not 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)

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

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

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

What is Creative Writing?

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

Creative writing can take on various forms such as:

• short stories
• screenplays

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

5 Key Characteristics of Creative Writing

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

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

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

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

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

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

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

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

Styles of Creative Writing

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

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

Short Stories

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

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

Screenplays

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

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

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

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

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

Importance of Creative Writing

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

Developing Creativity and Imagination

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

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

Enhancing Communication Skills

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

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

Exploring Emotions and Ideas

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

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

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

4 Steps to Start Creative Writing

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

1. Finding Inspiration

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

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

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

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

2. Planning Your Piece

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

• the main points

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

3. Writing Your First Draft

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

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

4. Editing and Revising Your Work

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

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

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

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

Tips to Improve Creative Writing Skills

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

Read Widely

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

Practice Regularly

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

Attend Writing Workshops and Courses

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

Joining Writing Groups and Communities

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

Seeking Feedback on Your Work

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

Start Creative Writing Today!

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

Happy writing!

Brooks Manley

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

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

Here’s my favorite journal for 2024: 

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

Inspiring Ink: Expert Tips on How to Teach Creative Writing

You may also like, is a degree in creative writing worth it.

Reflective Journaling: How to Start + Prompts

How to journal for self growth and improvement (+ 20 self growth journaling prompts), leave a reply cancel reply.

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Creative Writing Ultimate Guide

I don’t know about you, but when I start learning a new skill, I want to know everything about it right away. How do I get started? What do I need to get started? How could this new skill transform my life?

Being an incessant researcher of new pastimes, I love a good master post. So, I’ve made one today for one of my favorite things in the world: creative writing .

I wrote this for people who are just getting into creative writing, but even if you’ve been writing for a while, stay tuned—some of the tricks and resources in this post will be helpful for you, too.

Need A Fiction Book Outline?

What is creative writing?

Creative writing examples, how to start creative writing, creative writing prompts, creative writing jobs, creative writing degrees, online creative writing courses.

Creative writing is imaginative writing. It’s meant to entertain its readers and get some emotional response from them. You’ll note that I said imaginative , but I didn’t say fictional writing, because while fiction is a subcategory of creative writing, it doesn’t define creative writing. All fiction is creative writing, but not all creative writing is fiction.

While technical, legal, or academic writing might be focused on conveying information in the most efficient and clear manner possible, the goal of creative writing is slightly different. You still want to communicate effectively and clearly, but you also want to put some pep in there. Creative writing uses tools like metaphor and imagery to evoke an image, emotion, or both from the reader.

Another way to look at it: if you were to say what makes creative writing distinct as a form, you could say it’s the artsy one.

Creative writing covers more than just fiction, or even just novels . Here’s a quick rundown of some types of creative writing you might encounter.

Novels (which fall under the ‘fiction’ umbrella) are a type of creative writing where the reader follows a character or characters through a plot. A novel might be a standalone, or it might be part of a series.

Example: Parable of the Sower by Octavia Butler

2. Short Stories

Short stories (which also fall under the ‘fiction’ umbrella) follow a character through a plot, like you’d see in a novel, but short stories are, well, shorter. Generally, short stories run between 1,000 and 10,000 words, with works under 1,000 words falling under the subcategory ‘flash fiction.’

Example: The Yellow Wallpaper by Charlotte Perkins Gilman

Poetry is a form of writing which focuses heavily on imagery, metaphor, symbolism, and other figurative tools. It also involves a lot of technical work with form; meter and rhythm are commonly used to enhance meaning. You can generally tell what poems are by looking at them, since they’re usually divided into groups of lines (stanzas) instead of paragraphs, like you might see in other forms of creative writing.

Example: Little Beast by Richard Siken

Related: Where to Publish Poetry

Plays are written for the stage. They include stage direction, brief scene descriptions, and character dialogue, but there’s often not a lot of prose. Plays are intended to be watched by an audience instead of read, so whatever prose exists, it is intended for the people participating in the play.

Example: Hamlet by Shakespeare

Songs are similar to poetry in terms of their structure and use of figurative language, but songs are meant to be performed. People don’t generally read song lyrics without listening to it, and the instrumentation and production often enhance the meaning of a song. Songwriters also use music theory to play with meaning—at a basic level, for example, minor chords generally convey sadness, while major chords generally convey happiness.

Example: Let it Be by the Beatles

6. Memoirs & Personal Essays

Memoirs and personal essays are a form of creative writing where an author draws on their real lived experience to create a narrative. Memoir specifically sometimes plays with chronological order and specific technical fact in favor of symbolic resonance—the author is getting at an emotional truth rather than a literal or objective truth.

Example: Me Talk Pretty One Day by David Sedaris

7. Journaling

Not everyone uses journaling as a creative writing exercise—some people want to log their daily activities and be done with it—but if you’ve ever poured your heart out about a breakup to the nonjudgmental pages of a notebook, you’ve probably already done some creative writing!

Want to find more examples? I wrote on this topic for another site, and it includes even more examples of creative writing for you to try.

Now that you know what creative writing looks like, let’s talk about how to get started, even if you’ve never practiced creative writing before.

1. Try stuff on until something fits

Take a look at the list above (or do a Google search for ‘types of creative writing’ and see if there’s anything else you might be interested in—I won’t be offended) and pick one that seems fun. If you want to try, for example, a screenplay, but you’re not sure how to write one, read a bunch. Get a feel for how they work.

Maybe you do that and decide you don't want to write screenplays after all. Okay! Try short stories. Try poetry. Try songwriting. Practicing different forms will make you a more well-rounded writer in the long run, and you might be surprised at what resonates with you.

2. Practice, practice, practice

Once you’ve found a form or a few forms that suit you, your job as a newbie is simple: practice. Write whatever you want as often as you can and, if possible, for your eyes only. Create a relationship between yourself and your craft.

Some say you should start with short stories before jumping into novels so you can practice completing narrative arcs. That might work great! But if you hate writing short stories, just practice with writing novels.

If you have an idea that feels a little too advanced for you, that’s probably what you should be working on, since it’ll teach you a lot about the craft along the way. Don’t be intimidated, and don’t worry about anyone else’s opinions (this includes any fretting about publishing). Your singular goal here is to create, and your secondary goal is to challenge yourself.

3. Join some kind of writerly group

But hold on, you might be thinking. How do I know I’m not getting worse the more I practice? How do I know I’m not just churning out garbage?

At some point, especially if your goal is to publish , you’ll want feedback on your work. And while it’s important to have the support of your loved ones, it’s also important to get feedback from other writers.

I do not recommend sending your very first manuscript to an editor or well-established writer for feedback—their feedback, generally aimed at moderate to advanced writers, is probably going to devastate you at the fledgling stage. I do recommend finding other writers at approximately your skill level to bounce ideas off of and exchange critiques. These other writers can be found online or at local writing circles—check your local public library for creative writing workshops.

Have you picked out a form of creative writing to try, but you just can’t come up with any ideas? Try using a creative writing prompt to get those creative gears turning. These are totally for you to use however is most helpful: use the prompt as-is, tweak it a little, whatever works.

Prompts are a great way to explore different types of tones in writing and hone your own personal style as an author!

Use this FREE tool: Writing Prompts Generator

Looking to make some money with your creative writing endeavors? Here’s a few options to kickstart your job search:

Ghostwriting

As a ghostwriter, your job is to write the story your client assigns you . This might be a fictional novel, or it might be a memoir. The client often has specific requests for content, length, and so on. The catch? Your name is not on the book. You’re not allowed to say that you wrote it—the client’s name or pen name usually goes on the author line. You can find ghostwriting gigs on sites like Upwork or Fiverr.

Marketing does involve some technical elements like copywriting, but creative writers have a place in marketing, too. Brands need catchy slogans, funny commercials, and even social media gurus to run entertaining Twitter accounts. For more ideas on how to market your upcoming book , check out our post on the topic.

Columnist/Blog Writer

You can also look for work as an op-ed columnist or blog writer. This might be something you do for an existing website, or it might be a blog you start from scratch on Wix, SquareSpace, or Tumblr.

You might have heard of people getting creative writing degrees, or at least you might have heard some of the discourse surrounding these degrees. Off the bat, I want to say that you don’t need a creative writing degree to be a writer. It doesn’t make you a ‘real’ writer, and it doesn’t indicate your seriousness toward the craft.

If you do want to get a creative writing degree, though, you’re looking (broadly) at two options:

Undergraduate writing programs

This is your BFA in creative writing. Not all colleges offer them—many (like my alma mater) offer a creative writing concentration or focus as part of an English degree. So you might graduate, hypothetically, for example, with a degree in English with a concentration in creative writing. Some colleges don’t offer a major, but they do offer minors.

Check to see what sorts of courses your college or prospective college offers. Do you have to be an English major to take their creative writing course? Does their creative writing course offer guidance in the type of creative writing you want to pursue? For example, my alma mater offered a creative writing concentration with two tracks, one for fiction and one for poetry. There was also a separate film studies concentration for aspiring screenplay writers and film students.

Graduate writing programs (a.k.a., the MFA)

MFA programs can be extremely competitive and prohibitively expensive, not to mention that you’re obviously not guaranteed to come out of them a better writer. They can be a great tool, but they’re not a necessary one. Look at it this way: are you willing to get this MFA if it means you might come out of it without a successfully published novel? If so, proceed.

If you want to pursue an MFA, do your research. Don’t go straight for the Iowa Writers Workshop application page and hope for the best—investigate the universities that look appealing to you, see if your interests align with theirs, and make that application fee count.

Going to college isn’t the only way to take classes on creative writing! If you’re looking for more cost-friendly options, the Internet is your friend. I’ve linked to a few places loaded with creative writing courses to get you started.

1. Intelligent.com: The Best 10 Online Creative Writing Courses

2. Coursera: Best Creative Writing Courses and Certifications

3. Self-Publishing School: Best Self-Publishing Courses

4. Our Programs: Fiction Write Your Book Program

Are you ready to try an online creative writing course? Are you ready to start some creative writing prompts? Or, are you think you're ready to go for a full creative writing project of your own? Here is a resource to help you get started:

What is a Biography? Definition, Elements, and More

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25 Personification Examples for Writers: What It Is & How to Use It

Fiction, Learning, Writing

5 Tips For Mastering Your Rough Draft

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“Show, don’t tell” is one of the simplest guidelines in creative writing, and one of the most helpful. In short, it encourages writers to transmit experiences to the reader, rather than just information .

“Show, don’t tell” encourages writers to transmit experiences to the reader, rather than just information.

