is english language creative writing

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

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

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

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

What Is Creative Writing (Long Description)?

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

Table of Contents

Let’s expand on that definition a bit.

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

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

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

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

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

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

Types of Creative Writing

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

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

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

Short stories are known for their brevity.

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

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

Novels (The Long Journey)

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

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

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

Readers get an immersive experience.

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

Poetry (The Soul’s Language)

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

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

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

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

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

Plays (The Dramatic Dialogue)

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

This format uniquely explores human relationships and societal issues.

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

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

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

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

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

Memoirs (The Personal Journey)

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

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

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

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

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

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

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

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

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

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

Creative nonfiction includes biographies, essays, and travelogues.

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

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

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

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

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

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

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

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

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

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

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

Clarity makes your writing understandable and accessible.

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

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

Coherence ensures your writing flows logically.

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

Conciseness

Conciseness is about expressing ideas succinctly.

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

Creativity is the heart of creative writing.

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

Consistency

Consistency maintains a uniform tone, style, and voice.

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

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

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

Exploring complex characters and themes is also key.

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

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

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

What Does a Creative Writer Do?

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

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

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

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

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

They may navigate the publishing world with agents and editors.

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

How to Get Started With Creative Writing?

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

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

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

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

Final Thoughts: What Is Creative Writing?

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

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

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)

Elements of Creative Writing

(3 reviews)

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 Colin Rafferty, Professor, University of Mary Washington on 8/2/24

Fantastically thorough. By using three different authors, one for each genre of creative writing, the textbook allows for a wider diversity of thought and theory on writing as a whole, while still providing a solid grounding in the basics of each... read more

Comprehensiveness rating: 5 see less

Fantastically thorough. By using three different authors, one for each genre of creative writing, the textbook allows for a wider diversity of thought and theory on writing as a whole, while still providing a solid grounding in the basics of each genre. The included links to referred texts also builds in an automatic, OER-based anthology for students. Terms are not only defined clearly, but also their utility is explained--here's what assonance can actually do in a poem, rather than simply "it's repeated vowel sounds,"

Content Accuracy rating: 5

Calling the content "accurate" requires a suspension of the notion that art and writing aren't subjective; instead, it might be more useful to judge the content on the potential usefulness to students, in which case it' s quite accurate. Reading this, I often found myself nodding in agreement with the authors' suggestions for considering published work and discussing workshop material, and their prompts for generating creative writing feel full of potential. It's as error-free, if not more so, than most OER textbooks (which is to say: a few typos here and there) and a surprising number of trade publications. It's not unbiased, per se--after all, these are literary magazine editors writing the textbook and often explaining what it is about a given piece of writing that they find (or do not find) engaging and admirable--but unbiased isn't necessarily a quantity one looks for in creative writing textbooks.

Relevance/Longevity rating: 4

The thing about creative writing is that they keep making more of it, so eventually the anthology elements of this textbook will be less "look what's getting published these days" and more "look what was getting published back then," but the structure of the textbook should allow for substitution and replacement (that said, if UNI pulls funding for NAR, as too many universities are doing these days, then the bigger concern is about the archive vanishing). The more rhetorical elements of the textbook are solid, and should be useful to students and faculty for a long time.

Clarity rating: 5

Very clear, straightforward prose, and perhaps more importantly, there's a sense of each author that emerges in each section, demonstrating to students that writing, especially creative writing, comes from a person. As noted above, any technical jargon is not only explained, but also discussed, meaning that how and why one might use any particular literary technique are emphasized over simply rote memorization of terms.

Consistency rating: 4

It's consistent within each section, but the voice and approach change with each genre. This is a strength, not a weakness, and allows the textbook to avoid the one-size-fits-all approach of single-author creative writing textbooks. There are different "try this" exercises for each genre that strike me as calibrated to impress the facets of that particular genre on the student.

Modularity rating: 5

The three-part structure of the book allows teachers to start wherever they like, genre-wise. While the internal structure of each section does build upon and refer back to earlier chapters, that seems more like an advantage than a disadvantage. Honestly, there's probably enough flexibility built into the textbook that even the callbacks could be glossed over quickly enough in the classroom.

Organization/Structure/Flow rating: 5

Chapters within each genre section build upon each other, starting with basics and developing the complexity and different elements of that genre. The textbook's overall organization allows some flexibility in terms of starting with fiction, poetry, or nonfiction.

Interface rating: 4

Easy to navigate. I particularly like the way that links for the anthology work in the nonfiction section (clearly appearing at the side of the text in addition to within it) and would like to see that consistently applied throughout.

Grammatical Errors rating: 5

A few typos here and there, but you know what else generally has a few typos here and there? Expensive physical textbooks.

Cultural Relevance rating: 5

The anthology covers a diverse array of authors and cultural identities, and the textbook authors are not only conscious of their importance but also discuss how those identities affect decisions that the authors might have made, even on a formal level. If you find an underrepresented group missing, it should be easy enough to supplement this textbook with a poem/essay/story.

Very excited to use this in my Intro to CW classes--unlike other OERs that I've used for the field, this one feels like it could compete with the physical textbooks head-to-head. Other textbooks have felt more like a trade-off between content and cost.

Reviewed by Jeanne Cosmos, Adjunct Faculty, Massachusetts Bay Community College on 7/7/24

Direct language and concrete examples & Case Studies. read more

Direct language and concrete examples & Case Studies.

References to literature and writers- on track.

Relevance/Longevity rating: 5

On point for support to assist writers and creative process.

Direct language and easy to read.

First person to third person. Too informal in many areas of the text.

Units are readily accessible.

Process of creative writing and prompts- scaffold areas of learning for students.

Interface rating: 5

No issues found.

The book is accurate in this regard.

Cultural Relevance rating: 4

Always could be revised and better.

Yes. Textbook font is not academic and spacing - also not academic. A bit too primary. Suggest- Times New Roman 12- point font & a space plus - Some of the language and examples too informal and the tone of lst person would be more effective if - direct and not so 'chummy' as author references his personal recollections. Not effective.

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.

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

The book is relevant and up-to-date.

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.

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

Topics are presented in logical, clear fashion.

Navigation is good.

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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11 Creative Writing Techniques

Learn how to add pizzazz to any type of writing.

The articles below show you how to use creative writing tools in fiction or non-fiction. Each article features a series of examples so it becomes easier to apply the technique.

List of creative writing techniques

Click the links below to go to a specific section:

Personification

Show don’t tell

Repetition in writing

Contrast in writing

The rule of three in writing

Parallelism

1. Metaphors

Learn how to use metaphors and get inspired by these examples …

Learn how to use metaphors >>

Metaphor examples >>

Get inspired by over 10 simile examples by various authors …

Simile examples >>

3. Analogies

Get inspired by these analogy examples …

Analogy examples >>

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Get inspired by these imagery examples …

Imagery examples >>

5. Personification

Learn how to use personification to make your writing sparkle …

Personification examples >>

6. Show don’t tell

Get inspired by these examples of “show, don’t tell” …

Show don’t tell examples >>

7. Repetition in writing

Get inspired by these examples of word repetition …

Examples of repetition in writing >>

8. Contrast in writing

Discover how to use contrast in your writing …

Examples of contrast in writing >>

9. The rule of 3 in writing

Get inspired by these examples of the rule of 3 …

The rule of 3 in writing >>

10. Parallelism in writing

Get inspired by these examples of the parallelism …

Parallelism examples >>

11. Switch the point of view (POV)

Discover how to switch the point of view …

Point of view examples >>

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What is Creative Writing? | An Introduction for Students

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.

What is creative writing?

As the name suggests, creative writing is a form of writing that goes beyond the traditional realms of normal, professional, academic or technical forms of writing.

Instead, it encompasses a number of different genres and styles across a whole range of fields of both fictional and non-fiction writing; storytelling, playwriting, poetry, prose, journalistic, and more.

Though the definition can be quite vague, creative writing can, for the most part, be considered as any type of writing that is original and expressive of oneself. Typically, it can be identified by an emphasis on narrative craft, focusing on elements such as character development, narrative and plot, infusing its structure with imagination, invention and story.

In this sense, creative writing can technically be considered any writing of contemporary, original composition - it's bound by no standard conventions and uses a whole range of elements in its craft.

In an academic setting, creative writing is typically divided into fiction, poetry, or scriptwriting classes, with a focus on writing in an original style, not defined by pre-existing structures and genres.

What are the different types of creative writing?

Creative writing comes in many forms, encompassing a number 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

What makes a good piece of creative writing?

First and foremost, it’s important to note that there is no pre-defined description of what it means to create a ‘good’ piece of creative writing. As the very name suggests, creative writing is an imaginative process, created by the individual with all their quirks and personalities.

Creative writing doesn’t fit one set genre and therefore there will never be an umbrella definition to describe the ‘perfect’ piece. Just think about a Gothic short story and then compare it to the features of a great Romantic poem - the two are so very different - it wouldn’t be unfair to judge them together.

However, with that being said, there are a few general principles that you can follow to make your creative writing as strong as it can be - by making it as authentic and true to you as possible:

• Know your audience - All great stories begin with a target audience in mind - because it’s exactly what you need to know in order to really tailor your writing and connect with them. Therefore, any creative writer should begin their writing by plotting out exactly who they want to read their work. Once you have this in mind, your writing will naturally begin to take direction and flow in a way that seems appropriate to your audience.
• Write what you know - Quite often, the best stories are those which we can connect to and relate in one or another way to our own lives. Or, they’re stories which seem to authentic that you could imagine it to be about the writer’s own life. Now, this doesn’t mean that you quite literally have to write about your life, but drawing on knowledge you have about different elements of our lives to give your story some authenticity and more believability.
• Creativity is key - Creativity is one of the most important elements of creative writing. It’s what sets you apart from other pieces of writing in your genre. Of course, this doesn't demand that you write a tale about a totally fantastical and mythical world with unique creatures - but simply use your creativity to think a little outside the box and put a unique twist on things; using literary devices like metaphors, alliteration, and varied sentence structure to make your work unique and interesting.
• Push your imagination - One of the great things about creative writing is that there is no definition or rules on ‘how’ to write. It’s a much more subjective genre and one which relies heavily on your own interpretations. Therefore, you should push your imagination to the limits to see what the end result could be. Some of the most interesting pieces of literature are thought-provoking or make us question the writing or world around us - where could your story take us?
• Plot a loose story arc - Despite the loose bounds of creative writing, it is still advisable to plot a loose story arc for any piece of literature you create. Story arcs are critical at giving your writing direction and purpose, helping you to write the whole piece at a good pace, without writing any superfluous content or ‘waffle.’ Follow your story arc, and your writing will have a strong structure, pace and direction - keeping your readers more engaged.

What are some techniques used in creative writing?

To make their writing stand out, writers often employ several creative writing techniques and literary devices, including:

• Character development - The process of creating a well-rounded, realistic character with depth, personality, and clear goals or motivations.
• Plot development - The story of your piece of writing - how it develops, unfolds, and moves along in time.
• Point of view - The perspective from which a narrative is told. It indicates who is telling the story and how the information is conveyed to the reader. Quite often writers will play with the point of view of the central character or protagonist to trick the reader and twist their perspective.
• Dialogue - Refers to the speech and conversations characters use to speak to one another. Dialogue and the language choices a character makes can be pivotal in helping define their personality.
• Literary devices - Such as metaphors, similes and alliteration to make creative writing more imaginative and descriptive. These are used in a myriad of ways by writers to make their writing more vivid, interesting and engaging.

Can creative writing be taught?

Of course! Creative writing can be taught, and is a very popular subject for university students, and for those who attend our summer courses.

Those who pursue the subject of Creative Writing will typically study a variety of texts from different periods of time to learn more about the different genres of writing within the field. They’ll become familiar with some of the leading creative writers from generations past to present, as well as some lesser-known and emerging writers in the industry.

Inspired by what they’ve learnt in the classroom, it’s not uncommon for Creative Writing students to also participate in regular workshops and scratch sessions, where they bring a piece of their writing along to class and have it read by other students and the tutor. They’ll leave with constructive feedback on how to improve their writing, or recommendations of other works which they may want to read to take influence from.

How to start creative writing

If you’re interested in getting those creative juices flowing and improving your writing craft, read some of our tips below on how to start creative writing:

• Read as much as you can - For creative writers, inspiration comes from a whole range of sources, but most commonly, from other writers. There’s some excellent examples of creative writing throughout history that all writers should be inspired by. Read a variety of genres by different authors to get a real feel for what type of writing you may want to do. Need some inspiration? Check out our blog: 15 Classic Books to Read
• Start journaling - Starting a journal can really help to unleash your inner creativity. Getting into the habit of writing each day about literally anything that’s preoccupied you that day will help you practice the art of writing. The more regularly you journal, the more you’ll build your confidence. You never know, you could even find your next great idea from something you’ve journaled about!
• Attend a Creative Writing summer course - If you’re just starting out as a creative writer and looking to collaborate, share ideas with others and workshop your writing, then joining a creative writing summer school could be a great option. Our creative writing summer courses are designed to help you extend your creative writing toolkit; you’ll analyse some of the industry’s greatest writers, as well as workshop some of your own writing with your peers.
• Practice using literary devices - Literary devices, such as metaphors, similes and rhyme can really help you write more vividly and create really descriptive, imaginative scenes. Practice using them regularly and you’ll soon watch your own creative writing start to flourish. Need some ideas to help you get practising? Look around your house and pick a random object. Then, practice using 5 literary devices to describe that same object - see where your creativity can take you!
• Write, write, write! - When it comes to how to start creative writing, one of the biggest pieces of advice we can offer is to pick up your pen or laptop, and start writing. Whether you have a single conversation starter for a character, or a complete narrative arc, you will only begin your creative writing journey when you physically do it. Even if you have no idea on what to write - look for writing prompt inspiration from all around you. The more you practice unleashing your creativity, the easier it will be to write over longer periods of time.

