary and mean? Nice and friendly?

Invent a new kind of candy. Give it a name, and write a commercial jingle for it.

Write about a day where kids are in charge instead of grown-ups.

Imagine you’re lost in a haunted wood, and tell the story of your escape.

Tell a story that ends with these words: “… and that’s how we all learned to fly.”

Describe a night in the life of the tooth fairy.

Current Events 4th Grade Writing Prompts

If you made a time capsule for this year, what would you put in it?

Describe something that you saw in the news recently and how it made you feel.

Tell about an event that happened recently at your school or in your town.

What do you think is one of the world’s biggest problems right now, and how would you solve it?

Read a news story about something happening in another country and summarize it.

Write a news article about something important that happened to you this week.

Create a poem about something in the local news right now.

Write a letter to the editor about a current issue, explaining your opinion.

Find a “good news” story, and share why it makes you happy.

What living famous person do you most admire and why?

What do you think kids today can do about climate change and global warming?

Learn about an endangered animal, and describe what we can do to help it.

What does the word “racism” mean to you?

What is one thing you would do to make your school or town a better place?

Choose an upcoming sports event, and explain who you think will win.

Describe a current fashion trend or something that’s very popular in your school right now, and how you feel about it.

What can we do to help people with different opinions get along with one another better?

Interview a grown-up you know, and write a news article about them.

What do you think is the best new song right now? The worst? Why?

Describe an event that’s happening in the world right now that you don’t understand. What questions would you ask a grown-up about it?

How do you use writing prompts with your students? Come share your ideas and ask for advice in the We Are Teachers HELPLINE group on Facebook .

Also check out 57 awesome 4th grade books you’ll want to share with students ..

You Might Also Like

75 Creative Fifth Grade Writing Prompts (Free Slides!)

Get them excited to write every day! Continue Reading

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• Major, Minor, and Modified Major

Honors in English - Literary Studies

Honors in English allows students to work on a critical thesis in their chosen periods or areas of theoretical focus during their senior year, under the guidance of a faculty advisor.

Students are eligible if they meet the following requirements:

•have completed at least six major courses by the end of their junior year, and

•have a grade point average (GPA) in the major of 3.5 or higher, and an overall college GPA of 3.0 or higher.

Students apply by submitting the Literary Studies Honors Application 2024-25 to the Department Administrator and Vice-Chair. For the 2024-25 honors cohort, this application is due May 10, 2024.

For 2024-25 there is an Honors Seminar, ENGL 097 , which students enrolled in classes in 24F on campus are required to take . This course will be mandatory for the honors sequence beginning in 2025-26. ENGL 97 will count as one of the eleven courses in the major.

The thesis is to be completed during two terms of ENGL 98 and ENGL 99. ENGL 99 constitutes a twelfth course in the major.

Students must satisfy two further requirements in order to graduate with Honors in English:

•must complete a senior-level seminar in English and Creative Writing (ENGL 71-75) prior to the first term of ENGL 98/99 or advanced workshop (CRWT 60, 61, or 62) before CRWT 98/99, and

•must satisfy the theory requirement of the major (Course Group IV) before the term in which they complete the Honors thesis and submit it for evaluation.

For more information, including sample proposals, deadlines, and advice, please consult the Directors of English and Creative Writing Honors and the  Guide to Honors  in the department of English and Creative Writing.

2023-2024 Honors Directors: Professors George Edmondson and Matthew Ritger

2024 Honors Director: Professor Matthew Ritger

The Literary Studies Honors Application 2024-25 is to be submitted to the Department Administrator and Vice Chair no later than 4 PM on May 10, 2024.