“Show, don’t tell” is not just a suggestion for creative writers; it’s at the heart of what defines creative writing itself. In this article, we’ll explore what “show, don’t tell” means and how understanding it can help us as writers, and we’ll give you lots of exercises you can experiment with to properly balance “show” and “tell” in your own work. Let’s dive into this essential topic in the craft of writing.

What is “Show, Don’t Tell” Writing?

Rather than asserting something for the reader to  accept , “Show, don’t tell” writing transmits something for the reader to  experience .

What does “Show, don’t tell” mean? At its root, it means that rather than asserting something for the reader to  accept , your writing transmits something for the reader to  experience . The writer accomplishes this through a mix of vivid imagery, descriptive verbs, and immersive details.

To see what this means in practice, let’s look at a couple of “show, don’t tell” examples:

Do you see the difference? The first text doesn’t invoke a very specific experience, and it doesn’t feel like all that much. It’s just information. “Huh, I guess it was terrifying. All right.”

Conversely, the second example invokes a specific experience: it actually lets you visualize some sort of shambling spike demon drawing closer to you. It doesn’t just talk about scariness in the abstract—it is scary, at least a little bit. As the reader, you can imagine how the main character might have felt, using your own ability to imagine and feel.

Here’s another example, this time of a single “Tell, don’t show” sentence and lots of “Show, don’t tell” examples:

Show, don’t tell:

• He shivered and pulled up his flannel scarf.
• He ducked his head against the bitter December air.
• The wind wicked heat from his exposed skin.
• “Beauty is pain,” he said, wincing as the cryogenic gunk touched his warts.
• The cashier’s glare froze his innards.

Each example expresses very different emotions, settings , and conflicts —all within one sentence! By using “Show, don’t tell,” these sentences impart what kind of cold the man felt: was it a chill of temperature, of emotions, or of surgery? Is it a necessary chill, or a frightfully apathetic frigidness? Can we relate this cold to our own personal experiences?

“Show, don’t tell” writing is all about creating “doorways” for the reader: “ways in” that let the reader live in and directly experience the world of the writing.

So “Show, don’t tell” writing is all about creating “doorways” for the reader: “ways in” that let the reader live in and directly experience the world of the writing.

Why “Show, Don’t Tell” Writing Empowers the Reader

When it’s done properly, creative writing creates experiences in the reader. It brings up images in the mind, emotions in the body, sense perceptions, memories—you name it.

Readers bring the writing to life, by experiencing in their own way what the writer is working to transmit. The writer gives readers a world made of language—sets of happenings, images, meanings, associations—and the readers’ own experience of the writing depends on how their minds and bodies light up in response.

“Show, don’t tell” writing gives the reader a job that goes far beyond simply “understand” or “agree.”

In other words, “Show, don’t tell” writing gives the reader an experiential and interpretive job that goes far beyond simply “understand” or “agree.” Readers are always meeting writers halfway.

That freedom of interpretation—passing the human experience back and forth, and feeling it together, but each in our own individual ways—is the beating heart of creative writing.

Why “Show, Don’t Tell” Separates Creative Writing from Other Types of Writing

Most writing in English does  not follow the “Show, don’t tell” guideline (including this article).

Most writing in English does  not follow the “Show, don’t tell” guideline. For example, this article exists mainly to tell you something as clearly as possible, for you to consider and perhaps incorporate moving forward. Most professions require this type of direct, declarative writing: statements that describe, educate, explain, and argue.

Creative writers have a far different goal. They more transcribe human experiences than describe them—always working to provide readers with doorways to enter the world of the writing directly. Where most writing is declarative, creative writing is exploratory, world building, and inventive.

Where most writing is declarative, creative writing is exploratory, world building, and inventive.

If lawyers were creative writers, they wouldn’t say, “My client is innocent. She has an alibi.” They’d say, “My client spent her evening like usual: chopping peppers and garlic over sizzling oil, popping one-too-many candied mints as she watched the 7 o’clock news, and thinking about the legitimacy of nation-states as she read Foucault in the bathtub.”

Of course, lawyers don’t talk like this. Why are we getting this deep into the human experience? We have a job to do. Besides, creative writing requires practice and deep thought. In fact, it took me 12 minutes just to come up with a backstory for this nameless, alibi-ed character.

Far more than most types of writing, creative writing invites the reader into an immersive world of experience.

“Show, don’t tell” can have a home in many writing styles that aren’t always thought of as creative writing, such as in journalism. But for the most part, creative writing works differently from other types of writing, and has remarkably different aims, because it is so strongly oriented toward inviting the reader into an immersive world and experience.

Should I Use “Show, Don’t Tell” Writing All the Time?

Nobody uses “Show, don’t tell writing” all the time, because some pieces of information are better off summarized.

Absolutely not. Nobody uses “Show, don’t tell writing” all the time in creative writing, because some pieces of information are better off summarized. Plus, lots of writing includes dialogue , and some people only talk using tell, don’t show language. Finally, readers need a break—they can’t be visualizing tons of images all the time, otherwise they’ll be exhausted quickly. A healthy balance of both is key.

To make this point, let’s look at an example of too much “Show, don’t tell,” and a more balanced example:

In the first example, we’re slowing readers down by describing things that probably aren’t worth their deep engagement. Those pieces are best left to “Tell, don’t show” writing, which is quick, summaristic, and simple, and which is the quickest way from cause to effect. So understand what’s less important and  tell the reader about that, so you get get to showing them what is richest and most alive.

Understand what’s less important and  tell the reader about that, so you get get to showing them what is richest and most alive.

In this vein, times when summaristic, “tell, don’t show” writing may be preferable include:

• Describing certain minor characters.
• Glossing over periods of time that are uneventful or unimportant.
• Transitioning between scenes.
• Writing memos, notes, dialogue, or other declarative media.
• Intentionally building a contrast with more evocative writing.

To summarize: “showing” language helps spotlight the most important details. You will find this type of writing much more frequently in scenes versus summaries .

How to Balance “Show” and “Tell” in Your Writing

Getting this balance right requires three things: curiosity, craft, and confidence.

Getting the balance of “show” and “tell” right requires three things:

In the sections below, we’ll go through these three elements one-by-one, giving you lots of tools and exercises to practice incorporating “Show, don’t tell” into your writing.

For CNF writers who want to learn more on this balance, check out our workshop Show and Tell: How to Create Captivating Nonfiction .

1. The Role of Curiosity in “Show, Don’t Tell” Writing

Many of us are unpracticed in the kind of exploratory, empathetic thinking that “Show, don’t tell” thrives on. (This is in part because most Western education systems do not   foster a strong sense of creativity in students.) The good news is, we can practice! And it will make our writing much richer and more compelling.

As an example, let’s say I’m writing a story about a romantic couple performing an art heist. (Random, I know. I just finished reading The Goldfinch by Donna Tartt, so if you’ve read it, you’ll understand where my head is at.)

The curious writer sees endless doorways for exploration, and lets that curiosity guide which details to focus on.

The curious writer sees endless doorways for exploration here, and will let that curiosity guide which details to focus on. The writer might be drawn to describing for the reader:

• Details of the museum’s layout and security systems, and the intricacies of the heist in overcoming these challenges.
• The fine brushstrokes of the targeted painting; the patina of history built up along its weathered frame.
• The protagonist’s shaky laugh when the sensors won’t turn off as planned.
• The moment of pure, unrestrained joy the robbers share as they unwrap the stolen painting in the moonlight.
• The small social cues that clue in on the robbers’ crumbling relationship.
• The detective and his task force’s process for investigating the heist.

With “Show, don’t tell” writing, we can let our curiosity guide us through each of these doorways into the story. But if we just want to get to some payoff (“the couple executed a brilliant art heist, but the one thing they couldn’t unlock was loyalty”), then we might miss all the details that make the story worth savoring—because of a lack of curiosity about those details.

These next exercises are sure to spark your curiosity.

6 Curiosity Exercises for Show, Don’t Tell Writing

These exercises are about noticing experiences beyond their surface, summary details.

1. Try freewriting for five minutes: just write continually in a stream of consciousness, continually, without pausing, editing, or revising. This is good for moving from “pre-processed” summary and interpretation and toward accessing more immediate parts of your experience.

2. Describe one of your characters using only the five senses. Don’t name the senses themselves, and try to use specific details, or even using similes and metaphors . Instead of saying “he has green eyes,” say “his eyes are like primeval forests.”

3. Remember a unique experience that will never be replicated. Something like your first love, a serious accident, a moment of intense feeling. What makes that experience unique? How can you convey that uniqueness through the five senses? What immediate experiences—thoughts, sense perceptions, feelings—stood out? Share these things in a few sentences or paragraphs.

4. Imagine yourself somewhere entirely new: in a medieval farming village, in a darkened robotics plant after midnight, you name it. What does this experience feel like in detail ? Write what you perceive with your senses, emotions, and mind. Feel free to incorporate research if you’d like to get a better sense of this new environment.

5. Pick a random stanza or paragraph from something you’ve written. Now, try rewriting those lines as if they were told from another person’s point of view. What if the narrator was:

• of a different sex.
• colorblind.
• twice the original narrator’s age.
• a used car salesman.
• hyped up on caffeine.
• your best friend.
• omniscient.
• your favorite animal.
• your nemesis .

Pick at least 3 of the points of view above, and rewrite from them. In each case, how does the differentness of the point of view organically change the writing, without you needing to say so directly?

6. Read like a writer . Research for and read a book with characters and a setting you’re unfamiliar with. As you’re reading, pay attention to what makes this book’s subject interesting: how does the writer pull you into a different perspective and experience of the world, and show you things you wouldn’t have expected? Pay attention, then look for ways to emulate that curiosity in your own work.

2. The Role of Craft in “Show, Don’t Tell” Writing

“Show, don’t tell” is built on the craft fundamentals of good creative writing. These fundamentals help us write clearly and vividly in any genre.

Beyond these fundamentals, in creative writing in particular, engaging with literary devices is a crucial element of craft. It is these literary devices that let you show things like moods , patterns, associations, and multiple meanings.

Literary devices let you show the reader things like moods, patterns, associations, and multiple meanings.

We know Edgar Allan Poe’s writing was gloomy and claustrophobic, and often spoke to the parts of our experience that are tinged with madness and decay. Did he ever tell us this directly? No: it’s in the literary devices he used to establish mood and various kinds of associations and meanings in us as readers. He was able to show us something of his inner world—without ever needing to tell us about it—thanks to his own abilities in writing craft.

The below exercises will enrich your abilities as a craftsperson.

7 Craft Exercises for Show, Don’t Tell Writing

These exercises are about honing your ability to create doorways for the reader, using expressive writing and literary devices .