Frequently Asked Questions (FAQs)

What age groups are the oxford summer courses designed for.

Our courses cater to students aged 9-24, with tailored programs to suit different age groups and academic levels.

What is included in the Oxford Summer Courses?

Our comprehensive summer courses include all teaching and academic content, accommodation, meals (including formal dinners), a prize-giving ceremony, all-day trips and activities, airport transfers, travel and medical insurance, and a welcome pack.

Can international students apply for the courses?

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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.

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GCSE English language: 10+ tips for creative writing

On paper creative writing should be one of the easiest parts of the English language GCSE but you're not alone if you're finding it tricky.

Creative Writing in GCSE exams can take various forms: You may have to tell an entire short story or you could be asked to write a description of a picture.

Here's some top tips when it comes to dealing with your creative writing headaches...

Understanding the Exam Format

First and foremost, it's essential to familiarise yourself with the GCSE English Language exam format. Creative writing usually forms a significant part of the assessment, often as part of a coursework component or in a specific section of the exam. Knowing what is expected in terms of length, format, and content can significantly boost your confidence and performance.

Reading Widely

One of the best ways to enhance your creative writing skills is to read a diverse range of literature. This exposure helps you understand different writing styles, narrative techniques, and genres. By reading extensively, you can develop a sense of what makes a story engaging and learn how to incorporate these elements into your own writing.

Practising Writing Regularly

Consistent practice is key in improving your writing skills. Try to write something every day, whether it's a short story, a descriptive piece, or even just a diary entry. This not only helps improve your writing style and vocabulary but also keeps your creative juices flowing.

Answer The Question

Read it VERY carefully because your answer will only be marked in the context of what was actually asked in the first place, regardless of how well written your piece may have been. Pay special attention to the type of creative writing you're asked to come up with and it's audience (see more below).

Developing Strong Characters and Settings

In creative writing, characters and settings are the heart of your story. Spend time developing characters who are believable and relatable. Similarly, create settings that are vivid and contribute to the mood of the story. Using descriptive language and sensory details can bring your characters and settings to life.

READ MORE: > 10+ GCSE creative writing ideas, prompts and plot lines

Mastering Narrative Structure

A good story has a clear structure - a beginning, middle, and end. The beginning should hook the reader, the middle should build the story, and the end should provide a satisfying conclusion. Think about the plot and how you can weave tension, conflict, and resolution into your narrative.

Showing, Not Telling

'Show, don’t tell' is a golden rule in creative writing. Instead of simply telling the reader what is happening, show them through actions, thoughts, senses, and feelings. For example, rather than simply telling the reader a character is tall, show them that in your writing: "He towered above me like a skyscraper." This approach makes your writing more engaging and immersive.

Take Inspiration From Real Life

Write more convincingly by taking inspiration from your real life experiences and feelings, embellishing where necessary.

Go Out of This World

If you're given a prompt to write the opening of a story involving a storm, it doesn't need to be a storm on earth. Going out of this world allows you to be really descriptive in your language and paint a picture of a completely unique world or species.

Varying Sentence Structure and Vocabulary

Using a range of sentence structures and a rich vocabulary can make your writing more interesting and dynamic. Avoid repetition of words and phrases, and try to use descriptive language that paints a picture for the reader. Consider the senses such as what you might hear, smell, feel or taste.

Don't Leave The Ending To The, Well, End

Some pieces will lend themselves to a nice, easy ending - and in some questions, the ending may even be provided for you - but other times it's not so simple to stop. When it comes to fictional stories, it may well be easier to plan your ending first and work backwards, you don't want to end on a whimper, in a rush or with leftover loose ends from the plot.

Editing and Proofreading

A vital part of writing is reviewing and refining your work. Always leave time to edit and proofread your writing. Look out for common errors like spelling mistakes, grammatical errors, and punctuation issues. Also, consider whether your writing flows logically and whether there's anything you can improve in terms of language and style.

Seeking Feedback

Don’t be afraid to ask teachers, friends, or family members for feedback on your writing. Constructive criticism can provide new perspectives and ideas that can help you improve your writing significantly.

Staying Calm and Confident

Lastly, it's important to stay calm and confident during your exam. Stress and anxiety can hinder your creativity and writing ability. Practice relaxation techniques and believe in your preparation to help you stay focused and composed during the exam.

Remember, creative writing is an opportunity to express yourself and let your imagination run wild. With these tips and consistent practice, you can excel in your GCSE English Language creative writing exam look forward to results day and enjoy the process of crafting your own unique stories.

Thomas Brella is the founder of Student Hacks, starting the website in 2013 while studying at the University of Brighton to share tips and tricks on life as a cash-strapped student. He's now spent over 10 years scoping out the best ways to live on a budget

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9 Creative English Writing Exercises

Think about all the different things we write: Social media posts, school assignments, work reports, text messages, emails and so on.

There’s no getting away from writing! That’s why learning to write in English is just as important as learning to speak.

In the age of the internet, it may seem strange to focus on writing when everyone can write however they want online. But not all the writing you do will be online or in informal English .

That just makes it even more important to learn how to write properly. In order to break the rules, you first need to learn them!

What’s more, writing in English helps you improve many other language skills. So here are nine fun English writing exercises to help you practice!

1. Vocabulary story

2. picture story, 3. structured summary, 4. devil’s advocate, 5. idiom soup, 6. it was a dark and stormy night, 7. story of my life, 8. how to breathe, 9. the silly job interview, how writing improves your english skills, and one more thing....

Download: This blog post is available as a convenient and portable PDF that you can take anywhere. Click here to get a copy. (Download)

Do you have a list of English words you’re learning? If you do, great! If you don’t, grab one from here  or here .

Now, write a story using as many of the words on the list as you can. Aim to include 10-20 words in your story, depending on how much time you have for this exercise.

Have some fun with it and try to get the finished story to make sense!

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When your story is finished, you can share it with friends or on a blog. Encourage readers to point out any mistakes you made.

What you’ll learn:

This exercise will help you better understand and remember vocabulary words for a number of reasons. Here are a few:

• Using words in a sentence helps you learn how to use them correctly.
• Remembering words is easier in context (with some other words around them). In fact, the sillier your story, the more easily you’ll remember the words!
• Writing things down activates a certain part of your brain that helps you remember vocabulary words better.

Grab the closest magazine to you and choose a random picture. If you don’t have a magazine, you can use this random image generator .

Describe the photo in as much detail as you can. Don’t just write what you see! Imagine that you are in the picture. Think about what you would smell, feel or even taste.

You’ll learn more about adjectives , feelings and perceptions (how we see and experience the world).

Further, we use descriptions in our daily life all the time: “I’m tired;” “Her dress is so stylish;” “This mocha tastes amazing!” Descriptions like these are used often in both written and conversational English!

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Think about the last book you read or the last movie you watched. Summarize it (say what happened briefly) using this formula:

[Somebody] wanted … but … so …

Confused? Here’s what it looks like in action:

Bruce Wayne wanted to save Gotham but supervillains were trying to destroy it,  so he trained hard and became Batman.

Recognize that story? That’s a summary of the movie “Batman Begins.”

To use the formula in the same way, just fill in the blanks of the formula like this:

• Somebody: Who is the main character of the story? This character’s name can replace “[Somebody]” in the sentence above.
• Wanted: What is the character’s motivation? In other words, what does he or she want? This should come after the word “wanted.”
• But: What stands in the way of the character and what he or she wants? Put whatever it is after “but.”
• So: What does the character do to overcome this obstacle? Follow “so” with whatever they do.

You can also add another part:

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• Then: What happens after the character overcomes the obstacle? How is everything resolved?

Here’s another example:

Little Red Riding Hood wanted to visit her grandmother but when she got there she found a wolf instead,  so she yelled for help and a passerby came to her rescue.  Then everybody lived happily ever after!

You might find it difficult to explain an entire story or book in just one sentence, and this exercise will help you do that—you will learn to explain a complex idea in a simple sentence. This skill will be useful whenever you need to summarize or explain something concisely (in a simple and short way).

You can also improve your reading comprehension with this summarization method. Every time you read a book or a story in English , you should summarize it to yourself to make sure you understood it. If you can’t write a good summary, you might want to re-read the book or story more carefully.

Is there something you feel strongly about ?

For example, maybe you believe every person should learn a second language. Take this belief, and instead write about it from the opposite point of view. In this example, you would write about why everyone should not learn another language.

In English, this is called “playing devil’s advocate.” That’s when you take a side you don’t actually believe in, just to see an issue from a different point of view.

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This exercise teaches the life skill of empathy. Empathy is the ability to understand how someone else feels, even if you don’t feel the same way. This skill is important to have, and writing can help you develop it.

It’s also a great way to learn how to express opinions in English. You may also need to use words you don’t normally use to express this opinion, since you’re speaking from a different perspective. You might even learn something new about yourself and your beliefs!

An idiom is a saying that doesn’t actually mean what it says. For example, “it’s raining cats and dogs” doesn’t mean animals are really falling from the sky—it just means it’s raining very hard. English has a lot of idioms .

A cliché is an extremely overused saying or phrase that’s not original anymore. Clichés are like idioms that have been used so often they’ve stopped being special, like saying “only time will tell” or “easy as pie.”

Your goal here is to write a story that uses as many clichés and idioms as you can!

If you need some reference materials, you can find a list of clichés here , and a list of idioms here .

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Sometimes, learning English feels like you “bit off more than you can chew” (took on a task that’s too big). A great way to build confidence is to know phrases and sayings that you can use in many situations.

Practicing using clichés and idioms will build your vocabulary and ensure that you’ll know exactly what they mean when you hear them spoken by a native English speaker.

When you read something, the first sentence is very important. A good first sentence sets up the story and makes you want to keep reading.

A classic opening line is from  George Orwell’s “1984” :

“It was a bright cold day in April, and the clocks were striking thirteen.”

But some first lines are not as interesting as this one!

Try to compare it to the next opening sentence by Edward George Bulwer-Lytton in his novel “Paul Clifford”:

“It was a dark and stormy night; the rain fell in torrents—except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness.”

It’s a bad line because it’s too long, and it doesn’t even give the reader much important information.

In fact, this sentence actually inspired a competition called “The Bulwer-Lytton Fiction Contest,” which encourages people to send in their best worst first lines.

So, try to write your own worst first line! You can look through past contest winners for some inspiration. Try to use humor and maybe even some cultural references. The sentence can be long, but make sure the grammar is perfect.

How bad is your first line? It’s hard to be worse than the original first sentence that inspired the competition!

Use this exercise to practice your compound sentences. How much information can you include in just one sentence? You can also practice using comparisons and metaphors (when you compare two different things based on a shared characteristic).

Doing this will help you express yourself clearly and be understood better. You also have the chance to use English-language humor , which requires knowledge of English-speaking culture. Plus, it’s fun!

Think of something that you did in the past, like playing the piano or even going to school. Write about your experience doing this activity. Your writing should start in the past and end in the future.

For example, you can write:

I started playing the piano when I was five, but I stopped only two years later. Right now I can’t play anything, but I hope to start learning again in the future.

In this exercise, you learn how to speak about personal experience and describe something about yourself. Everyone loves to talk about themselves! That’s why a large part of our daily conversations are about us. This activity is also a good way to practice using correct verb tenses .

A “how-to” is a type of writing that describes how to do something step-by-step. Most how-to’s teach the reader something new, like how to bake a chocolate cake or how to use a certain feature on your phone.

For this exercise, write a how-to for something a bit… different.

Pick something you do every day without thinking, and write a how-to about that. Write about something like tying your shoelaces, checking your email on your phone or even breathing.

Your how-to should look something like this , use clear language and be organized by steps. In fact, the how-to in that link teaches how to write a how-to!

You may be surprised at how difficult this exercise is. Even something as simple as walking can be a disaster if you don’t organize the instructions well! (Let’s all thank our legs for knowing how to work without our brains. Otherwise, we might all be flopping around like in this “walking simulator” game .)

Writing a how-to will teach you to organize your thoughts better. It’s also a chance to practice informative writing, or writing that teaches new information. By using easy-to-understand language, you’ll also practice using many common words.

Imagine walking into a job interview with the boss of a company. You’re very nervous and polite, but the boss is just having fun. You really want this job, but all he wants to do is make you even more nervous!

It might look a little like this . (You can also read what the actors say here .)

Write a similar dialogue for a job interview that’s going terribly wrong. The job applicant is professional and serious, while the boss is using conversational English and even English slang . What might that conversation sound like?

Writing a silly scene like this might make you feel a little better the next time you do an interview. Then you can think, “Well, at least it wasn’t as difficult as in that dialogue I wrote!”

This is also a good way to practice writing dialogue  and to focus on how people speak. You get a chance to use professional English, conversational English and even English slang. Use this as a chance to experiment!

It’s simple: Writing helps you learn English. This statement is backed by research—for example, this study  showed that even short writing sessions can improve learning.

So how can writing help you? Here are just a few ways:

• Writing helps you remember things better. If you read, listen, speak and write your lessons, you’ll remember them more. That’s why language classes often use all these skills together!
• Writing helps you practice new skills. Every time you learn something new, you can strengthen that knowledge by practicing through speaking and writing.
• Writing lets you take the time to express yourself. Have you ever had trouble finding the right words to use while speaking? Writing gives you a chance to slow down and take as long as you need to find the perfect words.
• Writing allows you to try new things. There’s no pressure when you’re writing. No one ever has to see what you write if you don’t want them to. That gives you the freedom to try new things and experiment with new words and sentence structures. Don’t hold back!

See how awesome writing is? I bet you’re wondering now: “Where should I start?”

Well, you’ve probably already started. Do you write down your vocabulary words ? Do you take grammar notes ? These might not be full sentences or paragraphs, but they’re definitely a type of writing.

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You can improve your English writing skills even more by doing all sorts of fun exercises .  And the best part is, by improving your writing skills, you’re actually improving many different English skills!

You’re now a budding (developing) writer, one step closer to English mastery.

Don’t forget to include English writing exercises in your studies from now on!

If you like learning English through movies and online media, you should also check out FluentU. FluentU lets you learn English from popular talk shows, catchy music videos and funny commercials , as you can see here:

If you want to watch it, the FluentU app has probably got it.

The FluentU app and website makes it really easy to watch English videos. There are captions that are interactive. That means you can tap on any word to see an image, definition, and useful examples.

FluentU lets you learn engaging content with world famous celebrities.

For example, when you tap on the word "searching," you see this:

FluentU lets you tap to look up any word.

Learn all the vocabulary in any video with quizzes. Swipe left or right to see more examples for the word you’re learning.

FluentU helps you learn fast with useful questions and multiple examples. Learn more.

The best part? FluentU remembers the vocabulary that you’re learning. It gives you extra practice with difficult words—and reminds you when it’s time to review what you’ve learned. You have a truly personalized experience.

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• Current Students

Want advice about your study, your wellbeing or getting the most out of university?

English and Creative Writing

Use your creative writing skills and love of the English language to tell stories in a range of different contexts and styles.

What type of student are you?

You're considered a domestic student if you're an Australian citizen or permanent resident , a New Zealand citizen or hold a permanent Australian humanitarian visa.

You're an international student if you hold or are applying for a Student, Diplomatic, Bridging, Temporary or Provisional Resident visa, or are a permanent resident of New Zealand.

The English and Creative Writing major rests on the idea of the importance of literature as a living cultural practice.

You will focus on the global significance of text as a literary form, broadly understood to include all its variants - from the short story, to the sonnet, from the blog to the bildungsroman, and from pastoral to performance poetry.

Understanding the intimate relationship between the literary and the creative, you’ll get to study English literature while developing knowledge and skill in critical and creative reflection and writing practice. Therefore you will be required to read, view, listen and write critically, professionally and creatively in response to a wide range of written, visual and other texts.

3 reasons to study English and Creative Writing at Murdoch

• Work with real organisations on real projects, and complete internships through our work integrated learning program. Some of our students have worked with the Blue Room, WA Fringe Festival and the Heath Ledger Theatre.
• Number 1 in WA for teaching quality for communications by the Good Universities Guide 2024.
• Showcase your creative work through local, national or even global competitions. Our students have had their writing published and won film awards that have landed them jobs with global film and music producers.

What you’ll learn

Build the knowledge and skills you need to meet your career or study goals. In this course you will:

• Build an extensive knowledge of a broad range of texts – literary, public, performative – from the Renaissance to the present day.
• Work to identify how texts function aesthetically, socially and politically in everyday life and as culturally-specific forms of creative and professional writing, literature and performance.
• Develop skills in professional writing and editing to create well-constructed, clear and persuasive texts and oral communications in a variety of genres, modes and styles. 

Your future career

When you graduate you could become an author or editor and will be well prepared for employment in advertising, design, teaching, public administration, journalism, publishing, computer arts, and many fields of business. Careers could include:

• Arts Administrator
• Professional Writer

The industries you could work in include the arts, publishing, communications, government or even working for yourself as a free-lancer.

Previous admission information is available at  Murdoch Admission Information - Arts.

Study areas

• Humanities, Arts and Social Sciences

Courses with this major

• Bachelor of Arts
• Bachelor of Laws / Bachelor of Arts

Apply to start

Sign up to hear from us.

Stay informed about upcoming events, news, courses, and much more. Your journey begins here.

To help plan the structure of your course, search for our suggested course plans .

Entry requirements

Select which option best describes your path to university :, higher education, recent secondary education, vocational education & training, work & life experience.

English Requirements

You must meet a minimum standard in English to study at Murdoch, which for most courses can be demonstrated by providing evidence that you have completed Year 11 and 12 in Australia at any level if you are a domestic student, or through either English proficiency tests , university preparation courses , English language courses , previous tertiary study or vocational education .

Other Requirements

Advanced standing.

Everyone has a different path to university so if you’ve already completed formal or informal learning, you could receive advanced standing. Also known as recognition of prior learning, advanced standing can reduce the amount of study needed to complete your degree by giving you credit for certain units.

Formal learning can include previous study in higher education vocational education or adult and community education. Informal learning can include on the job learning, various kinds of work and life experience.

Find out more

Adjustment for Murdoch RISE

Murdoch RISE is a selection rank adjustment, as part of our commitment to helping students from regional, Indigenous and low socio-economic backgrounds gain university entry.

If you achieve an ATAR of 60.00 - 89.95, a Murdoch RISE adjustment factor of up to 10.00 points may help you get into your preferred course. Murdoch RISE can increase your selection rank up to a maximum of 90.00.

There’s no application or need to register. If you are eligible, the adjustment factor is automatically added to your raw ATAR score when you apply.

This information applies to courses offered at our Australian campuses only. Courses offered at our Dubai  and Singapore campuses or delivered by Open Universities Australia may have different requirements.

Enabling pathways

If you don’t currently meet our admission requirements, we have a range of enabling pathways to help build your skills.

Fees and scholarships

Scholarships

Make the most of your university experience by reducing the financial costs with a scholarship.

Whether you’re a high achiever or have experienced hardship, we offer a wide range of scholarships and awards to students from all walks of life. Explore our scholarships to find the ones you could be eligible for as a new Murdoch student as well as what's available throughout your degree.

How much will it cost?

Instead of paying an overall course fee, you pay for the individual units you enrol in. The total course cost will vary depending on the units you choose.

Following your successful application, you’ll receive a Letter of Offer which will contain specific course and fee information.

If you are applying for an undergraduate course, you may be eligible for a Commonwealth Supported Place. Postgraduate programs are full fee paying, unless indicated otherwise in your Letter of Offer .

Course fees vary depending on the level of study and the year of commencement. Use our Fee Calculator to estimate the cost of your course.

Make the most of your university experience by reducing the financial costs with a scholarship. Our International Welcome Scholarship offers eligible students between $8,000 and $11,000, depending on the course you study.

The Australian Government also offers scholarships to students from developing countries through the Australia Awards Scholarship program.

Explore our scholarships and find out if you’re eligible to apply.

How to apply

Your document checklist

Ready to apply? Before you start, make sure you have some or all of the following documentation ready for a quick application.

• Completed official Academic Transcripts and Certificates of Completion
• ATAR results
• STAT Test results
• Complete or incomplete official Academic Transcripts and Certificates of Completion – both original and English translated versions
• English Language Proficiency Document (if available)

Section B Skills: Imaginative Writing ( Edexcel IGCSE English Language A )

Revision note.

Section B Skills: Imaginative Writing

Imaginative writing needs to engage and entertain your reader. You will be rewarded for your ability to write creatively and your attempts to vary vocabulary, punctuation and sentence structure for effect. The following guide will explore how to produce an effective piece of imaginative writing:

What is imaginative writing?

How to structure your imaginative writing, imaginative writing techniques.

Imaginative writing could be a story, a descriptive piece, a monologue or a descriptive account of a real event. Whichever style you choose, you should make sure that you have carefully considered the tone and atmosphere you wish to create, and the style and register most appropriate for the piece you are writing.

Story writing should develop a sense of character as well as mood. This means you should consider how your narrator or characters would behave and sound.  

In order to craft a tone which builds characterisation and mood, consider: 

The perspective from which your story will be told: 

First-person characterisation can include monologues which express the narrator’s thoughts and feelings 

Third-person characterisation will generally include a description of the characters’ appearance and movements

Choose verbs and adverbs carefully to “show” the characters’ reactions

If you use a third-person omniscient narrator , you can reveal to the reader the characters’ thoughts and feelings

Consider how you can use sentence lengths and types in monologue and dialogue, as well as description of setting:

Short sentences reflect tension and unease, e.g.: “No sound could be heard”

Longer sentences and listing can create a sense of being overwhelmed, or of abundance, e.g.: “The table was laden with apples, grapes, oranges, loaves of bread, chunks of cheese and an array of colourful vegetables”

Rhetorical questions can suggest confusion, e.g.: “Would I ever get it right?”

Descriptive writing should craft a tone of voice in keeping with the mood of the scene. This means your sentences should reflect the atmosphere. For example, if the scene is mysterious and frightening, your sentences should reflect this suspenseful mood. 

Style and register

The style of your story writing is closely related to the language you use. For example, in a creative writing response, the best answers show evidence of careful word choice and linguistic techniques.

Imaginative writing helps the reader to visualise the person, place, or situation being described via word choice and linguistic techniques.

The best way to do this is to: 

Use vocabulary which is useful to the reader:

For example, describing something as “great” or “amazing” is telling rather than showing 

Use sensory language to bring the scene to life:

For example, a deserted park at night requires a completely different description from a busy park during the daytime

Emphasise key ideas or impressions using language techniques and imagery:

For example, you could use a simile to create associations about size or colour

Personification is a useful technique when describing weather or objects 

Ensure you describe the important details:

For example, you do not need to describe every inch of a person or scene bit by bit, but instead focus on key, interesting features that develops the story or the sense of character

Creative writing develops an idea to a conclusion. This means your writing should have cohesion by planning an ending with a resolution (you should plan whether your story will end happily or not). In the exam, it is best not to plan a complex story which takes place over a long period of time, employs multiple characters or that has more than one setting or plot twist.  

In order to adhere to the conventions of story writing, it is best to: 

Plan your writing in an order which takes your character (and reader) on a clear journey:

The best way to do this is to plan one main event

Consider employing structural techniques such as a flashback:

This can give background information to the reader and provide context

Ensure you use past-tense verbs for this

Develop your characters:

Consider essential narrative characterisations, such as villain, victim, hero, etc.

Decide on how your characters fit these descriptions 

When describing people, focus on relevant details only:

You could focus on their body language or movements

If using dialogue, how your characters speak can reveal more about them than what they say, e.g., “shrieked”, “mumbled”, “whispered”

It is effective to repeat ideas related to colour

When considering the detail you should include in descriptive writing, it is useful to consider the types of things that bring a scene to life. These things are normally rooted in contrast . For example:

Imaginative writing responses should be structured into five or six paragraphs. You should plan your response carefully as you have limited time to create a cohesive plot. Writing a response that has not been planned is likely to have an abrupt ending, or no ending at all, which will not get you high marks.

There are lots of different narrative structures or arcs that you could use to plan your story. Your story needs to be controlled and concise. One of the easiest ways to achieve this is to consider a five-part narrative structure, such as Freytag’s Pyramid: 

Remember, each paragraph does not have to be the same length. In fact, better answers vary the lengths of their paragraphs for effect. What is important is to develop separate ideas or points in each paragraph, and to avoid repeating the same descriptions throughout your response. 

Once you have planned out the structure of your narrative, it’s a good idea to consider how to incorporate methods and techniques into your response. Below we have included some guides to help you when thinking about setting, characterisation and other linguistic techniques to make your narrative as engrossing as possible.

As this task assesses the ability to communicate clearly, effectively and imaginatively, it is important to consider how to use language constructively in a short story to convey an atmosphere or mood. Building an effective setting is key as it contributes to atmosphere and mood.

Your setting should reflect your main character’s mood:

You may know this as pathetic fallacy , which reflects the character’s mood in the environment, e.g., “the lonely road”

As your setting reflects your character’s mood, your setting may change as the story progresses:

Contrasting scenes is an effective way to convey ideas and to engage your reader:

For example, your story may have started on a sunny afternoon, but may end as the sun sets or as a storm approaches 

Whatever way you decide to contrast the scenes, ensure it reflects your character’s mood

The best answers build a clear setting before introducing other information, such as introducing character:

Describing setting is best done with sensory language as we experience places with all of our five senses

This means you could describe the dark, light, colours, sounds, smells and weather

The best way to clearly create setting is to allow an entire paragraph to describe the scene without confusing readers with other information like who is there

Ensure all of your descriptive language builds the same mood and avoid mixing ideas. For example: “The graveyard was dark, cold and smelled like fragrant flowers” is confusing for your reader

However, do not give too much away all at once!

Keep your reader guessing and asking questions

Think of establishing a setting a bit like the game “Taboo”, in which you have to describe something without stating explicitly what it is

Characterisation

This question asks you to create a short story and therefore you will need to build some elements of detailed characterisation. This means you need to consider what your character(s) represent. They may represent an idea, such as hope or strength or abandonment, or you could include a villain to represent injustice or evil. It is best to limit yourself to two characters in the time you have.

Well-rounded characters are taken on a journey: a character should undergo some form of development or change. The mark scheme rewards answers which clearly and effectively convey ideas, meaning that you need to consider the most effective ways of building a character in a short piece of writing. Ideally, you should focus more on indirect characterisation than direct characterisation:

Here, we will consider how to plan your character(s) effectively to engage your reader. This is what the examiner is looking for in your answer:

Linguistic devices

When considering your choice of language and the techniques you wish to employ, you must always remember that you are making deliberate choices for effect. It is important to consider the connotations of words and phrases, and how these may add depth to your writing. For example, do your word choices evoke certain emotions or feelings in the reader, or do they reveal aspects of a character’s personality, background or emotions? You should employ the principle of “show, not tell” in order to bring your writing to life in the reader’s mind.