1. Figurative language shows the reader a web of associations: how seemingly different things sometimes resonate with one another in experience. “The emergency blanket crinkled like a bag of chips” uses simile to convey a sensory experience, for example; or “joy is a lemon-yellow dress” conveys a felt sense of exuberance shared by bright clothes and happy emotions. In a few sentences or a short poem, use metaphor or simile to share the likeness of two things.

2. Write a poem or short story without using adjectives or adverbs. (So, not “he was tall,” since tall is an adjective, but “he towered over us.”) Describe things using only nouns, verbs, and literary devices.

3. Write a short story or poem that conveys a feeling—like anticipation, contentment, or guilt—without ever mentioning the feeling directly. How can you share that feeling as an atmosphere for the reader, in language that is about something else on the surface?

4. Find a literary device you’ve never heard of at https://literarydevices.net/ . Then, write 10 different, original “show, don’t tell” examples that use this device. (Try to do this even for devices that aren’t relevant to your genre. For example, a fiction writer doesn’t need to worry about end-stopped lines, but try them out!)

5. Transcribe a short passage from a podcast or talk show. Use that as the dialogue in a short story; fill in your own descriptions of the speakers’ body language and the scene around them to advance the story and establish a mood.

6. Write your next story in the style of a certain author. Hemingway, for example, was known for writing that was brisk and straightforward, with no excess. The Brontë Sisters, by contrast, are known for their sprawling sentences, lengthy passages, and slow, emotional writing. Pick a style to emulate, then write your next piece in that style. Take note of what craft elements and figurative devices you replicate.

7. Use a certain form. Poetic forms , like the sonnet or the villanelle , force you to use the writing craft. For prose writers, “form” refers to length—flash fiction versus vignette versus novella—and it refers to genres—romance, thriller, mystery , prose poetry , fantasy lyric essay , etc. Challenge yourself to fit different constraints; you’ll need the tools of the writing craft to succeed.

For more exercises on show, don’t tell writing, as well as imagery in general, take a look at our article Imagery Definition: 5+ Types of Imagery in Literature .

3. The Role of Confidence in “Show, Don’t Tell” Writing

Writing requires trust. If we as writers want to be heard and understood, we need to be willing to trust our future readers, and ourselves.

Confidence in Your Readers

When we put our writing into the world, we lose all control of how it’s going to be read. For many writers, this is terrifying.

When we put our writing into the world, we lose all control of how it’s going to be read. The ink has dried, the words are printed, and readers are left to decide for themselves if the story or poem is worth reading. This, for many writers, is terrifying.

And why wouldn’t we be terrified? When we write, we bury small pieces of our hearts in the words like squirrels storing seeds for the winter. Publishing that writing is like giving a stranger the map to those seeds, those heart-fragments, and then finding the next week that they’ve already been re-arranged.

Trust comes in in allowing your readers to interpret your work, and having confidence that their experience will be rich and meaningful.

Trust comes in in allowing your readers to interpret your work, and having confidence that their experience will be rich and meaningful—even if it’s not exactly as you would have dictated.

Why Telling Readers What to Experience Isn’t the Answer

If we approach our writing hesitantly because we can’t control how the reader will experience the work, we might respond by erasing any semblance of ambiguity in our work. In doing so, we end up telling the reader what to experience, instead of showing them our worlds and letting them experience those worlds for themselves.

“Show, don’t tell” always results in ambiguity. If we forego that ambiguity, we also forego the craft of storytelling.

“Show, don’t tell” always results in ambiguity, because readers have to experience the story for themselves, in their own ways. If we forego that ambiguity, we also forego the craft of storytelling .

“But I Want Everyone to Understand that…”

Many of us write because we want to inform, persuade, excite, entertain, or challenge our readers. Shouldn’t I focus on transmitting what I already know—the inalienable truths I’ve uncovered in my life, the things I wish more people understood?

Certainly, those discoveries should enter the mix of ideas in your work. However, if you’re not trying to grow from the writing process, then you’re not really embracing the humanistic nature of creative writing in particular.

It comes down to what kind of writing you want to do: didactic writing, or creative writing.

It comes down to what kind of writing you want to do: didactic writing (like this article), or creative writing. Creative writing is about shared human experiences. Our job, as creative writers, is to create the doorways that help our readers connect with the stories we tell. If that doesn’t interest you, that’s okay! You can spread your ideas some other way, from works of philosophy to training materials to blog articles like this one.

Leo Tolstoy is an example of an author who mixed expressive and didactic writing—and of the challenges in doing so. War and Peace contains long didactic passages about how human history works. These tracts of philosophy are almost completely forgotten; War and Peace has even sometimes been reprinted without them. And yet War and Peace ‘s story lives on as a classic for what it shows us about the human condition, far above what Tolstoy was able to tell us about how to understand everything.

All kinds of writing are valuable. Just be clear your intention, before you tell a story that is accidentally a philosophy lecture, or vice versa.

Of course, some authors were great philosophers but unsuccessful playwrights. Just be clear your intention, before you tell a story that is accidentally a philosophy lecture, or vice versa.

Confidence in Yourself

The worlds you have to show your readers are worth experiencing.

This boils down to believing that the worlds you have to show your readers are worth experiencing. And they are. However complete or incomplete you feel as a writer at present, you can share your stories, and the world will be richer for your doing so.

Feeling this sense of permission is so crucial to “Show, don’t tell” writing, because creation is such an intimate act. It can be easier to bail on the whole thing and start telling us what you think about things—much safer-seeming. But it doesn’t let us experience the world you want to create.

Accepting the Goodwill of the Reader

Readers want to read! Being a writer is not an imposition.

One thing that may help find confidence in yourself as a writer: remember that readers want to read! They want new experiences, ideas, and writing styles to excite them. This goodwill extends to the suspension of disbelief , and in a search for the merits of your work.

So being a writer is not an imposition. You’re offering into a win-win situation: both the writer and the reader benefit by the creation of literature.

Now, not everyone will “get” your work. That’s because the human experience is so vast. There is no writer in the world who appeals to every person. And you’ll never stop growing, as long as you keep writing.

So what are you waiting for? Show us your world!

Closing Thoughts on “Show, Don’t Tell”

We’ve covered a lot in this article, because “Show, don’t tell” is a deceptively big topic. We hope the “show don’t tell” examples, discussion, and exercises here form a truly helpful resource as you embark on your writing journey.

If you’ve been wondering how to move forward as a writer, you’ve found the right place to learn. Between this article and our many amazing writing courses, you can absolutely take the next step in your writing. See for yourself: take a look at our upcoming courses today!

Sean Glatch

13 comments.

This is excellent.

I experienced this entire article. Thank you for sharing such helpful tips!

I’m happy to hear this resonated with you! Best of luck on your writing journey x

you have just given an excellent blueprint on how to tackle the beast called writing

I’m so happy this helped you. Best of luck tackling the beast!

[…] “Why ‘Show, Don’t Tell’ is a Golden Rule of Creative Writing” (writers.com… […]

Wow! This was so helpful. I am in writing workshop right now for Poetry.. Finding this article, give me so much grist for the mill . Now I have to revise my poem. Thank you.

Thank you so much for this really helpful writing guide.

Our pleasure—we’re glad you found it helpful!

Thank you for this. Very helpful information.

Excellent. I have been applying such writing skills in classes and find it so useful for our students.

Very helpful. Hard to achieve the right balance!

it’s excellent

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What is Creative Writing?

by Melissa Donovan | Dec 7, 2023 | Creative Writing | 20 comments

What is creative writing?

Today’s post is an excerpt from the book  Ready, Set, Write: A Guide to Creative Writing . This is the entirety of the first chapter, “What is Creative Writing?” Enjoy!

Creative writing can be difficult to define.

Certainly, fiction and poetry are forms of creative writing, but what about journal writing, articles and essays, memoirs and biographies? What about textbooks and copywriting? Technical writing? Blog posts?

Where do we draw the line between what is creative writing and other types of writing?

In some cases, what qualifies as creative is obvious. You read something, and you know a lot of creativity went into it. Other times, a piece of writing, while skillful, might not strike you as creative in nature. And then there’s everything in between—stuff that’s sort of creative or not quite creative enough.

Fiction is made-up stuff borne of the imagination. Poetry takes artistic liberties with language and imagery. These types of writing require a significant level of creative thinking. But many other types of writing are creative as well. When you read a memoir with beautiful turns of phrase or an essay that evokes an emotional response, you’re experiencing the writer’s creativity. Conversely, dry, factual material, such as a user’s guide, might be completely lacking in artistry.

Have you ever read the terms and conditions on a website? Ever browsed through an instruction manual? Surely, you’ve suffered through a boring textbook. While these types of writing might require some level of creativity, they are not usually considered creative writing.

It’s easy to glance at a poem and know that it’s a piece of creative writing, and it’s easy to flip through a legal document and know that it’s not.

So what is creative writing?

If a historical textbook is not creative writing, then wouldn’t that exclude other nonfiction works like memoirs and biographies from the creative writing category?

Not necessarily.

While nonfiction indicates that the writing is rooted in fact, it can be written with emphasis on language and craftsmanship and therefore creative. Creative nonfiction is a broad genre that includes memoirs and biographies, personal essays, travel and food writing, and literary journalism.

Ultimately, we each get to decide what is art and what is creative writing. Most of us will know creative writing when we experience it, either as a writer or as a reader.

In the big scheme of things, it may not be that important to go around labeling what is and isn’t creative writing, but it’s certainly worthy of a few brief moments of consideration. You can determine what creative writing is for yourself, but others might see things differently.

Do you differentiate between creative writing and other types of writing? Do you feel that copywriting (ads, commercials, etc.) can be classified as creative writing even though its purpose is strictly commercial? If most textbooks are not considered creative writing, does that mean a textbook can never be written creatively? Is writing creative because of how the writer approaches the project, or how the reader receives it?

What is creative writing to you? Share your thoughts by leaving a comment, and keep writing.

Don’t forget to pick up a copy of  Ready, Set, Write.

20 Comments

The act of creation, the literal source of the term creative, is an unbounded event that accepts a poorly whittled twig as company to the Mona Lisa. We have weakened that magnanimous gesture by listening to critics and marketers. That is the world, we are told, deal with it. Is it really?

The curse of the moniker “expert” is the finite limitations of experience. An expert can, truly, only judge a thing based on his personal experience. In many fields that is sufficient for a normalized event. You know a balanced perspective, what makes a pleasing composition, what pleases the ear, the pallet and the psyche. When something arises that does not fit the normal patterns, what then? Can you really use normal criteria to weigh it’s value? Experts do, of course, what choice do they have?