Below you will find a brief explanation of some of the key techniques you could employ in your narrative (or descriptive) writing:

Please see our model answer pages for further guidance:

Descriptive Writing Model Answer

Narrative Writing Model Answer

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Author: Deb Orrock

Deb is a graduate of Lancaster University and The University of Wolverhampton. After some time travelling and a successful career in the travel industry, she re-trained in education, specialising in literacy. She has over 16 years’ experience of working in education, teaching English Literature, English Language, Functional Skills English, ESOL and on Access to HE courses. She has also held curriculum and quality manager roles, and worked with organisations on embedding literacy and numeracy into vocational curriculums. She most recently managed a post-16 English curriculum as well as writing educational content and resources.

Insider GCSE creative writing tips + 106 prompts from past papers

by Hayley | Mar 9, 2023 | Exams , Writing | 0 comments

Are you feeling a little bit twitchy about your child’s English GCSE writing task?

Sciences and humanities – although sometimes daunting in their content – seem a fair bet as ‘revisable’ topics. But the creative writing element of the English Language GCSE is less knowable and ultimately more of a frightening prospect for a student keen to do well.

Preparing for the GCSE writing task? You don’t need to do it alone.

We run a weekly online writing club which prepares students to write high-scoring content. Our “Higher” level club is designed to transform your writing so that you can ace the GCSE language paper.

What is the GCSE writing element of the GCSE Language Paper?

There are 5 key GCSE exam boards: AQA , OCR , Pearson Edexcel , WJEC Eduqas and CCEA . Each board sets their own papers which may appear much the same at first glance (bizarrely they all have a similar front cover layout and fonts). Certainly there is plenty of overlap between their mark schemes and the comments and tips they share in their Examiner Reports.

However, as with all your child’s other subjects, it is essential to know which exam board they are preparing for. You may be surprised to discover that schools pick and choose boards by subject, perhaps choosing AQA for chemistry and OCR for mathematics. Individual school departments have their own preferences. My brother teaches at a school where their English Literature and English Language exams have been split between two different boards. This is unusual though, not the norm!

What forms (question formats) can the test take?

It varies by board.

The AQA board has a writing task in their Question Paper 1 called Explorations in creative reading and writing . Students are given two prompts to choose between. The AQA board also has a second persuasive writing task in Paper 2 called Writers’ viewpoints and perspectives.

Jump ahead to AQA creative writing and persuasive writing prompts from past GCSE papers

The Pearson/Edexcel international iGCSE favoured by many UK private schools has two prompts to choose between for each section. The student is asked to complete a piece of transactional writing (perhaps a persuasive speech or an advertisement leaflet) and additionally a piece of imaginative writing.

Jump ahead to Pearson/Edexcel transactional writing and imaginative writing prompts from past GCSE papers

Interestingly, the WJEC Eduqas board favours non-fiction writing. Unit 2 Reading and Writing: Description, Narration and Exposition gives two prompts to choose between, for an account and an essay perhaps, and Unit 3: Reading and Writing: Argumentation, Persuasion and Instructional sets up a letter, or similar.

Jump ahead to WJEC Eduqas non-fiction writing prompts from past GCSE papers

The OCR board offers two prompts to choose between. One might be a talk for other students and the other might be a letter on a difficult subject .

Jump ahead to OCR creative writing prompts from past GCSE papers

The CCEA board has a writing task in called “ Writing for Purpose and Audience and Reading to Access Non-fiction and Media Texts” and a second writing task which offers a choice between personal writing and creative writing.

Jump ahead to CCEA persuasive writing, personal writing, and creative prompts from past GCSE papers

How long do students have to craft their piece of writing?

Creative writing tests are timed at either 45 minutes or 1 hour. The last thing your child will need is to prepare to write for an hour, only to find they have just three-quarters of an hour on the day. If in doubt, insist that they check with their teacher.

AQA students are given 45 minutes to produce their writing response. The introduction advises: ‘ You are reminded of the need to plan your answer. You should leave enough time to check your work at the end.’ What this means is that 30–35 minutes max is what’s really allowed there for the writing itself.

Pearson/Edexcel allows 45 minutes for each of the two writing tasks.

OCR students are given an hour to complete this section of their exam. The introduction states: ‘You are advised to plan and check your work carefully,’ so they will expect the writing itself to take 45–50 minutes.

How long should the completed GCSE writing task be?

Interestingly, although the mark schemes all refer to paragraphingthey don’t state how many paragraphs they expect to see.

‘A skilfully controlled overall structure, with paragraphs and grammatical features used to support cohesion and achieve a range of effects’ (OCR)

‘Fluently linked paragraphs with seamlessly integrated discourse markers’ (AQA)

Why? Because management of paragraph and sentence length is a structural technique available to the student as part of their writers’ toolkit. If the number of optimal paragraphs were to be spelled out by the board, it would have a negative impact on the freedom of the writer to use their paragraphs for impact or to manage the pace of the reader.

For a general guide I would expect to see 3 to 5 paragraphs in a creative piece and 5 paragraphs in a persuasive piece. Leaflets have a different structure entirely and need to be set out in a particular form to achieve the top notes of the mark scheme.

What are the examiners looking for when they are marking a student’s creative writing paper?

There are two assessment objectives for the writing itself:

• It has to be adapted to the form, tone and register of writing for specific purposes and audiences.
• It has to use a range of vocabulary and sentence structures, with appropriate paragraphing, spelling, punctuation and grammar.

As a GCSE English nerd, I really enjoy delving deeper into the Examiner Reports that each board brings out once the previous cohort’s papers have been marked. They are a fascinating read and never disappoint…

Within their pages, examiners spell out the differences they have spotted between the stronger and the weaker responses.

For example, a creative task set by the AQA board was to describe a photograph of a town at sunset. The examiners explained that some of the strongest responses imagined changes in the scene as darkness descended. They enjoyed reading responses that included personification of the city, and those that imagined the setting in the past, or the weariness of the city. Weaker candidates simply listed what was in the picture or referred directly to the fact it was an image. This chronological-list approach weakened the structure of their work.

No surprises that some weaker students relied heavily on conversation. (As an exam marker myself, I dreaded reading acres of uninspiring direct speech.)

Pearson/Edexcel explain that weaker persuasive pieces (in this case on the value of television) simply listed pros and cons rather than developed ideas fully to clarify their own opinions. The higher-level responses here were quirky and engaging, entertaining the reader with a range of appropriate techniques and making the argument their own.

What accommodations are possible for students who have specific learning difficulties?

The UK Government’s Guide for Schools and Colleges 2022: GCSE, AS and A Levels includes information about changes to assessments to support ‘disabled students.’ Their definition of disabled includes specific learning difficulties (dyslexia, dyspraxia, ADHD, ADD, ASD etc).

Exam boards can make a wide range of adjustments to their assessments. Some of the most common adjustments are:

• modified papers (for example, large print or braille exam papers)
• access to assistive software (for example, voice recognition systems or computer readers)
• help with specific tasks (for example, another person might read questions to the student or write their dictated answers)
• changes to how the assessment is done (for example, an oral rather than a written assessment, word-processing rather than hand-writing answers)
• extra time to complete assessments
• exemptions from an assessment

The exam board will expect paperwork to be in place where your child’s specific needs are formally reported by an appropriate professional (Educational Psychologist, Clinical Psychologist, Consultant). The report needs to be recent, but how recent is difficult to confirm.

If your child is likely to need adjustments to their access arrangements you will need to discuss this with their school in plenty of time before the exam itself.

A close friend of mine realised in the final few weeks before her son’s GCSE exams that his tinnitus would have a negative impact on his performance. She approached the school to ask if he might take his exams in a separate room to minimise noise disturbance. Unfortunately, it was far too late by then to apply, and her son was denied the request.

Your child’s school will explain the process for applying for special arrangements and will be able to advise you on what your expectations should be. Never presume your child will be given what they need – but plenty of requests are successful, so stay positive and make sure your paperwork is in order beforehand.

Tips and strategies for writing a high scoring GCSE creative writing paper:

1.         learn the formats.

Know the different formats and conventions of the different GCSE writing tasks. There is a standard layout for a leaflet, for example, where including contact details and a series of bullet points is part of the mark scheme. Not knowing these conventions will knock back a student’s score.

2.         Plan ahead

Prepare a planning structure for each of the written forms you might encounter during the exam. It may need to be flexed on the day, but it will banish fear of the blank page and allow you to get started.

3.         Prepare sentence-openings

Familiarise yourself with appropriate sentence-openings for each type of GCSE writing task. Fronted adverbials of time and place will improve the quality of a creative piece, whereas access to varied and specific conjunctions might push up the mark of a transactional piece.

4.         Check your speaking

Ask your family to check your speech at home. Every now and then try to flip a sentence into formal language, using more interesting synonyms for your usual spoken vocabulary. This will help you to write formally on paper, avoiding colloquialisms.

5.         Forget finishing

Finishing is less important than you might imagine. Sloppy, hurried work is your enemy. GCSE examiners will follow your clear planning and mark you accordingly, even if you’ve not managed to complete that final paragraph.

6.         Note the details

The question often gives additional information the examiner would like to see included. Note it in your plan to make sure it doesn’t get forgotten.

7.         Start strong

Use your best sentence-opener at the start of each paragraph. It will set you up as someone to be taken seriously.

8.         Cut back dialogue

Keep dialogue contained in a single paragraph. Focus on description of the speaker and their actions before noting the second character’s reply.

9.         Revise

Do this by prepping work as above. Nothing beats it.

Would you like me to transform your child’s writing in my higher writing club?

Each week in my higher writing club , we spend 20 minutes on Zoom together. After the task has been introduced, the students write for 15 minutes. Next, they upload their work for 1:1 video marking.

There is no point prepping essays/creative pieces for the GCSE English Language exam if your child’s writing is poor. First, their scruffy presentation, attention to detail, punctuation, grammar and vocabulary need to be addressed.

After 2 months in the higher writing club your child’s written technique and fluency will be transformed by our 1–2-1 video marking system (consistent messaging is achieved by matching your child with their own teacher).

Each weekly activity is drawn directly from the GCSE English Language Subject Content and Assessment Objectives , published by the English Department of Education.

Here’s an example of a student’s writing, BEFORE they joined our club:

It is chaotic, poorly-presented and nonsensical. Letter-sizing is confused and the student is clearly anxious and repeatedly scribbling through small errors.

Below is the same student 2 months later:

Observe the rich vocabulary, authorial techniques (the jagged rocks are ‘like shards of broken glass’) and general fluency and sophistication.

Real and recent GCSE example questions/prompts from each of the 5 key exam boards

Aqa english language gcse questions, paper 2 writers’ viewpoints and perspectives:.

• ‘Our addiction to cheap clothes and fast fashion means young people in poorer countries have to work in terrible conditions to make them. We must change our attitude to buying clothes now.’ Write an article for a magazine or website in which you argue your point of view on this statement. ( Source )
• ‘People have become obsessed with travelling ever further and faster. However, travel is expensive, dangerous, damaging and a foolish waste of time!’ Write an article for a news website in which you argue your point of view on this statement. ( Source )
• ‘Cars are noisy, dirty, smelly and downright dangerous. They should be banned from all town and city centres, allowing people to walk and cycle in peace.’ Write a letter to the Minister for Transport arguing your point of view on this statement. ( Source )
• ‘All sport should be fun, fair and open to everyone. These days, sport seems to be more about money, corruption and winning at any cost.’ Write an article for a newspaper in which you explain your point of view on this statement. ( Source )

Paper 1 Explorations in creative reading and writing:

• A magazine has asked for contributions for their creative writing section. Either write a description of an old person as suggested by the picture below or write a story about a time when things turned out unexpectedly. ( Source )

• Your school or college is asking students to contribute some creative writing for its website. Either, describe a market place as suggested by the picture below or write a story with the title, ‘Abandoned’. ( Source )

• Your local library is running a creative writing competition. The best entries will be published in a booklet of creative writing. Either, write a description of a mysterious place, as suggested by the picture below or write a story about an event that cannot be explained. ( Source )

• A magazine has asked for contributions for their creative writing section. Either, describe a place at sunset as suggested by the picture below or write a story about a new beginning. ( Source )

OCR English Language GCSE questions

Paper: communicating information and ideas.

• Either, Write a post for an online forum for young people about ‘A moment that changed my life’.
• Or, You are giving a talk at a parents’ information evening about why all children should study science at school. Explain your views. ( Source )
• Either, Write a letter to a friend to describe a challenging and unpleasant task you once had to do.
• Or, Write a short guide for new workers about how to deal successfully with difficult customers. ( Source )
• Either, “Was it worth it?” Write an article for a magazine to describe a time when you had to do something difficult.
• Or, Write a speech for an event to congratulate young people who have achieved something remarkable. ( Source )
• Either, Write the words of a talk to advise pet owners how to make life more enjoyable for their pet and themselves.
• Or, Write an article for a travel magazine to describe your dramatic encounter with an animal. ( Source )
• Either, ‘How I prefer to spend my time.’ Write the words of a talk to young people about your favourite activity
• Or, Write a magazine article to persuade parents to allow their teenage children more freedom. You are not required to include any visual or presentational features. ( Source )
• Either, Write a talk for other students about a person you either admire strongly or dislike intensely
• Or, Write a letter to a friend to explain a difficult decision you had to make. ( Source )

Paper: Exploring effects and impact

• Either, Hunger satisfied. Use this as the title for a story.
• Or, Write about a time when you were waiting for something. ( Source )
• Either, The Taste of Fear Use this as the title for a story.
• Or, Write about a time when you were exploring a particular place. ( Source )
• Either, Alone. Use this as the title for a story.
• Or, Describe a time when you found yourself in a crowd or surrounded by people. ( Source )
• Either, Land at Last. Use this as the title for a story.
• Or, Imagine you have visited somewhere for the first time and are now reporting back on your experience. ( Source )
• Either, The Playground Use this as the title for a story
• Or, Write about a memory you have of playing a childhood game. ( Source )
• Either, It seemed to me like I had been magically transported. Use this as the title for a story.
• Or, Describe a place where you have felt comfortable. ( Source )

Pearson Edexcel English Language iGCSE questions

Paper 1: transactional writing.