I have issue with kind and gracious critiques given so liberally to work the expert didn’t understand; but because the artist was renowned, and popular, it must be so. I read drivel, knowing it has been proclaimed a masterpiece, and laugh to myself. I study paintings that were little more than bovine scratching, and marvel at how highly prized it is, while brilliant groundbreaking work all around is ignored.

Creative writing – creative anything, is literally everything. Marketable work, is the term you are searching for. That has little to do with artistic merit, though some remarkable work does find it’s way to the light.

Caliban, thanks for sharing your thoughts. I believe that a true expert will know when faced with work that is beyond their experience or expertise and will act accordingly. I know nothing about football, so if someone asked me to critique a football player’s performance on the field, I would politely decline.

Having said that, everyone seems to have an opinion. Some may hold more weight than others. For example, I care more about what a well-read person thinks of my work than someone who rarely or never reads any kind of literature. I too have read drivel that has been declared a masterpiece and it’s frustrating to me. It’s difficult to understand, for example, why a shoddy writer is putting out two novels a year and consistently appearing on the bestseller list and receiving rave reviews. Yet it happens all the time (and no, I’m not naming any names!).

You’re right, creative writing or creative anything is literally everything. However, that is subjective. Me? I don’t consider legal, medical, or scientific writing to be creative. I worked as a technical writer and there was nothing creative about it, although it did require considerable skill in terms of language and grammar.

Really great questions here. Creative writing is such a broad category that so many things can fall under it. I personally think that when I’m at work, writing work documents like memos, press releases, contracts, etc., I’m not being creative. When I’m writing on my blog, in my journal, or a story/novel, I’m using my creative writing skills. Now, if only I could get a job where I can use my creative writing all the time…. 😉

Wouldn’t it be exciting to make a full-time living with creative writing? Successful novelists and freelance writers are able to do that, as are screenwriters. Where there’s a will, there’s a way.

Good stuff.

I think it’s words that make you think, feel, or act. It’s evocative. It’s clever in action. It’s looking at something a new way. I think the most evocative writing can win over the most evocative painting. Of course, it depends on whose eye the apple is in. It’s subjective and some of the most beautiful art is precisely divisive.

Ooh…evocative writing versus evocative painting. That would be quite a fight!

Interesting question! When somebody says “Creative writing,” I DO tend to think FICTION before anything else. Because that’s something that comes entirely from your own head. Whereas with non-fiction, you’re writing to a purpose or from a set of facts.

But the actual act of writing? Creative, either way.

Well, when it’s being done right. Because, of course, you can write a quick promotion on auto-pilot and have it be … fine. Routine. Run-of-the-mill. But the good ones? That give you that glow of satisfaction? Pure creativity, all the way!

I tend to immediately think fiction and poetry whenever people start talking about creative writing, but it turns out there’s a whole genre of nonfiction that is creative (and it has tons of sub-genres). For example, the memoir is quite popular right now. I guess it all has to do with how creative or literary your work is.

Really interesting question, the differentiation between what is creative writing and what is not is extremely subjective.

In some ways I think that all writing is somewhat creative as it has emerged from the mind and the writer has had to think about what they are going to produce and how they are going to do it.

I can appreciate that novels and poems are more likely to be considered creative and perhaps even more worthy to be described as such.

I agree with you – we can bring creativity into just about anything we do (including any type of writing), but some forms of art require a little more creativity than others.

Anything that doesn’t make me ‘want’ to read it, is in my mind, non creative as in business manuals, contracts,academic materials, etc. But, written stuff that contains a story line, causes me to reflect, chuckle and ‘want’ to read more of the same would be the creative side of writing for me. Most times, I don’t think about the difference, I just naturally ‘feel’ it:)

Yes, it’s hard to think of the dry writing (business, manuals, contracts) as creative. I do believe there are exceptions, but they are few and far between.

I agree with everyone in terms of the question itself being worthy of contemplation. I think there’s a difference between noise and music, so I will say there is a distinction between creative writing and other types of writing, just as there is art and non-art.

To use the music analogy again, I think technical documents are like playing perfect scales. Kudos to those who have the skill to do that really well, but it’s not a creative act until someone rearranges those notes into something unique and pleasant.

Thanks for getting me thinking this evening. Give us more to contemplate.

Sarah, this is an excellent analogy. I wish I’d thought of it myself. Your examples of noise vs. music and technical documents being similar to playing scales are spot-on! Thanks so much for adding your ideas to this discussion.

Completely stunned and baffled! I am dangling in between the two worlds of what is and isn’t on creative writing arena. Does that mean any writing can be said creative and also not, depending how we passive the pieces of works we may come across?

I think it’s just a judgment call. Each of us gets to decide.

I’m eighty-five years old and have only started writing in the past year or so. My writings have consisted of stories from my own life. My idea of creativity is to make those past experiences interesting. I’ve always been an avid reader of both fact and fiction. I relied heavily on self-help books while struggling with depression during my earlier years. Self-help books aren’t fiction, but I’ve found them to be creatively written.

Creative writing might also be described as, “making myself look pretty darn good” while telling tales of my past.

One of the great things about writing is that we can start it at any time in life. I have always found writing to be calming and therapeutic and a useful tool for self-expression. Thanks for sharing your experiences with writing, Richard.

Creative writing, literally focoses on the imaginative and true skillful arts of bring thoughts into words and actions. Thereby, imbues in readers the ability to critique on the applied skills levelled up by the writer in his or her works of art.

The purpose of creative writings varies. Some works are meant to entertain; others are meant to inform or inspire. While readers can certainly critique, that is actually not the common purpose from an author’s perspective. And most readers don’t get too deep into critiques. Most readers want to be entertained or learn something.

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What is Creative Writing?

Discover What Is Creative Writing as we unravel the art of self-expression through words. In this blog, learn the meaning and techniques of creative writing, igniting your imagination and honing your storytelling skills. Unlock the world of literary creativity and learn how to craft compelling narratives that captivate readers.

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Creative Writing is a form of art that allows people to express their thoughts, ideas, and emotions through the written word. It is a mode of self-expression that combines imagination with linguistic skills to create compelling narratives, poems, and other forms of literature. A Statista survey found that 76,300 Authors, Writers and Translators work in the United Kingdom alone in 2023. This shows Creative Writing is a demanding career worldwide.To know more about it, read this blog, to learn What is Creative Writing, how to write captivating narratives, and discover the essence of expressive writing.

Table of Contents  

1) Understanding What is Creative Writing   

2) Key elements of Creative Writing   

3) Types of Creative Writing  

4)  Importance of Creative Writing

5) The Creative Writing process  

6) Tips for effective Content Writing  

7) Conclusion  

Understanding What is Creative Writing

Creative Writing is the art of crafting original content that elicits readers' emotions, thoughts, and imagination. Unlike Academic or Technical Writing, Creative Writing allows for more personal expression and imaginative exploration. It encompasses various forms such as fiction, poetry, non-fiction, and drama, all of which share the common thread of artistic storytelling.    

Key elements of Creative Writing  

2) Character development: Compelling characters are the heart of any great story. Through careful development, characters become relatable, complex, and capable of driving the plot forward.    

3) Setting and atmosphere: The setting and atmosphere create the backdrop for the story. By skilfully crafting these elements, Writers can enhance the overall mood and tone, allowing readers to feel like they're living within the story's world.    

4) Plot and storytelling: A well-crafted story keeps readers engaged and invested in the narrative's progression. This includes introducing conflicts, building tension, and crafting satisfying resolutions .    

5) Dialogue and voice: Dialogue adds authenticity to characters and provides insight into their personalities. A distinctive narrative voice also contributes to the story's uniqueness and captivates readers.   

Types of Creative Writing  

Creative Writing encompasses various genres and forms, each offering a unique platform for expressing creativity, storytelling, and emotion. As you delve into the world of Creative Writing, it's essential to explore the various types and discover which resonates with you the most. Here are some of the prominent types of Creative Writing:   

1) Fiction  

Fiction is perhaps the most well-known type of Creative Writing. It involves inventing characters, settings, and plotlines from scratch. Writers have the freedom to create entire worlds and realities, whether they're set in the past, present, future, or even in alternate dimensions.

Novels, short stories, novellas, and flash fiction are all forms of fiction that engage readers through compelling characters, intriguing conflicts, and imaginative settings. From fantasy realms to gritty crime dramas, fiction transports readers to new and exciting places.

2) Poetry  

Poetry is the art of condensing language to evoke emotions, provoke thoughts, and communicate complex ideas using rhythm, rhyme, and vivid imagery. Poems' conciseness requires Writers to choose their words carefully, often crafting multiple layers of meaning within a few lines.

Poetry can take various forms, including sonnets, haikus, free verse, and slam poetry. Each form carries its own rules and conventions, allowing Poets to experiment with structure and sound to create impactful compositions. Moreover, poetry delves into the depth of emotions, exploring themes ranging from love and nature to social issues and personal reflections.

3) Creative non-fiction

Non-fiction writing draws from real-life experiences, observations, and research to convey information, insights, and personal perspectives. This form includes genres such as essays, memoirs, biographies, autobiographies, and journalistic pieces.

Non-fiction Writers blend storytelling with factual accuracy, presenting their ideas in a compelling and informative manner. Personal essays offer a glimpse into the writer's thoughts and experiences. At the same time, memoirs and autobiographies share personal journeys and reflections, connecting readers with the author's life story.    

4) Drama and playwriting  

Playwriting is the creation of scripts for theatrical performances. The challenge lies in crafting engaging dialogue and constructing scenes that captivate both the audience and the performers.

Dramatic Writing requires an understanding of pacing, character motivations, and the visual aspects of storytelling. While Theatrical Writing requires a keen sense of the following:    

a) Character dynamics: Building relationships between characters and exploring their motivations and conflicts. 

b)  Stage directions: Providing clear instructions for actors, directors, and stage designers to bring the play to life.

c) Dramatic structure: Crafting acts and scenes that build tension and engage the audience.  

5) Satire and humour  

Satire and humour utilise wit, sarcasm, and clever wordplay to critique and mock societal norms, institutions, and human behaviour. This form of Creative Writing often challenges readers to view the world from a different perspective.

Moreover, it encourages them to question established conventions. Satirical works, whether in literature, essays, or satirical news articles, aim to entertain while also prompting reflection on serious topics. 

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Importance of Creative Writing  

Creative Writing holds a profound significance beyond its role as a literary pursuit. It bridges imagination and reality, fostering personal growth, communication skills, and cultural preservation. Here's a closer look at why Creative Writing is of paramount importance:   

1) Personal expression and catharsis  

Creative Writing is a sanctuary for self-expression. Individuals can voice their innermost thoughts, emotions, and experiences through poetry, stories, and essays. This act of sharing vulnerabilities and joy brings about a cathartic release, offering a therapeutic outlet for emotional expression. Moreover, it cultivates a deeper understanding of oneself, promoting self-awareness and self-acceptance.   

2) Cultivation of communication skills  

The art of Creative Writing cultivates effective Communication Skills that transcend the written word. Writers learn to convey ideas, concepts, and feelings coherently and captivatingly.

This proficiency extends to verbal communication, enabling Writers to articulate their thoughts with clarity and eloquence. As a result, it enriches interpersonal relationships and professional endeavours.   

3) Nurturing empathy and perspective  

Writers develop a heightened sense of empathy as they craft diverse characters and explore multifaceted narratives. Immersing oneself in the shoes of different characters fosters understanding and tolerance for various viewpoints and backgrounds. Readers, in turn, experience this empathy, gaining insight into the complexities of human nature and the diverse tapestry of human experience.    

4) Exploration of social issues  

Writers wield the power to effect change through their words. They can shed light on societal issues, challenge norms, and provoke critical conversations. By addressing topics such as social justice, equality, and environmental concerns, Creative Writing becomes a catalyst for positive transformation and advocacy.   

5) Connection and impact  

Creative Writing builds bridges between individuals by establishing connections on emotional and intellectual levels. Stories resonate across cultures, transcending geographical and temporal boundaries. The impact of a well-crafted story can be enduring, leaving a mark on readers' hearts and minds.

Unlock your creative potential with our Creative Writing Training - register now!  

The Creative Writing process 

Creating a compelling piece of Creative Writing is a journey that involves a series of steps, each contributing to the evolution of your story. Whether you're crafting a short story, a novel, or a poem, here's a breakdown of the Creative Writing process in eight essential steps:  

1) Finding inspiration  

The process begins with a moment of inspiration—a fleeting thought, an intriguing image, or a powerful emotion. Inspiration can strike anywhere—nature, experiences, dreams, or simple observation.

Keep a journal or digital note-taking app to capture these sparks of inspiration as they occur. Explore your interests, passions, and emotions to identify themes and ideas that resonate with you.  

2) Exploring ideas and brainstorming   

Once you've identified an inspiring concept, delve deeper. Brainstorm ideas related to characters, settings, conflicts, and themes. Jot down all possibilities, allowing your imagination to roam freely. This stage is about generating a wealth of creative options that will serve as building blocks for your story. 

3) Planning and outlining  

Organise your thoughts by creating an outline. Outline your story's major plot points, character arcs, and pivotal moments. This outline acts as a roadmap, guiding you through the narrative's progression while providing flexibility for creative surprises.   

4) Writing the first draft  

Once you are done with your outline, start writing your first draft. Don't worry about perfection—focus on getting your ideas onto paper. Let your creativity flow and allow your characters to surprise you. The goal is to have a complete manuscript, even if it's messy and imperfect.  

5) Revising for content  

Once the first draft is complete, take a step back before revisiting your work. During this stage, focus on revising for content. Analyse the structure of your plot, the development of your characters, and the coherence of your themes. Make necessary changes, add details, and refine dialogue. Ensure that your story's foundation is solid before moving on.  

6) Editing and polishing  

Edit your Manuscript for grammar, punctuation, sentence structure, and style. Pay attention to clarity and consistency. Also, focus on enhancing the flow of your writing and creating a polished narrative that engages readers. 

7) Feedback and peer review 

Share your revised work with others—friends, writing groups, or beta readers—to gather feedback. Constructive criticism can highlight blind spots and offer perspectives you might have missed. Use this feedback to refine your work further.  

8) Finalising and proofreading  

Incorporate the feedback you've received and make final revisions. Proofread meticulously for any remaining errors. Ensure that your work is formatted correctly and adheres to any submission guidelines if you plan to publish or share it.  

Tips for effective Creative Writing  

Here are some of the useful tips you should consider incorporating in your process of writing :  

1) Show, don't tell: Instead of directly stating emotions or details, "showing" involves using actions, thoughts, and dialogue to convey information. This technique allows readers to draw their own conclusions and become more immersed in the story.  

2) Use of metaphors and similes: Metaphors and similes offer creative ways to describe complex concepts by comparing them to something familiar. These literary devices add depth and creativity to your writing.  

3) Building suspense and tension: By strategically withholding information and creating unanswered questions, Writers can build suspense and keep readers eagerly turning pages.  

4) Crafting memorable beginnings and endings: A strong opening captures readers' attention, while a satisfying conclusion leaves a lasting impact. These elements bookend your story and influence readers' overall impression.  

5) Experimenting with point of view: The choice of point of view (first person, third person, etc.) shapes how readers experience the story. Experimenting with different perspectives can lead to unique narrative opportunities.  

Conclusion   

We hope this blog gave you a clear idea of What is Creative Writing, along with its process and useful tips. The Creative Writing process is not linear; you might find yourself revisiting earlier steps as your story evolves. Embrace the journey, allowing your writing to develop and transform through each phase. 

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Frequently Asked Questions

a) Literary Agent

b) Screenwriter

c) Video Game Story Writer

d) Copywriter

e) Website Editor

f) Creative Director

There are several resources or recommended readings which can help you to hone your Creative Writing skills. Here we have discussed some of such resources:

a) “On Writing: A Memoir of the Craft" by Stephen King

b) "Bird by Bird: Some Instructions on Writing and Life" by Anne Lamott

c) "Writing Down the Bones: Freeing the Writer Within" by Natalie Goldberg

d) Joining book clubs

e) Reading a variety of authors and genre

f) Practicing writing regular prompts and exercises.

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Writers' Treasure

Effective writing advice for aspiring writers

Creative Writing 101

Creative writing is any form of writing which is written with the creativity of mind: fiction writing, poetry writing, creative nonfiction writing and more. The purpose is to express something, whether it be feelings, thoughts, or emotions.

Rather than only giving information or inciting the reader to make an action beneficial to the writer, creative writing is written to entertain or educate someone, to spread awareness about something or someone, or to express one’s thoughts.

There are two kinds of creative writing: good and bad, effective and ineffective. Bad, ineffective creative writing cannot make any impression on the reader. It won’t achieve its purpose.

So whether you’re a novelist, a poet, a short-story writer, an essayist, a biographer or an aspiring beginner, you want to improve your craft. The question is: how?

When you write great fiction, poetry, or nonfiction, amazing things can happen. Readers can’t put it down. The work you wrote becomes a bestseller. It becomes famous. But you have to reach to that level… first .

The best way to increase your proficiency in creative writing is to write, write compulsively, but it doesn’t mean write whatever you want. There are certain things you should know first… it helps to start with the right foot.

To do exactly that, here we have a beginners’ guide from Writers’ Treasure on the subject:

• An Introduction to Creative Writing
• How to Get Started in Creative Writing in Just Three Steps
• Creative Writing vs. Technical Writing
• Fiction Writing 101: The Elements of Stories
• Poetry Writing: Forms and Terms Galore
• Creative Non-Fiction: What is it?
• Tips and Tricks to Improve Your Creative Writing
• Common Mistakes Made by Creative Writers

For novelists: do you want to write compelling opening chapters?

Are you an aspiring novelist? Will your novel see the light of day? For that, you will need to make the first chapter of your story as compelling as possible. Otherwise, readers won’t even pick up your novel. That chapter can be the make-or-break point that decides whether your novel is published or not. It’s because good editors know how you write from the first three pages… or sometimes even from the opening lines.

To solve this problem, I created a five-part tutorial on Writing Compelling Opening Chapters . It outlines why you need to write a compelling opening chapter, my personal favourite way of beginning it, what should be told and shown in it, general dos and don’ts, and what you need to do after having written it. Check it out for more.

Need more writing tips?

Sometimes you reach that stage when you outgrow the beginner stage of writing but feel that you’re not yet an expert. If I just described you, no worries– Writers’ Treasure’s writing tips are here. Whether you want to make your writing more readable, more irresistible, more professional, we’ve got you covered. So check out our writing tips , and be on your way to fast track your success.

I offer writing, editing and proofreading , as well as website creation services. I’ve been in this field for seven years, and I know the tools of the trade. I’ve seen the directions where the writing industry is going, the changes, the new platforms. Get your work done through me, and get fast and efficient service. Get a quote .

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Creative Nonfiction: How to Spin Facts into Narrative Gold

Creative nonfiction is a genre of creative writing that approaches factual information in a literary way. This type of writing applies techniques drawn from literary fiction and poetry to material that might be at home in a magazine or textbook, combining the craftsmanship of a novel with the rigor of journalism. 

Here are some popular examples of creative nonfiction:

• The Collected Schizophrenias by Esmé Weijun Wang
• Intimations by Zadie Smith
• Me Talk Pretty One Day by David Sedaris
• The Immortal Life of Henrietta Lacks by Rebecca Skloot
• Translating Myself and Others by Jhumpa Lahiri
• The Madwoman in the Attic by Sandra M. Gilbert and Susan Gubar
• I Know Why The Caged Bird Sings by Maya Angelou
• Trick Mirror by Jia Tolentino

Creative nonfiction is not limited to novel-length writing, of course. Popular radio shows and podcasts like WBEZ’s This American Life or Sarah Koenig’s Serial also explore audio essays and documentary with a narrative approach, while personal essays like Nora Ephron’s A Few Words About Breasts and Mariama Lockington’s What A Black Woman Wishes Her Adoptive White Parents Knew also present fact with fiction-esque flair.

Writing short personal essays can be a great entry point to writing creative nonfiction. Think about a topic you would like to explore, perhaps borrowing from your own life, or a universal experience. Journal freely for five to ten minutes about the subject, and see what direction your creativity takes you in. These kinds of exercises will help you begin to approach reality in a more free flowing, literary way — a muscle you can use to build up to longer pieces of creative nonfiction.

If you think you’d like to bring your writerly prowess to nonfiction, here are our top tips for creating compelling creative nonfiction that’s as readable as a novel, but as illuminating as a scholarly article.

Write a memoir focused on a singular experience

Humans love reading about other people’s lives — like first-person memoirs, which allow you to get inside another person’s mind and learn from their wisdom. Unlike autobiographies, memoirs can focus on a single experience or theme instead of chronicling the writers’ life from birth onward.