• Either, ‘In our busy twenty-first century lives, hobbies and interests are more important than ever.’ Write an article for a newspaper expressing your views on this statement.
• Or, ‘We are harming the planet we live on and need to do more to improve the situation.’ You have been asked to deliver a speech to your peers in which you explain your views on this statement. ( Source )
• ‘ Zoos protect endangered species from around the world.’ ‘No wild animal should lose its freedom and be kept in captivity. Write an article for a magazine in which you express your views on zoos.
• Write a review of an exciting or interesting event that you have seen. ( Source )
• Your local newspaper has published an article with the headline ‘Young people today lack any desire for adventure’. Write a letter to the editor of the newspaper expressing your views on this topic.
• ‘The key to success in anything is being prepared.’ Write a section for a guide giving advice on the importance of preparation. ( Source )
• You and your family have just returned from a holiday that did not turn out as you expected. Write a letter to the travel agent with whom you booked your holiday, explaining what happened.
• A magazine is publishing articles with the title ‘Friendship is one of the greatest gifts in life’. Write your article on this topic. ( Source )
• ‘Important lessons I have learned in my life.’ You have been asked to deliver a speech to your peers on this topic.
• Your local/school library wants to encourage young people to read more. Write the text of a leaflet explaining the benefits of reading. ( Source )
• ‘Most memorable journeys.’ A website is running a competition to reward the best articles on this subject. Write an article for the competition about a memorable journey.
• ‘Cycling is one form of exercise that can lead to a healthier lifestyle.’ Write a guide for young people on the benefits of exercise. ( Source )
• ‘Television educates, entertains and helps global understanding.’ ‘Television is to blame for society’s violence and greed and delivers one-sided news.’ You have been asked to deliver a speech in which you express your views and opinions on television.
• ‘Choosing a career is one of the most important decisions we ever make.’ Write the text of a leaflet that gives advice to young people on how to choose a career. ( Source )
• Write the text for a leaflet aimed at school students which offers advice on how to deal with bullying.
• A museum is planning to open a new exhibition called ‘Life in the Twenty-First Century’. ( Source )

Paper 2: Imaginative writing

• Write about a time when you, or someone you know, enjoyed success
• Write a story with the title ‘A Surprise Visitor’.
• Look at the two images below. Choose one and write a story that begins ‘I did not have time for this’ ( Source )

• Write about a time when you, or someone you know, challenged an unfair situation.
• Write a story with the title ‘Bitter, Twisted Lies’.
• Look at the two images below. Choose one and write a story that begins ‘It was a new day …’ You may wish to base your response on one of these images. ( Source )

• Write about a time when you, or someone you know, visited a new place.
• Write a story with the title ‘The Storm’
• Look at the two images below. Choose one and write a story that ends ‘I decided to get on with it.’ ( Source )

• Write about a time when you, or someone you know, saw something surprising.
• Write a story with the title ‘The Meeting’.
• Look at the two images below. Choose one and write a story that starts ‘Suddenly, without warning, there was a power cut.’ ( Source )

• Write about a time when you, or someone you know, went on a long journey.
• Write a story with the title ‘A New Start’
• Look at the two images below. Choose one and write a story that begins ‘I tried to see what he was reading. ( Source )

• Write about a time when you, or someone you know, felt proud.
• Write a story with the title ‘The Hidden Book’.
• Look at the two images below. Choose one and write a story that begins ‘It was like a dream’ ( Source )

• Write about a time when you, or someone you know, had to be brave
• Write a story with the title ‘Everything Had Changed’
• Look at the two images below. Choose one and write a story that begins ‘It was an unusual gift’. ( Source )

WJEC Eduqas English Language GCSE questions

Unit 2 reading and writing: description, narration and exposition.

• Write an account of a time when you enjoyed or hated taking part in an outdoor activity.
• “It’s essential that more people are more active, more often.” (Professor Laura McAllister, Chair of Sport Wales) Write an essay to explain how far you agree with this view, giving clear reasons and examples. ( Source )
• Describe an occasion when you did something you found rewarding.
• Famous chefs such as Jamie Oliver and Mary Berry have spoken of the need for better food and better education about food in schools. Write an essay to explain your views on this subject, giving clear reasons and examples. ( Source )
• Write an account of a visit to a dentist or a doctor’s surgery.
• NHS staff, such as doctors and nurses, provide excellent service in difficult circumstances. Write an essay to explain your views on this subject, giving clear reasons and examples. ( Source )
• Write an article for a travel magazine describing somewhere interesting that you have visited.
• You see the following in your local newspaper: ‘Young people are selfish. They should all be made to volunteer to help others.’ Write an essay to explain your views on this subject, giving clear reasons and examples. ( Source )
• Describe an occasion when technology made a difference to your life.
• Write an account of a time you were unwilling to do something. ( Source )
• Describe a time when you faced a challenge
• Write an essay explaining why charity is important, giving clear reasons and examples. ( Source )
• Write an account of a time when you did something for the first time.
• “It’s time for us to start making some changes. Let’s change the way we eat, let’s change the way we live, and let’s change the way we treat each other.” Tupac Shakur Write an essay on the subject of change, giving clear reasons and examples. ( Source )
• “School uniform is vitally important in all schools.” Write an essay explaining your views on this, giving clear reasons and examples.
• Describe a time when you had to create a good impression. ( Source )

Unit 3: Reading and writing: Argumentation, persuasion and instructional

• Your school/college is considering using more Fairtrade items in its canteen. Although this will help to support Fairtrade farmers, it will mean an increase in the price of meals. You feel strongly about this proposal and decide to write a letter to your Headteacher/Principal giving your views. ( Source )
• Increasing litter levels suggest we have lost all pride in our beautiful country. Prepare a talk for your classmates in which you give your opinions on this view. ( Source )
• Write a guide for other students persuading them to stay safe when using social media and the internet. ( Source )
• According to your PE teacher, ‘Swimming is the very best form of exercise.’ You have been asked to prepare a talk for your classmates in which you give your views about swimming. ( Source )
• You read the following in a newspaper: ‘Plastic is one of the biggest problems faced by our planet. Why would we use something for a few minutes that has been made from a material that’s going to last forever?’ Write a letter to the newspaper giving your views on the use of plastic. ( Source )
• “People today never show enough kindness to one another. We must make more effort to be kind.” Write a talk to give on BBC Wales’ new programme Youth Views persuading young people to be kind to others. ( Source )
• ‘We have enough problems in the world without worrying about animals.’ Write an article for the school or college magazine giving your views on this statement.
• You would like to raise some money for an animal charity. Write a talk for your classmates persuading them to donate to your chosen charity. ( Source )

CCEA English Language GCSE questions

Unit 1: writing for purpose and audience and reading to access non-fiction and media texts.

• Write a speech for your classmates persuading them to agree with your views on the following issue: “Young people today are too worried about their body image.” ( Source )
• Write an article for your school magazine persuading the readers to agree with your views on the following question: “Should school uniform have a place in 21st century schools?” ( Source )
• Write a speech for your classmates persuading them to agree with your views on the following question: “Are celebrities the best role models for teenagers?” ( Source )
• Write an article for your school magazine persuading the readers to agree with your views on the following statement: “Advertising is just another source of pressure that teenagers don’t need!” ( Source )

Unit 4: Personal or creative writing and reading literacy and non-fiction texts

• Either, Personal writing: Write a personal essay for the examiner about what you consider to be one of the proudest moments in your life.
• Or, Creative writing: Write your entry for a creative essay writing competition. The audience is teenagers. You may provide your own title. ( Source )
• Write a personal essay for the examiner about an experience that resulted in a positive change in your life.
• Write a creative essay for the examiner. The picture below is to be the basis for your writing. You may provide your own title. ( Source )

• Personal writing: Write a speech for your classmates about the most interesting person you have ever met.
• Creative writing: Write a creative essay for your school magazine. The picture below is to be the basis for your writing. You may provide your own title. ( Source )

• Personal writing: Write a personal essay for the examiner describing your dream destination.
• Creative writing: Write a creative essay for publication in your school magazine. The picture below is to be the basis for your creative writing. You may provide your own title. (Source)

Get 1:1 support and personalized feedback on your GCSE creative writing practice

For 1–2-1 writing support for your pre-GCSE child, join the Griffin Teaching Higher Writing Club—online weekly writing classes specifically tailored to English GCSE creative writing preparation.

In just 20 minutes per week and their writing will be transformed.

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English Studies

Honours Specialization in Creative Writing and English Language and Literature

• Frequently Asked Questions

This module is designed for students who want to combine their creative talents with the academic study of literature. On the creative side, the program offers the opportunity to explore a wide range of writing challenges, including poetry and prose in a variety of genres. On the academic side, it offers a comprehensive study of British, Canadian, American, and Postcolonial literatures. The assumption underlying the module, however, is that the two “sides” are not as separate as they might seem, and that engaging with English literature as both a creative and a scholarly pursuit will enrich your understanding of the field. The module is recommended for students aspiring to careers in journalism, publishing, creative writing, multimedia content, and advertising. With an appropriate minor, this module provides exceptional preparation for students going into law or business school, public relations, civil service, and the diplomatic corps.

> Admission & module requirements

Completion of first-year requirements with no failures. Students must have an average of at least 70% in 3.0 principal courses, including 0.5 from WRI 1000F/G, 1.0 from ENG 1000 to ENG 1999 and 1.5 from a range of cognate fields. A portfolio of original writing must also be submitted. See the module Checklist below for details.

For more information about Portfolio requirements and deadlines please visit Writing Studies .

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Miss Huttlestone's GCSE English

Because a whole class of wonderful minds are better than just one!

2 Grade 9 Creative Writing Examples

I recently asked my year 11s to pen a piece of description and/or narrative writing for their mini assessment. I gave them the following prompts:

Your school wants you to contribute to a collection of creative writing.

EITHER: Write a short story as suggested by this picture:

OR: Write a description about a person who has made a strong impression on you.

The following were two COMPELLING and CONVINCING examples of the second choice – one pupil taking ‘you’ as a fictional invitation, the other as a biographical one:

EXAMPLE ONE:

Gradually, I awake and open my eyes only to see the cracked white ceiling which greets me every day. Here I sit, slumped in the bed with the scratchy white sheets hugging me and muffled beeping noises jumping into my ears. Rubbing the sleep crust from my bloodshot eyes, I observe the scene before me. The sound of footsteps overlapping as nurses rush from bed to bed; the metallic tang from stainless steel invading my nostrils; the cold metal bed rail imprisoning and mocking me; the pungent scent of antiseptic troubling me and the blood-curdling cries and moans utterly terrifying me. Using all my strength, I try to imagine I am somewhere else, anywhere else but here.

Crowds, signs, roars: it was 1903 and the suffragette movement had begun. It was a crisp night, refreshing almost and I had taken to the streets. It was like I was possessed by something that night, some urge and deep desire within me that had led me there, surrounded by women like myself. I stood clueless and lost in the crowd; the women yelling ‘Deeds not words’ in unison; passionately parading with large wooden signs and viciously shattering windows with bricks and stones. Despite the violence that was displayed before me, I was not afraid of what was happening and I didn’t deem it unnecessary or improper, in fact I wanted the same as these women, I wanted equality. Abruptly, all of the roars and cheers became muted and faint, one woman walked slowly towards me, her hair messily swooped into an updo, her clothes somewhat dirtied and her chocolate brown corset slightly loosened. There was a glimmer in her eyes as tears seemed to swell within their hazel pools, she seemed inspired, hopeful. After reaching me in the crowd, she held out her hand, gently passing me a sign. Immediately, I clasped it and the yelling and chanting rang loudly in my ears once more. My journey had begun.

Here however, is where it ends. I am aware I do not have much time left, as the doctors have told me so, and spending my last moments in this hospital room is not optimal. However, as I look around I can see beauty within a room which at first glance seems void of it. The hollow medical tubes by my side remind me of the awful act of force feeding I have faced in the past; the shrieks and bawls of patients reflecting the pain women had felt in my time and the bed bars mirroring the prisons we were thrown into and the gates we would chain ourselves too. I know these things may seem far from beautiful, but I can see my past within this room, the power I possessed and the changes I have contributed to today. I know now that I can leave this earth having had an impact. Slowly I close my eyes, I can see her, the women who changed my life many years ago, her name, Emmeline Pankhurst.

EXAMPLE TWO:

I will never forget that day. The hazel pools of her eyes glazed over, and hands delicately placed at her sides. Nobody in the room could quite grasp the fact that this was happening. The crowds of black attire row on row seemed to mimic the thing she loves most in life, the piano. However, this time she had taken the ivory natural keys with her and left everyone else with the sharp tones. You needed both to create beautiful symphonies but all that filled the room was the excruciating silence of her absense. Even the metronone like ticks of the clock seemed to come to a standstill.

It had all began that day, she seemed to open up this whole new world for us to explore together as she placed my fingers onto the keys for the first time. I knew that this was what I was meant to do. She was the most passionately beautiful pianist I had ever seen in my life. Often, I would peer round the oak doorway before my lessons just to catch a glimpse at her. It seemed like nothing in the world mattered to her at the time.