For that reason, memoirs tend to focus on one core theme and—at least the best ones—present a clear narrative arc, like you would expect from a novel. This can be achieved by selecting a singular story from your life; a formative experience, or period of time, which is self-contained and can be marked by a beginning, a middle, and an end. 

When writing a memoir, you may also choose to share your experience in parallel with further research on this theme. By performing secondary research, you’re able to bring added weight to your anecdotal evidence, and demonstrate the ways your own experience is reflective (or perhaps unique from) the wider whole.

Example: The Year of Magical Thinking by Joan Didion

Joan Didion’s The Year of Magical Thinking , for example, interweaves the author’s experience of widowhood with sociological research on grief. Chronicling the year after her husband’s unexpected death, and the simultaneous health struggles of their daughter, The Year of Magical Thinking is a poignant personal story, layered with universal insight into what it means to lose someone you love. The result is the definitive exploration of bereavement — and a stellar example of creative nonfiction done well.

📚 Looking for more reading recommendations? Check out our list of the best memoirs of the last century .

Tip: What you cut out is just as important as what you keep

When writing a memoir that is focused around a singular theme, it’s important to be selective in what to include, and what to leave out. While broader details of your life may be helpful to provide context, remember to resist the impulse to include too much non-pertinent backstory. By only including what is most relevant, you are able to provide a more focused reader experience, and won’t leave readers guessing what the significance of certain non-essential anecdotes will be.

💡 For more memoir-planning tips, head over to our post on outlining memoirs .

Of course, writing a memoir isn’t the only form of creative nonfiction that lets you tap into your personal life — especially if there’s something more explicit you want to say about the world at large… which brings us onto our next section.

Pen a personal essay that has something bigger to say

Personal essays condense the first-person focus and intimacy of a memoir into a tighter package — tunneling down into a specific aspect of a theme or narrative strand within the author’s personal experience.

Often involving some element of journalistic research, personal essays can provide examples or relevant information that comes from outside the writer’s own experience. This can take the form of other people’s voices quoted in the essay, or facts and stats. By combining lived experiences with external material, personal essay writers can reach toward a bigger message, telling readers something about human behavior or society instead of just letting them know the writer better.

Example: The Empathy Exams by Leslie Jamison

Leslie Jamison's widely acclaimed collection The Empathy Exams  tackles big questions (Why is pain so often performed? Can empathy be “bad”?) by grounding them in the personal. While Jamison draws from her own experiences, both as a medical actor who was paid to imitate pain, and as a sufferer of her own ailments, she also reaches broader points about the world we live in within each of her essays.

Whether she’s talking about the justice system or reality TV, Jamison writes with both vulnerability and poise, using her lived experience as a jumping-off point for exploring the nature of empathy itself.

Tip: Try to show change in how you feel about something

Including external perspectives, as we’ve just discussed above, will help shape your essay, making it meaningful to other people and giving your narrative an arc. 

Ultimately, you may be writing about yourself, but readers can read what they want into it. In a personal narrative, they’re looking for interesting insights or realizations they can apply to their own understanding of their lives or the world — so don’t lose sight of that. As the subject of the essay, you are not so much the topic as the vehicle for furthering a conversation.

Often, there are three clear stages in an essay:

• Initial state 
• Encounter with something external
• New, changed state, and conclusions

By bringing readers through this journey with you, you can guide them to new outlooks and demonstrate how your story is still relevant to them.

Had enough of writing about your own life? Let’s look at a form of creative nonfiction that allows you to get outside of yourself.

Tell a factual story as though it were a novel

The form of creative nonfiction that is perhaps closest to conventional nonfiction is literary journalism. Here, the stories are all fact, but they are presented with a creative flourish. While the stories being told might comfortably inhabit a newspaper or history book, they are presented with a sense of literary significance, and writers can make use of literary techniques and character-driven storytelling.

Unlike news reporters, literary journalists can make room for their own perspectives: immersing themselves in the very action they recount. Think of them as both characters and narrators — but every word they write is true. 

If you think literary journalism is up your street, think about the kinds of stories that capture your imagination the most, and what those stories have in common. Are they, at their core, character studies? Parables? An invitation to a new subculture you have never before experienced? Whatever piques your interest, immerse yourself.

Example: The Botany of Desire by Michael Pollan

If you’re looking for an example of literary journalism that tells a great story, look no further than Michael Pollan’s The Botany of Desire: A Plant’s-Eye View of the World , which sits at the intersection of food writing and popular science. Though it purports to offer a “plant’s-eye view of the world,” it’s as much about human desires as it is about the natural world.

Through the history of four different plants and human’s efforts to cultivate them, Pollan uses first-hand research as well as archival facts to explore how we attempt to domesticate nature for our own pleasure, and how these efforts can even have devastating consequences. Pollan is himself a character in the story, and makes what could be a remarkably dry topic accessible and engaging in the process.

Tip: Don’t pretend that you’re perfectly objective

You may have more room for your own perspective within literary journalism, but with this power comes great responsibility. Your responsibilities toward the reader remain the same as that of a journalist: you must, whenever possible, acknowledge your own biases or conflicts of interest, as well as any limitations on your research. 

Thankfully, the fact that literary journalism often involves a certain amount of immersion in the narrative — that is, the writer acknowledges their involvement in the process — you can touch on any potential biases explicitly, and make it clear that the story you’re telling, while true to what you experienced, is grounded in your own personal perspective.

Approach a famous name with a unique approach 

Biographies are the chronicle of a human life, from birth to the present or, sometimes, their demise. Often, fact is stranger than fiction, and there is no shortage of fascinating figures from history to discover. As such, a biographical approach to creative nonfiction will leave you spoilt for choice in terms of subject matter.

Because they’re not written by the subjects themselves (as memoirs are), biographical nonfiction requires careful research. If you plan to write one, do everything in your power to verify historical facts, and interview the subject’s family, friends, and acquaintances when possible. Despite the necessity for candor, you’re still welcome to approach biography in a literary way — a great creative biography is both truthful and beautifully written.

Example: American Prometheus  by Kai Bird and Martin J. Sherwin

Alongside the need for you to present the truth is a duty to interpret that evidence with imagination, and present it in the form of a story. Demonstrating a novelist’s skill for plot and characterization, Kai Bird and Martin J. Sherwin’s American Prometheus is a great example of creative nonfiction that develops a character right in front of the readers’ eyes.

American Prometheus follows J. Robert Oppenheimer from his bashful childhood to his role as the father of the atomic bomb, all the way to his later attempts to reckon with his violent legacy.

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The biography tells a story that would fit comfortably in the pages of a tragic novel, but is grounded in historical research. Clocking in at a hefty 721 pages, American Prometheus distills an enormous volume of archival material, including letters, FBI files, and interviews into a remarkably readable volume. 

📚 For more examples of world-widening, eye-opening biographies, check out our list of the 30 best biographies of all time .

Tip: The good stuff lies in the mundane details

Biographers are expected to undertake academic-grade research before they put pen to paper. You will, of course, read any existing biographies on the person you’re writing about, and visit any archives containing relevant material. If you’re lucky, there’ll be people you can interview who knew your subject personally — but even if there aren’t, what’s going to make your biography stand out is paying attention to details, even if they seem mundane at first.

Of course, no one cares which brand of slippers a former US President wore — gossip is not what we’re talking about. But if you discover that they took a long, silent walk every single morning, that’s a granular detail you could include to give your readers a sense of the weight they carried every day. These smaller details add up to a realistic portrait of a living, breathing human being.

But creative nonfiction isn’t just writing about yourself or other people. Writing about art is also an art, as we’ll see below.

Put your favorite writers through the wringer with literary criticism

Literary criticism is often associated with dull, jargon-laden college dissertations — but it can be a wonderfully rewarding form that blurs the lines between academia and literature itself. When tackled by a deft writer, a literary critique can be just as engrossing as the books it analyzes.

Many of the sharpest literary critics are also poets, poetry editors , novelists, or short story writers, with first-hand awareness of literary techniques and the ability to express their insights with elegance and flair. Though literary criticism sounds highly theoretical, it can be profoundly intimate: you’re invited to share in someone’s experience as a reader or writer — just about the most private experience there is.

Example: The Madwoman in the Attic by Sandra M. Gilbert and Susan Gubar

Take The Madwoman in the Attic by Sandra M. Gilbert and Susan Gubar, a seminal work approaching Victorian literature from a feminist perspective. Written as a conversation between two friends and academics, this brilliant book reads like an intellectual brainstorming session in a casual dining venue. Highly original, accessible, and not suffering from the morose gravitas academia is often associated with, this text is a fantastic example of creative nonfiction.

Tip: Remember to make your critiques creative

Literary criticism may be a serious undertaking, but unless you’re trying to pitch an academic journal, you’ll need to be mindful of academic jargon and convoluted sentence structure. Don’t forget that the point of popular literary criticism is to make ideas accessible to readers who aren’t necessarily academics, introducing them to new ways of looking at anything they read. 

If you’re not feeling confident, a professional nonfiction editor could help you confirm you’ve hit the right stylistic balance.

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Fall 2024 Course Atlas

Course listing, engcw 190 first year seminar.

First Year Seminar: Decolonial Practice and Thought   

Yanique   Tuesday   1:00-3:45

(crosslisted with AAS 190-4, ENVS 190-3, LACS 190-1, SOCI 190-4, and ARTHIST 190-1)

NO APPLICATION REQUIRED

This is a first year seminar with a practical focus on creative writing, using methodologies from various disciplines such as English, Art History, African American Studies, and Sociology. A central text for this course is the decolonial symposium hosted by Emory University and co-hosted by Clark-Atlanta University during the same semester, where students will dynamically engage with seminar fellows in art, literature, anthropology, philosophy and Black spiritual work. Students in this seminar will study seminal texts as well as new decolonial materials presented to them in the form of lectures, working papers, workshops and art exhibits; and as such, students will be expected to meet outside of the listed seminar schedule.  Course work will include writing poetry in response to visual art, creating anti-racist museum tags for campus galleries, writing personal essay on spiritual practice, and conducting field studies in the Emory archives.

Written Assignments:

One short story or novel excerpt in draft form, one group of poems in draft

One short story, novel excerpt or group of poems due as final project

Smaller assignments due in class, for homework, collected, not collected, etc., as the course progresses.

from unincorporated territory (amot) by Craig Santos Perez

Postcolonial Love Poem by Natalie Diaz

Handouts from Professor: Sam Hunt, Tania James and others

Assessment:

Students will be assessed on the elements of the course, as listed below.  Each aspect of the class will be weighed equally. Students must perform with excellence on all elements of the course to receive an A-.  Excellence is defined by the professor.  Students performing very well will receive a grade on the B to B+ scale.  Students performing well will receive a grade on the C+ to B- scale.  Students performing mediocrely will receive a grade on the D to C scale. Students performing inadequately will be asked to leave the class or they will receive an F grade. The A grade is reserved for students who exceed the professor’s expectations.