As the years progressed, so did the scope of this world we were exploring. Each sheet of lovingly handwritten sheet music was like a new section of the map we were slowly creating together. Each of her students had their own map. Each as beautiful and each as unique as the pianist. The crotchets and quavers that adorned the staves directed the different paths we could take as my fingers graced the keys. This may not have been a beautiful ballet routine, but this was our dance and it had been carefully choreographed just for us.

That piano room was the safest place in the world. Every inch of it her: the potent scent of her floral perfume; shelves full of scruffy and well loved sheet music; rows upon rows of framed photos of her and her students; the vintage piano which she always kept in tune, it was home. I couldn’t bear the

idea that someone else was going move in and rip away the music room without a second thought. It was her music room.

It was up to me now. Up to me to finish this journey we had begun together.

She may not be with me in person anymore, but she will always live within the world we built together and nothing could ever change that. For she could never truly be gone since she left a piece of her within every one of her students; the passion for piano.

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gcseenglishwithmisshuttlestone

Secondary English teacher in Herts. View all posts by gcseenglishwithmisshuttlestone

2 thoughts on “2 Grade 9 Creative Writing Examples”

This has helped me a lot, I myself am preparing for a narrative test like this and these prompts and descriptive short stories are marvellous! Thank you for sharing this! 🙂

My pleasure!

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AQA GCSE English Language Past Papers

This section includes recent GCSE English Language past papers (9-1) (8700) from AQA. You can download each of the AQA GCSE English Language past papers and marking schemes by clicking the links below. Scroll down for papers from previous years.

June 2023 AQA GCSE (9-1) English Language (8700) Past Exam Papers

June 2023: Paper 1: Explorations in Creative Reading and Writing (8700/1) Download Insert    -     Download Past Paper     -     Download Mark Scheme

June 2023: Paper 2: Writer's Viewpoints and Perspectives (8700/2) Download Insert      -    Download Past Paper    -    Download Mark Scheme

November 2022 AQA GCSE (9-1) English Language (8700) Past Exam Papers

November 2022: Paper 1: Explorations in Creative Reading and Writing (8700/1) Download Insert    -     Download Past Paper     -     Download Mark Scheme

November 2022: Paper 2: Writer's Viewpoints and Perspectives (8700/2) Download Insert    -    Download Past Paper    -    Download Mark Scheme

June 2022 AQA GCSE (9-1) English Language (8700) Past Exam Papers

June 2022: Paper 1: Explorations in Creative Reading and Writing (8700/1) Download Insert    -     Download Past Paper     -     Download Mark Scheme

June 2022: Paper 2: Writer's Viewpoints and Perspectives (8700/2) Download Insert      -    Download Past Paper    -    Download Mark Scheme

November 2021 AQA GCSE (9-1) English Language (8700) Past Exam Papers (Labelled as June 2021)

November 2021: Paper 1: Explorations in Creative Reading and Writing (8700/1) Download Insert    -     Download Past Paper     -     Download Mark Scheme

November 2021: Paper 2: Writer's Viewpoints and Perspectives (8700/2) Download Insert      -    Download Past Paper    -    Download Mark Scheme

November 2020 AQA GCSE (9-1) English Language (8700) Past Exam Papers (Labelled as June 2020)

November 2020: Paper 1: Explorations in Creative Reading and Writing (8700/1) Download Insert    -     Download Past Paper     -     Download Mark Scheme

November 2020: Paper 2: Writer's Viewpoints and Perspectives (8700/2) Download Insert      -    Download Past Paper    -    Download Mark Scheme

June 2019 AQA GCSE (9-1) English Language (8700) Past Exam Papers

June 2019: Paper 1: Explorations in Creative Reading and Writing (8700/1) Download Insert    -     Download Past Paper     -     Download Mark Scheme

June 2019: Paper 2: Writer's Viewpoints and Perspectives (8700/2) Download Insert      -    Download Past Paper    -    Download Mark Scheme

November 2018 AQA GCSE (9-1) English Language (8700) Past Exam Papers

November 2018: Paper 1: Explorations in Creative Reading and Writing (8700/1) Download Insert   -    Download Past Paper    -    Download Mark Scheme

November 2018: Paper 2: Writer's Viewpoints and Perspectives (8700/2) Download Insert     -    Download Past Paper    -  D  ownload Mark Scheme

June 2018 AQA GCSE (9-1) English Language (8700) Past Exam Papers

June 2018: Paper 1: Explorations in Creative Reading and Writing (8700/1) Download Insert   -     Download Past Paper     -     Download Mark Scheme

June 2018: Paper 2: Writer's Viewpoints and Perspectives (8700/2) Download Insert      -     Download Past Paper     -     Download Mark Scheme

November 2017 AQA GCSE English Language (8700) Past Exam Papers

November 2017: Paper 1: Explorations in Creative Reading and Writing (8700/1) Download Insert    -     Download Past Paper    -    Download Mark Scheme

November 2017: Paper 2: Writer's Viewpoints and Perspectives (8700/2) Download Insert      -     Download Past Paper     -    Download Mark Scheme

June 2017 AQA GCSE English Language (8700) Past Exam Papers

June 2017: Paper 1: Explorations in Creative Reading and Writing (8700/1) Download Insert    -    Download Past Paper    -    Download Mark Scheme

June 2017: Paper 2: Writer's Viewpoints and Perspectives (8700/2) Download Insert      -     Download Past Paper     -    Download Mark Scheme

For more GCSE English Language past papers from other exam boards  click here .

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ENG-290 Elements of Creative Writing

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This course introduces students to the elements of creative writing in poetry, short fiction, creative nonfiction, and other genres. When offered for 4 credits, this course will be cross-listed with GSR 210, 220, or 240 and will address the Student LearningOutcomes of these courses.

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English Language & Creative Writing

On our English Language and Creative Writing course you’ll develop the skills and techniques you need to write in a whole range of genres. You’ll also study the history, use and application of English.

On this course we’ll help you to enhance your skills as a creative writer and gain experience of writing in a wide range of different styles and genres.

You’ll develop the skills and techniques you need to create new works in everything from science fiction and fantasy to fairy tales, horror, crime, and fiction for children and young adults. Along the way you’ll produce a variety of short stories, poetry, play scripts and more.

Our modules enable you to delve beneath the surface of language to explore the connections between sound and meaning, and understand how English has developed over time.

Why study with us

• 1 st in the UK overall Guardian University Guide (Creative Writing) 2023/24
• 3 rd in the UK (out of 94) for student satisfaction Complete University Guide (English) 2025
• You will have opportunities to go on field trips to museums, archives and theatres – from the Royal Shakespeare Company in Stratford-upon-Avon to Wordsworth’s Dove Cottage in the Lake District.
• You’ll have the chance to learn about careers in writing and the book trade from guest authors, literary agents, editors and publishers.
• Our unique English Language Skills Initiative for Employability (ELSIE) programme gives you opportunities to gain vital work experience in public relations, client publications, copywriting and other areas.

What you'll do

• Hear from guest speakers and guest expert insights into success in the writing profession and other related careers.
• Choose from a wide range of modules across different areas of language and linguistics.
• Interested in a teaching career? We have great links with schools across the region.

Compulsory modules

Story shapes: drama, structure & plot.

Enable you to practice a variety of techniques for writing fiction and drama and reflect critically on your writing process Develop a critical and theoretical understanding of the ‘principles of story’ in historical and contemporary context Develop your ability to read, interpret and evaluate contemporary fiction and drama in light of the way it conforms to or challenges these principles Enable you to recognise the connections between fiction and drama as well as the unique challenges and possibilities of writing for page or performance.

Exploring Form and Genre

This module focuses on exploring diverse genres while fostering imaginative engagement. You'll also develop critical analysis and writing skills, fostering an understanding of language use within various contexts and encouraging self-reflective growth as a writer.

Meaning in Interaction

This module will explore different approaches to ‘meaning’, focusing on aspects of meaning at the level of text and discourse. The module will explore the relation between linguistic expressions, language users and contexts. You will apply knowledge of critical discourse analysis, conversation analysis and rhetorical theory to the analysis of short texts (newspapers, political discourse, forensic texts, etc.).

ELSIE (English Language Studies Initiative for Employability)

This module enables you to focus on your subject-specific writing and research skills. You'll also learn more about your personal learning styles and explore how to get the most out of your university experience. You'll learn about punctuation for proofreading and correction, academic writing, and career planning.

Sounds and Structures of English

This module is an introduction to the analysis of sounds, words and sentences. You will explore features of your own accent and learn how to represent Received Pronunciation in symbols. You will learn about traditional grammatical terminology, as taught on the National Curriculum for English, and how to analyse sentences into their component parts.

Optional modules

Literary landscapes.

This module will develop your global writing analysis skills, with the option of creating original creative work. You'll explore modern approaches to portraying landscapes across various genres. Theoretical aspects cover literature's connections to place, environmental concerns, and globalisation. You'll hone English language skills for academic writing and research, and gain insights into the publishing industry and opportunities.

Language Variation in Society

The aim of this module is to introduce you to key themes from socially-minded areas of linguistics and make you aware of the existence of linguistic variation in society. You will also be introduced to the idea that language use can influence and construct meanings and identities.

Language, Gender and Identity

We'll introduce you to various concepts from sociolinguistics, discourse analysis and pragmatics. You'll develop an understanding of how linguistic identities are formed and observed. You'll also understand the methods used in sociolinguistic research and its gender approaches.

Writing Adaptations

Writing Adaptions introduces a range of genres, including literary and popular forms. You will examine the adaptations of an original text and evaluate similarities and differences. You will consider the extension, prequel, sequel, point of view, setting, period, and culture. You will reflect on your writing practice as well as your technical abilities.

Reading and Writing the Short Story

To engage with and critique the theory and practice of writing short fiction. To practice the techniques of writing short fiction and writing about this form/genre. To develop a critical and theoretical understanding of the short story as a distinct form in historical and contemporary contexts and markets. To encourage critical reading, selectivity and focused consideration of short fiction writers and their potential influence on contemporary writing practice.

Language and Literature

This module uses linguistic approaches to better understand poetic language, literary effect and style. You will use a range of texts from different literary periods to explore foregrounding, speech and thought representation, metaphor, point of view, dramatic dialogue, rhythm and metre and other ‘sound effects’.

Academic Writing and Graduate Development

This module will develop your academic and transferable career skills. You will adopt lifelong reflective practices for independent and collaborative working. You’ll also develop decision-making and problem-solving skills. You’ll even have the opportunity to support and mentor others.

Creative Writing for Children and Young Adults

This module will teach you the techniques of writing for children. You'll develop your skills in reading, interpreting and evaluating current children's' literature and use context to critique them. You'll explore aspects such as tone of voice, setting, character and structure. You'll reflect upon the relationships between theory and practice and understand the roles of professionals.

Reading and Writing Fairy Tales

This module will provide you with an exciting experience to revisit your favourite childhood tales. The major European collections of tales, such as those of Perrault, Grimm and Andersen, will provide the main focus of study, but non-European collections will also be considered.

Sociolinguistics

This module will introduce you to the basic concepts and methods of Sociolinguistics. You will examine the progression of Sociolinguistics in language and society.

Framing the News

In this module, you will investigate how the media influences public perceptions of the social world by promoting or focusing selectively on particular aspects or definitions of controversial issues in order to elicit a particular response from an audience. In particular, you will relate different ways of framing the same issues to various types of newspapers and their political/ideological orientation.

Language, Mind and Brain

This module aims to familiarise you with psycholinguistics, lines of enquiry, and research methods. It enables you to understand what the study of first language acquisition and disordered communication reveals about the storage and processing of language and develop your analytical, researching, and writing skills.

Metaphor and Meaning

In this module you will be introduced to the basic concepts and approaches in semantics, historical, lexical, cognitive semantics and with the main theories of sense and reference.

History of English

Using the details of the history of English, this module explores how and why languages change. You will explore the social contexts which trigger change as well the linguistic outcomes of change. In addition to considering the Germanic origins of English, you will document the key features associated with Old English, Middle English, as well as Shakespeare’s and Austen’s English.

Approaches to Syntax

This module builds on the skills developed on LG1220 Introduction to English Syntax and Phonology. It introduces terminology, analytic skills and grammatical architectures which, a, are in widespread use in the current syntactic literature, and which, b, can be developed further in English Syntax and World Grammars at level 6. Where relevant, explicit links will be made between grammatical constructions and punctuation. Grammatical terminology will be linked to the teaching requirements of the National Curriculum for English. 

The Creative Writing Dissertation

Our specific creative writing dissertation module will give you the chance to showcase all your skills that you have developed over the entirety of your course. You will produce an independent piece of work on your chosen genre by applying critical thinking to extensive research processes.

Experimental Fiction

To enable you to practice experimental techniques for writing fiction and reflect critically on your writing process To develop a critical and theoretical understanding of experimental fiction in historical and contemporary context To encourage you to discuss, debate and challenge terms, definitions and genre boundaries To enable you to develop and communicate your own manifesto for experiment.

English Language & Linguistics dissertation

You'll undertake a research project, which typically – though not necessarily – involves the collection and analysis of linguistic data. This includes producing a textual commentary, analysis or critique. A literature review or similar is deemed to be original if it constitutes a critical synthesis not already available from any single existing source.

Reading and Writing for Children and Young Adults

You'll begin by examining audience and the different bands within children’s literature. Explore a range of techniques including voice, character, setting and structure, as well as how to write and critique specific sub-genres. Gain an understanding of the current trends, the relationship between words and images and issues such as appropriate language and subject matter, censorship and the gatekeepers who inform and shape what children read. 