ENGCW 271W Introduction to Poetry Writing

Pre-requisite : None

Students must attend the first class to be enrolled in this workshop.

ENGCW 271W-1          Debevec-McKenney                   Monday 2:30-5:30

ENGCW 271W-2          Christle                                         Tuesday 2:30-5:30

ENGCW 271W-3          Christle                                         Thursday 2:30-5:30

Debevec-McKenney’s section:

Poetry is a place for your strongest feelings. Your poetry exists because you love yourself and you love language enough to write it—you believe that what you see and think and care about is important.

Your poems are yours and yours alone: They only need to sound like you. They should be full of concrete images, so we can see and feel the world you see and feel. Your poems do not need to be serious or sad. They do not need to be light and fluffy. They do not need to be “good.” They do not need to be about nature, but they can be. They do not need to be beautiful. They do not need to be hard to understand and they do not need to be easily understood. They only need to be full of feelings and images.  

We are all here to learn from each other. In a small, caring, writing community, if we feel safe enough, it is much easier to access our feelings. It is easier to try something new, or to write something “bad.” We are not here to show off. We are here to write. To improve on our own terms.

We’ll start each class by sharing work out loud. We’ll talk about poems. And then we’ll write. In the second half the semester, we’ll workshop.

Our goal over the course of the semester is to use the reading, a few lectures, in-class discussion, and the work of your peers, to learn how to make more intentional decisions as a poet. You will learn that “what is being said is always inseparable from the way it is being said.” (Hirsch) Using this new set of skills, and feeling held by the writing community here, you might write the poems you’ve always wanted to write, the poems you need to write, the poems you’ll write for the rest of your lives. You will try to look at the world more closely. You will refer to yourself as a poet—an observer of the world around you. You will report on your world in only the way you can.

Assignments and Grading:

Out of 1,000 points

Professionalism: 200 points

Prose: 300 points

Reading Responses: 200 points

Poetry Collection: 300 points

Students will be given PDFs.

Christle’s sections:

A poet's artistic practice is not confined to the page; it permeates and shapes their movement through the world. This course will explore some of the ways in which a poet's habits—including associative thought, pattern recognition/making, perception of alternate meanings, keeping a notebook, and making oneself available to astonishment—can be consciously woven into daily life. We will look to a range of published poems, including three full-length collections, to observe what happens when those practices meet the page. You will learn how to name and experiment with specific poetic tools and techniques through in-class exercises, weekly poem assignments, and written responses to course texts. Regular workshop discussions of student poems and two individual conferences will aid in the production of a portfolio of revised poems at the semester’s end. Attendance at all Creative Writing Reading Series events is required, as is attendance at the first class meeting.

This course is open and welcoming to all, whether you intend to major in Creative Writing, are a senior who finally has room in your schedule for a course outside your usual area of study, or simply find yourself curious about how poetry happens. This is not to say the course will be easy—it will place serious demands on your imagination!—but if you are game, you are likely to find joy in the work.

Important note on attendance: Because this is a discussion-driven, intimate, highly participatory class that meets only once a week, your ongoing presence in the classroom is vital. Missing more than one class will negatively affect your grade. Students who miss three classes may be asked to withdraw.

Assessment is based on the following:

20% Participation (This includes written and spoken comments on your fellow students’ poems, engagement with in-class writing exercises/activities, and discussion rooted in assigned readings)

20% Weekly poems

10% Poet’s notebook entries

10% Attendance at Creative Writing Reading Series events

15% Written responses to 3 books

25% Final portfolio (a gathering of revised poems and an introduction to the work)

ENGCW 272 Introduction to Fiction Writing

Cooper     Thursday   1:00-3:45

This section of Introduction to Fiction Writing does NOT carry the Continuing Communication tag. This section is ideal for prospective Creative Writing majors.

Pre-requisite: none

This is an introduction to the art of fiction writing for beginning students. The roots of storytelling will be explored, and elements of the fiction writer's craft will be introduced and practiced (desire/conflict, character development, point of view, dialogue, showing vs. telling, structure, etc.). We will also closely read and examine selected works of published short fiction, though the occasional interdisciplinary model of music, film, and other mediums will be considered—all with an eye toward identifying and generating character and story, and learning how to “read like a writer.” Students will complete writing exercises and shorter pieces of fiction, as well as one longer story that will be workshopped. Students will also be expected to analyze and discuss in-depth both the work-in-progress of fellow students and published stories; thusly, class participation is not optional. (Note: we will center character-based literary fiction, meaning this course is not one in which genres like fantasy, sci-fi, mystery, horror, romance, etc. will be read or written.) This course will prepare students for intermediate-level workshops in fiction.

No texts, but students will be expected to print a significant amount of pages throughout the semester.

Students will be assessed on their writing and class participation:

• Writing (50%): shorter pieces of writing; one longer workshop story; significant revision of workshop story.
• Participation (50%): oral and written responses to student and published work; presentations; class discussion/participation; shorter writing assignments; attendance; overall effort/improvement.

ENGCW 272W Introduction to Fiction Writing

ENGCW 272W-1          Skibell                 Monday 2:30-5:30

ENGCW 272W-2          staff                      Tuesday 2:30-5:30

Skibell’s section:

Course description: Our course will serve as a workshop into the form and structure of fiction writing for the beginning student. We will be working in a round-table workshop format. We will learn by doing. Topics covered will include:  

1) scene work; 2) POV; 3) plot vs. narrative; 4) beginning near the end; 5) characterization;  6) dramatic action, etc..  

Writing: Each student will write three short stories for the workshop. The first will be 7-9 pages in length; the second 8-12. As a final project, each student will write a 3- to 5-page story for the final class.   

Workshop: We will read and discuss each other’s stories. Through the process of speaking intelligently and generously about other people’s work, one hones one’s own narrative and dramatic sense. Each class member’s work will be discussed twice. Everyone is expected to participate in the roundtable discussions generously and openly.   

Reading each other’s work: One of the greatest benefits of the workshop is getting feedback from one’s peers. I encourage you all to be generous with one another on this score. Make honest and full-hearted and generous comments on the one another’s manuscripts, and be prepared to throw yourself into the class discussions. Each of you will get back what you give to your peers in this regard. 

Grading: I don’t feel it’s right to grade young writers on the quality of their work. Evaluating creative work is subjective at best. And so our class will work on a 100-point grading system. Attendance at our 13 classes is worth 2 points each for a total of 26% of your grade. (Miss a class, lose two points. Arrive 30 minutes late, lose 1/6 of a point, etc.) Your 28 peer responses, turned into [email protected] on time, are worth 1 point each for a total of 28% of your grade. (These will be time-stamped and strictly counted. Do not send other correspondence to this address.) Each story is 10 points each, and your proof of attendance at a two Creative Writing Reading Series event or other literary events is worth 2.5 points each.  This totals 89 points, which equals a B.  

The other 11% of your grade is my subjective evaluation of your performance, in class and on paper. This means, in essence, that by doing 100% of the work, you are guaranteed a B. My evaluation of the final 11% will consider: manifest effort, progress made from beginning to end, attitude to the class and the work, and other such intangibles as level of engagement, intellectual inquiry, curiosity, generosity, pro-activity, consistency, a positive attitude, as well as a Bell Curve comparison to your peers. Some students take ownership of a workshop, others seem less involved. If you want an A, make sure you take ownership of the class and that you compare favorably to the most involved students.

Texts: none

staff’s section:

Description TBA

ENGCW 370RW Intermediate Fiction

Pre-requisite: any 200-level workshop

Writing sample: 10-15 pages of literary fiction (double-spaced), no genre fiction (fantasy, sci-fi, mystery, horror, romance, etc.)

ENGCW 370RW-1      Tolin                    Tuesday 2:30-5:30

ENGCW 370RW-2      Cooper               Wednesday 2:30-5:30

Tolin’s section:

Finding Your Voice

Now that you’ve completed introductory coursework in fiction, it’s time to start thinking seriously about how your voice shows up on the page. Are you drawn to short, simple sentences and a blunt narrative voice, a la Ernest Hemingway? Or do you prefer melodic prose with longer, more descriptive sentences, as in the works of Toni Morrison? Maybe you appreciate writers whose sentences seem to follow their own chaotic internal logic, like Mary Gaitskill and Yiyun Li. Perhaps you like punchy writing, sentences that bounce with humor–Lorrie Moore, ZZ Packer, Philip Roth, and Venita Blackburn, for example.

What we call voice is really a series of grammatical and stylistic choices. Looking closely at these decisions in our work and others’ can help us determine how we might commit our voices to paper in a genuine way. In this course, we will read varied works of published short fiction from contemporary writers with unique prose styles. In addition to craft elements like structure, character development, and point of view, our discussions will focus on voice and how it is achieved at the sentence level. Assigned readings will be used as launchpads for in-class prompts and exercises. Our goal is to write things we feel proud of, the sorts of pieces we might enjoy reading if we encountered them in a book or journal. Meeting this objective requires that we read widely and carefully.

Careful reading extends also to the work of your peers. Everyone will workshop two works of original short fiction, due one week prior to the workshop date. Discussions of student work will focus on guiding the writer more fully toward their vision and should be approached with real seriousness. All students will write workshop letters for their peers, as well as one short analysis paper close reading a published story assigned for class. Toward the end of the semester, you will participate in a partner exercise with a peer who you feel is a good reader for your work. Here, you will radically revise one of your workshop stories and receive feedback from that peer (and from me) on the revision. Your work from the semester will culminate into a final portfolio, which will contain a self-assessment in addition to creative materials.

PDFs, available as hard copy or online, in lieu of textbooks

Creative Writing (70%)

• Workshop Story #1 (15%)
• Workshop Story #2 (20%)
• Two revised workshop stories (one radically revised); one short story analysis paper; one self-reflection

Participation (30%)

• ~300 words each; graded for completion and written in the form of a letter to your peer
•  If you are shy and have trouble speaking up in class, please talk to me in office hours or via email about ways to make participating easier for you. If you are not shy, please keep in mind that participating also means knowing when it’s time to let others have a turn.

** Please note: Creative work will receive full credit if it is turned in on time, correctly formatted, meets the page count (TBD), and shows real evidence of proofreading. That said, I can tell when you have written a story in one caffeine-fueled sitting, and because you are expected to work on your stories consistently over the course of the semester and well in advance of the workshop date, overt sloppiness is not acceptable.