Life Writing

This module will explore the creative and critical possibilities of life-writing. You will examine a number of examples that demonstrate the different forms and approaches that life-writing can take including creative nonfiction, memoir, the lyrical essay, travel writing etc., autobiographical performance, and poetry. You will be introduced to the theory and criticism of life-writing including ideas around memory and the ethics of self-representation. You will be encouraged to experiment through a number of practical writing exercises as well as developing your final idea through the process of workshopping, giving and receiving feedback and deciding how to implement it in your final draft. You will be encouraged to consider the contemporary market for publishing within this form as well as to discuss and challenge the boundary between ‘creative’ and ‘critical’ writing.

Otherworlds: Reading and Writing Science Fiction and Fantasy

On this module you'll develop your knowledge and skills of writing for science fiction and fantasy. You'll gain a theoretical and historical understanding of the genres and how to critically approach texts. You will be expected to familiarise yourself with a range of critical material and different fantasy and science fiction short stories, and to show evidence of your understanding in class discussions and your written work.

Literature into Film

This module aims to help you to evaluate the relationship between fictional and filmic texts. You will investigate the extent to which such texts are the product of social, political, cultural and generic contexts. This module will help with more opportunities to analysis different written assessments.

Language and Power

The aim of this module is to introduce you to the concept of 'power'. You will have the opportunity to examine the effect of power on and in language.

Forensic Linguistics

On this module, you'll study language as criminal evidence, covering frameworks like authorship analysis, plagiarism detection, and police interview evaluation. You'll engage in the analysis of documents (eg, ransom notes, terrorist materials, police interviews) from a forensic linguistics perspective.

Clinical Linguistics and Language Pathology

Clinical linguistics examines language disorders and delays (acquired and congenital). This module covers various language-related pathologies like auditory processing disorder, aphasia, autism, and more. These pathologies and their causes are discussed, providing insights into the cognitive foundations of language.

English Phonology

Our module takes a theoretical approach to English phonology, building on the basic descriptive approach to English phonology studied in previous modules. You will study the basic components of phonological forms; the ways in which they can combine together; rules governing accentuation and morphophonology.

English Syntax

This module aims to develop your understanding of theoretical challenges that language presents, present a theory of language and English, expose you to theorising in practice and as a mode of intellectual enquiry, expand your awareness and understanding of English grammar. It also aims to expand your experience of studying ideas with the ideas’ originator.

World Grammars: contrastive linguistics

On this module you'll consider the similarities and differences between the world’s language and engage with questions of universality. You will learn how to categorise/group languages, including English, according to structural type. You'll also have the opportunity to contrast some aspect of a second language with their native language, so that they can better explain second language errors.

Discourse, Argumentation, Rhetoric

This module introduces you to the practices of argument identification, analysis, reconstruction, analysis and evaluation, and critical thinking. You'll cover standard argument schemes and rhetorical analysis techniques, including the use of ethos, pathos, and logos for enhancing persuasive political discourse.

English in Education

The aims of this module are to examine the contribution of Linguistics to the teaching of English Language as a first language. The module focuses primarily on the current policies and approaches to the teaching of literacy and English in the compulsory sector in the UK. 

Every effort has been made to ensure the accuracy of our published course information. However, our programmes are subject to ongoing review and development. Changing circumstances may cause alteration to, or the cancellation of, courses. Changes may be necessary to comply with the requirements of accrediting bodies or revisions to subject benchmarks statements. As well as to keep courses updated and contemporary, or as a result of student feedback. We reserve the right to make variations if we consider such action to be necessary or in the best interests of students.

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Future careers

Recent English Language and Creative Writing graduates have gained success in the worlds of publishing, writing, travel and tourism, advertising, journalism and the media. Others have pursued careers in management, commerce and public service.

We’ll give you lots of advice on how to build a successful career using your English Language and creative writing skills – we regularly host panels where professional writers, editors, literary agents and publishers provide valuable insights into their careers.

Graduates from this course have pursued a range of careers in writing and related fields, such as travel writing, play and script writing. They have also progressed to careers in travel, retail and marketing.

You will also be well equipped for entry into graduate professions in local government and public services, as well as graduate entry schemes.

Are you interested in a career in teaching and education? We have links with a network of schools in the region. You could go on to gain a PGCE in primary or secondary education, or a certificate in Teaching English to Speakers of Other Languages (TESOL).

Entry requirements

We will consider your educational achievements, predicted grades, work experience and personal statement. If you don't meet the grades for your chosen course, we will consider you for other programmes.

We know that many factors can influence the grades you achieve in school or college. If your life experience has affected your academic studies, we can take this into account. Use the UCAS Points Calculator below to check whether you are eligible.

Unsure if you meet our entry requirements? Contact our friendly  Course Enquiries team  to talk through your options.

• UCAS: 104-112 points at A2
• BTEC Extended Diploma: DMM
• BTEC Diploma: D*D-D*D*
• Pass Access Course: 104-112 points
• International Baccalaureate Diploma: Pass including 104-112 points from Higher Level subjects
• IELTS: 6.0 with no component lower than 5.5
• GCSEs: 5 at grade C/4 including Maths and English

Use our UCAS points calculator

Not got the grades.

Our courses with a foundation year could be exactly what you're looking for. They provide an alternative route to study for this degree.

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Additional costs.

As part of your course there may be additional costs to consider that are not included in your tuition fees. Most of these will be optional, but some courses have essential additional costs. Find out more about additional costs .

Scholarships and bursaries

We have a wide range of bursaries, scholarships and funds available to help support you whilst studying with us.

Select your country to see eligibility information and how to apply by selecting more info on the cards below.

Care Leaver Bursary

Our Care Leaver Bursary is for students who need extra support because they have been in care or are estranged from their parents.

Estranged student support

Estranged Student Support Bursary is for students who need extra support because they are estranged from their parents.

Dependants Bursary

Students with financially dependent children may be eligible for our Dependants Bursary as part of our financial support package. 

Financial support package

If you are from a low income household our Financial Bursary may be able to help.

Learning and assessment

A key feature of our BA in English Language and Creative Writing is choice:

On the Language side, you could choose to learn about how language is structured (syntax, phonetics and phonology, morphology), how language varies according to user and context, or the teaching of language – the choice s yours. You can also specialise in areas such as the media or forensic and political discourse.

On the Creative Writing side, you’ll get to develop your writing in a wide range of genres, from short stories to radio and film scripts. We’ll encourage you to reflect on the creative process and understand the journey from having an initial idea to transforming it into a new piece of work. Our modules are aimed at enhancing your written and verbal and communication skills, learning about careers in writing, and enhancing your employability. Along the way you’ll get to hear from guest authors, literary agents, editors and publishers.

The course involves a combination of lectures, seminars and workshops. You’ll have access to a dedicated English Language Laboratory, where you can use specialised computer applications for linguistic analysis. Creative Writing classes are taught in workshops, where you’ll get to work in small groups and share ideas.

Through our unique English Language Skills Initiative for Employability (ELSIE) project you’ll have the opportunity to gain experience in work-based activities such as copywriting, PR and press releases, producing brochures for clients, and more. Recent student projects have included taster sessions in local colleges, writing articles for community groups and designing resources for schools.

Throughout the course you’ll benefit from expert support from your tutors. We’ll encourage you to continually develop yourself. You’ll get the chance to gain valuable work experience through live projects – these could entail planning a literature festival, writing competition, reading project or other creative endeavour.

Through the Worldwise Centre, based in the School, you’ll get the opportunity to gain further practical experience through five day placements and short-term internships, as well as access the latest language learning and digital technologies (including Rosetta Stone).

This course is delivered by the School of Psychology and Humanities

For information on possible changes to course information, see our essential and important course information

You can find regulations and policies relating to student life at the University of Central Lancashire on our student contract page

MA Creative Writing Scriptwriting

Key Details

Course Overview

Prepare for a career writing for theatre, radio, film, or television with an MA that allows you to explore and produce dramatic writing across the media.

You’ll study both the theory and practice of dramatic writing, addressing contemporary dramaturgical debates, analysing written and performance texts, and experimenting with a range of techniques in original writing. You’ll develop your skills in constructive criticism and the creative editing of your peers’ writing, creating a supportive writers’ network in the process.

You’ll be taught by renowned practitioners and visiting specialists through seminars, presentations, screenings, workshops, readings, and performance visits. All with the rigour and professional insight that are the hallmark of our creative writing teaching.

The scriptwriting strand of our world-renowned MA Creative Writing has three core modules.

Firstly, Dramaturgy, in which you’ll study the core conventions of drama as explored from Aristotle to McKee and as embodied in a range of plays, films, and TV programmes, from Antigone to I May Destroy You.

You’ll also take part in the Scriptwriting workshop, building upon your study of dramaturgical theory, where each week you’ll benefit from the scrutiny and feedback of your fellow writers and workshop leaders, such as the renowned scriptwriters Steve Waters, James McDermott, Ben Musgrave, and Sian Evans. You’ll incorporate this theory into your own writing practice in weekly creative development workshops, completing scriptwriting and planning exercises. Over the course of the workshop, you and your fellow writers will bring your exercises to the group for discussion and evaluation.

You’ll then go on to study the Process module, where you will explore the differing contexts of scriptwriting across media and develop a script for your choice of medium, building an idea from concept to realisation and exploring the modes of script development that are common practice for working writers.   Over the summer, you’ll also write a dissertation, under the supervision of a member of our faculty.

Study and Modules

You’ll take four taught modules (two in the autumn semester, two in spring) and write a dissertation during the summer, with tutorial supervision. This structure gets you writing from day one. From the moment you arrive, you’ll have the chance to engage with the work of your peers and study some of the most important plays and films in the repertoire.  

In autumn semester, you’ll study Dramaturgy alongside your Creative Writing Workshop, giving you the chance to delve into dramaturgical theory as you develop your own writing voice, and critique one another’s work.

In spring semester, you’ll explore the industry across dramatic media, learning how to present and develop an idea. You’ll also choose an optional module from a range offered within the School (excluding other Creative Writing workshops), which includes modules such as Creative Encounters and Adaptation and Interpretation. These choices allow you to design your own course of study and enable you to extend the range of your learning, your fellow students, and indeed your breadth of ideas.

During the spring semester, you’ll also embark on your dissertation, benefiting from close supervision and advice as you write a full-length drama for the medium of your choice. You’ll create an original script, written to at least second draft stage, for stage, screen (TV or feature film), or radio. With expert supervision you’ll take your story from initial idea, through a series of drafts, to a fully-realised script. Along the way, you’ll have an extract workshopped and presented by performers to an invited audience of industry professionals. You’ll also be able to publish a short piece of your choice in our professionally produced anthology.

Throughout the year, you’ll have one-to-one supervision, whilst also working closely with your peers who’ll read your work and offer their notes. In addition, you’ll enhance your studies by attending screenings, theatre productions, and talks by visiting writers. In recent years these have included Christopher Hampton, Roy Williams, James Graham, Lucy Kirkwood, Simon Stephens, Winsome Pinnock, Deborah Davis, Alice Birch, Rebecca Lenkiewicz and Inua Ellams.

Compulsory Modules

Creative writing workshop: scriptwriting, creative writing: scriptwriting: dramaturgy, creative writing: scriptwriting: process, creative writing research methodology conference, creative writing (scriptwriting) dissertation, optional a modules, analysing hollywood cinema, digital storytelling, contemporary fiction, ludic literature, japanese literature, the non fiction novel, the poetics of place, creative encounters, critically queer: sex, gender and sexuality, creative-critical writing, environmental humanities: human cultures and the natural world, adaptation and interpretation.

Whilst the University will make every effort to offer the modules listed, changes may sometimes be made arising from the annual monitoring, review and update of modules. Where this activity leads to significant (but not minor) changes to programmes and their constituent modules, the University will endeavour to consult with students and others. It is also possible that the University may not be able to offer a module for reasons outside of its control, such as the illness of a member of staff. In some cases optional modules can have limited places available and so you may be asked to make additional module choices in the event you do not gain a place on your first choice. Where this is the case, the University will inform students.

Teaching and Learning

You’ll benefit from a distinguished and experienced team of lecturers on this course, all of whom are working writers who are celebrated in their given media. Our team has included the lecturers below, listed with their research specialisms.

You’ll also benefit from regular masterclasses with professionals in the different dramatic media in our ‘ScriptXtra’ slot and your work will receive rehearsed readings and be showcased in events with invited guests from the industry.

Steve Waters is an acclaimed writer for stage, radio and screen. His plays include The Contingency Plan, (Sheffield Theatres, 2022), Temple (staged at the Donmar Warehouse, London, in 2015), and Limehouse, which opened in 2017 at the same venue. His interests include drama and ecology, evident in his research project 'Song of the Reed: Dramatising Conservation' and his acclaimed four-part Radio 4 drama 'Song of the Reed' starring Mark Rylance. His books include The Secret Life of Plays and A Life in 16 Films: How Cinema Made a Playwright.

James McDermott is an acclaimed playwright, screenwriter and poet, who graduated from UEA in 2016. Since then, his plays have included Rubber Ring and Time and Tide. In addition, James has written for Eastenders and published two volumes of poetry, Manatomy and GreenAppleRed.  

Ben Musgrave is an award-winning playwright whose plays include the Bruntwood Prize-winning Pretend You Have Big Buildings, and Crushed Shells and Mud. His plays for BBC Radio 4 include The Last Missionary of Kanaipur, and Vital Signs.

Siân Evans is a highly successful writer for stage, screen and radio; she has translated plays for the Sheffield Crucible and Liverpool Playhouse, and has had plays produced by the National Theatre, Theatre Clwyd and the Arcola among others. She has written and devised original series for ITV and the BBC and was a staff writer on continuing series like Casualty and Holby City. She is currently writing her third libretto for the contemporary opera company NOISE.

Independent study

Alongside your taught sessions, you’ll do independent reading, writing, and viewing throughout your MA. You’ll build towards working independently on your dissertation with supervision from one of our tutors. They’ll give you support and expert advice, guiding you through the different drafts of your script. You will receive one-to-one supervision at regular intervals as you progress from the conception to the culmination of your project.

You’ll be independently assessed for each module – through an analytical essay, original creative writing, and working process materials.

Your modules will be worth 20 credits each (with the exception of Research Methodology, which is worth 10 credits) and the dissertation is weighted at 90 credits.

Entry Requirements

Applications from students whose first language is not English are welcome. We require evidence of proficiency in English (including writing, speaking, listening and reading):   

IELTS: 7.0 overall (minimum 7.0 in Writing and 6.0 in all other components)

Test dates should be within 2 years of the course start date.  

We also accept a number of other English language tests. Review  our English Language Equivalencies  for a list of qualifications that we may accept to meet this requirement.  

If you do not yet meet the English language requirements for this course, INTO UEA offer a variety of English language programmes which are designed to help you develop the English skills necessary for successful undergraduate study:   

Pre-sessional English at INTO UEA    

Academic English at INTO UEA   

Promising candidates will be invited to one of our online interview days, which are scheduled across the academic year. Typically a candidate will be interviewed by two members of the Creative Writing faculty and we aim to inform candidates of the outcome within five working days. Unsuccessful candidates are welcome to re-apply, though not within the same academic year. Successful candidates will either be offered a place for the forthcoming academic year or a place for the following academic year (if it is felt that they need more time to develop as a writer). Once the forthcoming year is ‘full’ candidates will be offered a place on our reserve list with the option of a place for the following academic year if a place does not become available. 

This course is open to UK and International applicants. The annual intake for this course is in September each year . 

Please note that those candidates offered a place on the course will not be able to defer their offer to the next year if they are unable to take up the offer of a place, however they are welcome to reapply the next year.

Additional Information or Requirements

Candidates are required to submit a portfolio of writing for assessment with their application - up to 30 pages of dramatic script/screenplay.

Our Admissions Policy applies to the admissions of all postgraduate applicants. 

Fees and Funding

Tuition fees for the Academic Year 2024/25 are: 

UK Students: £9,975 (full time) 

International Students: £21,200 (full time)

If you choose to study part-time, the fee per annum will be half the annual fee for that year, or a pro-rata fee for the module credit you are taking (only available for Home students). 

We estimate living expenses at £1,023 per month. 

Further Information on tuition fees can be found  here . 

Scholarships and Bursaries 

The University of East Anglia offers a range of  Scholarships ; please click the link for eligibility, details of how to apply and closing dates.

Course Related Costs

Please see Additional Course Fees for details of course-related costs.

How to Apply

Applications for Postgraduate Taught programmes at the University of East Anglia should be made directly to the University. 

To apply please use our  online application form . 

FURTHER INFORMATION 

If you would like to discuss your individual circumstances prior to applying, please do contact us: 

Postgraduate Admissions Office 

Tel: +44 (0)1603 591515  Email:  [email protected]  

International candidates are also encouraged to access the  International Students  section of our website. 

Employability

After the course.

Graduates of the course have a variety of related careers. Some are acclaimed playwrights for the stage, such as EV Crowe and Bruntwood Prize winner Janice Okoh, or nominees such as Patrick Hughes and Martha Loader; some are Oscar-nominated screenwriters like Deborah Davis; some are writer/performers who make films and sitcoms, such as James McDermott; some, like Paul Farrell and Rob Kinsman, work on television series such as Waking the Dead or Doctors; and others, like Mags Chalcraft  go on to take up a PhD. Our graduates have gone on to win BAFTAs, and work in radio, teaching and script editing – even running other MAs.

A degree at UEA will prepare you for a wide variety of careers. We've been ranked 1st for Job Prospects by StudentCrowd in 2022.

Example of careers that you could enter include:

    Playwright, screenwriter or radio writer

    Script editor

    Theatre outreach officer

    Podcasters

    Arts administrator

    Film director

Discover more on our Careers webpages .

Creative Writing Scriptwriting starting September 2024 for 1 years

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AQA GCSE English Language Paper 1 Explorations in creative reading and writing

Subject: English

Age range: 14-16

Resource type: Assessment and revision

Last updated

20 August 2024

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This is a Practice Exam Paper: GCSE ENGLISH LANGUAGE Paper 1: Explorations in creative reading and writing made from scratch.

A lesson plan (including Mock Paper 1, Insert and Mark Scheme) for teachers and 3 comprehensive PDFs aimed at helping students taking GCSE English Language Paper 1 to analyse the literary techniques, language features, themes, structural tools and characters in the extract from ‘A Taste of Death’ by P.D. James. The mark scheme is also designed and written for GCSE and is exam-style.

The mock Paper 1 GCSE English Language with the accompanying mark scheme and insert will help students revise Paper 1 for exam practice. It closely mirrors the style required to ace GCSE English Language for an instant last-minute revision or an intense past paper response writing throughout the year.

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Sharon Lubkemann Allen (Princeton University) Professor of Comparative Literature & Director of Graduate Studies

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Ralph Black (New York University) Professor Emeritus

Miriam Elizabeth Burstein (University Of Chicago) Professor and Chair

Austin Busch (Indiana University-Bloomington) Professor (English), Associate Director of the Writers Forum, and Director of the Honors College

Sarah M. Cedeño, MFA (SUNY College At Brockport) Lecturer

Michael S Chojnowski (SUNY At Fredonia) Lecturer

Denise M. Craft (SUNY College At Brockport) Lecturer

Stephen Fellner (University Of Utah) Professor

T. Gregory Garvey (University Of Wisconsin-Madison) Professor

Jennifer Haytock (University Of North Carolina At Chapel Hill) Professor (English), Chancellor’s Award Recipient for Scholarship

Janie Hinds (University Of Tulsa) Professor Emerita (English), Director (Liberal Studies), Chancellor Award Recipient for Faculty Service

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Alissa G. Karl (University Of Washington-Seattle Campus) Associate Professor

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Milo Obourn (New York University) Professor and Chair (Women & Gender Studies), Professor (English), Committee Member (President’s Council on Diversity & Inclusion)

Jules Oyer (SUNY College At Brockport) Lecturer (English), Chancellor’s Award for Excellence in Adjunct Teaching (2024), Writing Tutor (Academic Success Center)

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• Academic Catalogs
• English (MA)

Master of Arts in English

Description.

The MA in English, Creative Writing and Literature tracks, introduces graduate students to advanced critical and creative study in the art of language. The program can be completed entirely (100%) online through a variety of synchronous and asynchronous courses, or through a combination of online, hybrid, and in person courses. Literary seminars and writing workshops provide intentionally framed forums for sustained and comparative analysis of literary texts, techniques, and traditions from diverse cultural contexts, through varied critical and theoretical lenses, and in dialogue with current critical scholarship. The program encourages students to work closely with faculty mentors and culminates for all creative writers and, optionally, for literature track students in a substantial (and potentially publishable) independent project focusing on an area of the student’s interest and emerging expertise. The MA in English Literature can be successfully completed with coursework. For students intending to pursue a PhD or wanting to write a thesis, there is the opportunity to do so under the guidance of faculty advisors and readers. Graduate students additionally have the opportunity to read, hear, and talk craft with nationally and internationally recognized authors through Brockport’s visiting writers series, The Writers Forum, established in 1968 and including a remarkable repository of interviews.

For accepted students exhibiting superior promise, the department has a limited number of assistantships available that provide a stipend and a tuition scholarship for up to nine graduate credits per semester. They are awarded on a competitive basis with an April 15 application deadline. Further information on assistantships may be obtained from The Center for Graduate Studies.

Admission to the Program

Applicants for matriculation in the Master of Arts in English program must submit a completed application. Application materials are available online . The application includes the following:

• A statement of interest/intent.
• Official transcripts of all undergraduate and prior graduate work.
• Two letters of recommendation from persons in a position to assess the potential for significant academic achievement.
• Applicants for the Creative Writing track must submit a sample of their poetry, fiction or creative nonfiction of no more than 20 pages in length. Applicants for the Literature track must submit a nonfiction writing sample of no more than 8-10 pages in length.

Normally, an undergraduate major in English with a minimum grade point average (GPA) of 3.0 “B” is required. For further information, contact the Director of Graduate Studies in the Department of English.

Program Requirements

Students must meet the University’s standards for graduate study .

Students choose one of two tracks for the Master of Arts in English: Literature or Creative Writing. Each is a 36-credit program. Each track includes an introductory seminar on advanced discourse in the discipline. While the Creative Writing track includes a series of writing workshops, which students in the Literature track may take as electives, both tracks require a range of literature courses.

Note: no course may meet more than one requirement.

Literature Track (36 credits)

• Literature: Critical Discourses and Dialogues in the Discipline (3 credits)
• Two Seminars in Literary Genres and Techniques i (6 credits)
• Two Seminars in Critical Perspectives on Literary Traditions ii (6 credits)
• Two Seminars in Comparative Literature, Interdisciplinary Approaches to Literature, or Literary Theory iii (6 credits)
• Three Electives in literature, film, or creative writing (9 credits*)
• One additional Literature seminar or
• ENG 697 Advanced Project in Literature**
• *Up to 3 graduate credits may be taken outside the English department with approval of department.

**Any graduate student may complete the MA in English Literature entirely through coursework. Literature track students interested in pursuing a PhD and/or completing an advanced scholarly project for prospective publication may elect to work with a faculty mentor to substantially revise an essay written for a literature seminar. Application for the advanced project requires a proposal, including an abstract and annotated bibliography developed in consultation with the proposed mentor. The advanced project is typically an article-length study (30-40 pages), expertly researched and sufficiently complex, that demonstrates mastery of relevant primary and secondary literature as well as an ability to write in accordance with professional disciplinary standards. The outcome of ENG 697 will be a potentially publishable paper that represents a significant contribution to the discipline, approved by a director, a second reader, and the Graduate Committee. ENG 697 is taken as a directed study with the faculty mentor, subject to approval by the Director of Graduate Studies, in the candidate’s final semester.

Creative Writing Track (36 credits)

• ENG 691 Prose Workshop
• ENG 692 Poetry Workshop
• ENG 603 Seminar in Creative Writing
• ENG 595 Writer’s Craft
• Literature Electives (9 credits)
• English or Film Electives (6 credits) (creative writing, film, or literature)
• ENG 698 Creative Thesis

The track culminates in a creative thesis of 50-60 pages – typically a collection of poems or short prose pieces accompanied by a critical introduction. The thesis should include the best of the work that has come through the workshops, revised, and brought to a finished state. A thesis proposal must be approved by a director who has agreed to work with the student, and by two readers selected in consultation with the director. The thesis is then written under the guidance of the director, approved by the readers, and recommended to the Graduate Committee.

   i Seminars in Literary Genres and Techniques

These close reading courses focus on a particular genre, intersecting genres, and/or literary techniques . Without purporting to be surveys of literary form or genres, they offer students the opportunity to do lots of close reading attentive to formal elements of the texts. This does not preclude investigations informed by other interests (for instance, intercultural/comparative literary inquiry, historical surveys of a genre, culturally coherent investigations, etc.). While these courses include critical writing assignments through which students’ capacity for close reading attentive to literary form and technique could be assessed (SLO1) , they might engage with literary form and technique in more creative ways also. They may but need not include the conventional 12-20 pp. graduate essay engaged with current scholarship.

   ii Seminars in Critical Perspectives on Literary Traditions

These seminars include analysis of literary texts within a particular tradition (with tradition defined broadly in terms of a cultural or historical context, literary form, thematic coherence, etc.). While constituting a survey of sorts of the tradition, they also introduce critical/theoretical perspectives on that tradition . These seminars engage literary canons and criticism with an intentional attentiveness to concerns of diversity, equity, and inclusion. Seminars may include a variety of writing and other assignments, though they should require an extended analytical essay to be assessed as a “compelling, critically informed argument regarding literary texts and traditions in dialogue with current scholarly discourse” and “practice standards and techniques of advanced academic research and writing” (SLO2) .

   iii Seminars in Comparative Literature, Interdisciplinary Approaches to Literature, or Literary Theory

These seminars are intercultural, interdisciplinary, and/or theoretical in scope . They require students to examine texts in terms of comparative contexts, cultural literacies, and/or theoretical frameworks. These courses might be focused on intersections of literature and film, literature and art, literary and other social discourses. While they should include analytical writing engaged with relevant critical scholarship, they might also include other comparative/interdisciplinary modes of inquiry and expression, including an assignment that might demonstrate students’ capacity to “effectively engage literary texts within comparative intercultural and/or interdisciplinary contexts” and “articulate clearly their own critical perspectives in literary inquiry” (SLO3) .

Student Learning Outcomes

Upon completion of the program, all students will be able to:

• Analyze and articulate correlations between form and meaning in literary texts, through close reading attentive to literary genres and techniques.

Literature Track students will be able to:

• Create historically, culturally, and critically informed arguments regarding literary texts and traditions in dialogue with current scholarly discourse, demonstrating standards and techniques of advanced academic research and writing.
• Construct insightful projects that consider literary texts within intercultural, theoretical, and/or interdisciplinary contexts.

Creative Writing Track students will be able to:

• Create original texts engaging forms and techniques in varied genres of poetry and prose, employing professional standards in constructive critical commentary on peer writing and in revising their own work.
• Articulate the place of their own work in contemporary literary practices

Identity Formation in English as a Foreign Language (EFL) Creative Writing in Indonesia

Thesis type.

• Thesis (PhD)

Thesis note

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