Cooper’s section:

This workshop is designed to build upon the experience and skills students have acquired in previous fiction workshops. Students taking this class will be expected to push themselves consistently to develop and hone their storytelling skills, and to engage with the gamut of human emotions and experiences—through both their own writing and the work of others (including published writers and fellow students). We will plumb the roots of storytelling and practice the various elements of craft (character, point of view, dialogue, setting, scene-building, structure, etc.), with students producing two strong, original pieces of short fiction, one of which will be revised significantly and submitted at semester's end (to serve as a final exam). Also required: detailed, thoughtful written and oral feedback on fellow student writing in workshop, as well as reading of and responses to published work. Class participation is not optional. (Note: we will center character-based literary fiction, meaning this course is not one in which genres like fantasy, sci-fi, mystery, horror, romance, etc. will be read or written.)

• Writing (50%): two original workshop stories; one significant revision.
• Participation (50%): oral and written responses to student and published work; class discussion/participation; shorter writing assignments; attendance; overall effort/improvement.

ENGCW 371RW Intermediate Poetry

Writing sample: 3-4 poems on separate pages

ENGCW 371RW-1      Duong                                          Monday 2:30-5:30

ENGCW 371RW-2      Debevec-McKenney                   Tuesday 2:30-5:30

Duong’s section:

This intermediate course is a space for experienced poets to further sharpen and expand their poetry practices in an intensive workshop environment. Over the course of the semester, we will explore the poem as a kind of hybrid research endeavor—an investigation driven by language and syntax. How do poets draw subjects, language, and even formal considerations for their poems from external sources such as historical records, interview transcripts, and art objects? In each class session, we will work towards a shared set of terms and ideas with which we might complicate our understanding of poetry’s possibilities. We will read five poetry collections and a number of other poems, craft essays, and hybrid works across a range of English-language literary styles and traditions.

Assignments for this course include drafting a new poem for workshop each week, conducting collaborative in-class exercises, devising a unique research assignment, and assembling a final portfolio consisting of revised poems accompanied by an artist’s statement. You will also be expected to give and receive peer feedback on workshop submissions, which you will implement during the revision process. All students are required to attend the Creative Writing Program’s readings this semester.

• Look by Solmaz Sharif
• Reenactments by Hai-Dang Phan
• The Vertical Interrogation of Strangers by Bhanu Kapil
• Feeld by Jos Charles
• Couplets: A Love Story by Maggie Millner  

Other texts will either be available on Canvas or distributed in class.

Attendance and participation              30%

Weekly poem submissions                  20%

Poetry research assignment               10%

Research statement essay                   10%

Final portfolio                                         30%

This intermediate poetry workshop is an opportunity to strengthen your commitment to your poems, your practices, yourself. To connect with a group of writers who care for your work—to value how vital community is to poetry. Realize you’re capable of much more than you think you are. Gain trust in your voice and question the speaker of your poems. Recognize your patterns and work to harness them. The course will be filled with opportunities to mess with sources, engage your own obsessions, and to experiment with new forms and ways of writing: play, play, play. Students should expect to read and write poems extensively, to give and receive thoughtful feedback from peers. 

Couplets , Maggie Millner

978-0374612818

M-A-C-N-O-L-I-A , A. Van Jordan

978-0393327649

Look , Solmaz Sharif

978-1555977443

R E D , Chase Berggrun

978-0991429882

ENGCW/THEA 372RW Playwriting

Belflower    Tuesday 2:30-5:30    

Pre-requisite: none  

Writing sample: 2-5 pages in any genre, preferably dramatic writing or poetry

Students must attend the first class to be enrolled in this workshop.  

Throughout the semester, you will:

• define/explore elements of craft (motion, structure, character, language, time, and world).
• read plays with a targeted focus on each craft element (as well as other plays), and engage with them through written responses, guided analysis, and class discussion.
• complete writing exercises that implement an understanding of each craft element. 
• write and workshop a one-act play (25-30 pages) that synthesizes the craft we’ve learned throughout the semester. 
• develop tools to give and receive effective constructive feedback.
• cultivate strategies for sustainable generative practice, development, and revision.

All plays and other readings will be available via Canvas or Emory online library access.

ENGCW 373R Advanced Fiction Writing

Jones           Tuesday 2:30-5:30  

Pre-requisite: ENGCW 370RW Intermediate Fiction Writing (with a final grade of A- or A)

Writing sample: 5-10 pages of literary fiction (double-spaced) 

Scribner Anthology of Contemporary Short Fiction: 50 North American Stories since 1970, 2nd edition

ISBN: 9781416532279   

ENGCW 376RW Creative Nonfiction

Skibell       Tuesday   2:30-5:30   

Writing sample: 5 pages in any genre

This workshop will introduce the fundamentals of writing personal nonfiction narratives. We will explore the basic elements of storytelling -- character, plot, setting, structure, dialogue, etc. -- and how each is used in creating a story out of the events of one’s own life. Students will learn how to turn a true story into a written narrative. Editing skills will be sharpened in discussion and evaluation of one another’s works-in-progress. The course will concentrate on the creation of three short nonfiction pieces as well as considerations of technique, creation of real characters, and dramatic structure. Classes will be conducted as workshops in which the main emphasis is on the students' own work, and short lectures, with some in-class writing and improvisation.

A PDF compendium of stories

Students will be assessed on their performance based on a 100-point system. Class attendance makes up 26 points. Peer responses equal 28. Each story is worth 10 points, and proof of attendance at a Creative Writing Reading Series event or another literary event is worth 2.5 points each. The other 11 points is the professor’s evaluation of the student’s writing and critical reading skills.

ENGCW/FILM 378RW: Screenwriting

Screenwriting: Short Films   Strong Mann     Thursday 2:30-5:30  

(Professor Joe Conway’s Screenwriting does not require consent. Please direct inquiries to Film & Media Studies for that section.)

Pre-requisite: any 200-level workshop or FILM 101/270

Writing sample: 2-5 pages in any genre, preferably narrative prose

Students must attend the first class to be enrolled in this workshop.   

What elements go into a successful screenplay? How is universal storytelling related to screenwriting?  Why is it valuable for beginners to write a short script before attempting a feature-length script? Students will answer these questions on their way to writing three complete short scripts of varying lengths that they can produce, use in a portfolio, or enter in contests, among other possibilities. 

This screenwriting course focuses on the craft of story, and as any effective writing course should be, is writing intensive. But students will also learn about filmmakers who preceded them, as well as current filmmakers. 

Learning Objectives

-Understand the components of storytelling.

-Establish a personal writing process that allows them to produce creative work.

-Construct a script in professional screenplay format.

-Define crucial storytelling principles, including act structure, plotting, scene construction, character arc, tone, mood and theme.

-Analyze both short and feature films in terms of those principles.

-Write the first draft of a short film. 

-Evaluate the short film as a specific art form apart from the feature.

-Be able to discuss film critically. 

-Have an understanding of the history of Film, as well as the current landscape.

Required Text:

Writing Short Films: Structure and Content for Screenwriters , Linda Cowgill

978-1580650632

Recommended Text:      

The Anatomy of Story , John Truby

978-0865479937  

ENGCW 385RW/AAS/AMST/HIST 387RW Georgia Civil Rights Cold Cases

Klibanoff          Tuesday 2:30-5: 15      

(crosslisted with AAS/AMST/HIST 387RW-1)  

Pre-requisite: none; not open to first-year students

Writing sample: minimum 3 pages of nonfiction writing – the work that best represents your research and/or writing skills and interests, can be excerpts of two or three papers

In the years between 1945 and 1968, untold numbers of American citizens were targeted for death because of their race, beliefs, or civil rights work – and in some cases merely because of what they drove, how they spoke, or the ever-shifting lines of racial etiquette they crossed. In many cases, their murders were inadequately investigated or prosecuted, their stories left untold, and the crimes against their humanity never punished. The Georgia Civil Rights Cold Cases Project at Emory University is both a class and an ongoing historical and journalistic exploration of the Jim Crow South through the prism of unsolved or unpunished civil rights-era murders in Georgia. Using primary evidence – including FBI records, NAACP files, old newspaper clippings, court transcripts, and personal archives – students come to see and understand history from the inside out. Student essays, grounded in secondary readings that provide broader context, will be aimed at the project website, coldcases.emory.edu. Students also may become engaged in helping research a new season of the podcast, Buried Truths, based on a case we’ll be examining in class.

Students should budget for photocopying.

NOTE: This course is not open to first-year students. All students, including students from African American Studies, American Studies, and History, must fill out and submit the application form in Word format and include a writing sample of at least 3 pages of nonfiction. The sample should be the work that best represents your research and/or writing skills and interests; it can be excerpts of two or three papers.

Course packet handed out in class

There will be frequent writing assignments and frequent requests to revise your work. I will read your work closely, make comments on your theme, your structure, your language, word selection, grammar, punctuation, spelling and citations, as well as your integration of primary evidence and secondary material. You may work on a team project, may be tasked to help with the podcast Buried Truths, and will write an 8- to 10-page final paper. I will build in time for peer review of your work. I will meet with you out of class to focus on both the research and the writing. You will see that I am as serious about your mastery of writing as I am of your command of the historical events we will examine. My goal is not merely for you to learn and understand the history, but to be able to convey it clearly. 

ENGCW 495A Honors

Permission required: accepted Creative Writing and Playwriting honors students only. One semester of honors counts as a workshop.

Do not email an instructor for permission

You will receive an email on how to properly apply for a class.

OPUS is NOT an accurate picture of availability

Students who have been accepted into a class may have not yet registered or been added.

More From Forbes

How not to write your college essay.

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If you are looking for the “secret formula” for writing a “winning” college essay, you have come to the wrong place. The reality is there is no silver bullet or strategy to write your way to an acceptance. There is not one topic or approach that will guarantee a favorable outcome.

At the end of the day, every admission office just wants to know more about you, what you value, and what excites you. They want to hear about your experiences through your own words and in your own voice. As you set out to write your essay, you will no doubt get input (both sought-after and unsolicited) on what to write. But how about what NOT Notcoin to write? There are avoidable blunders that applicants frequently make in drafting their essays. I asked college admission leaders, who have read thousands of submissions, to share their thoughts.

Don’t Go In There

There is wide consensus on this first one, so before you call on your Jedi mind tricks or predictive analytics, listen to the voices of a diverse range of admission deans. Peter Hagan, executive director of admissions at Syracuse University, sums it up best, saying, “I would recommend that students try not to get inside of our heads. He adds, “Too often the focus is on what they think we want.”

Andy Strickler, dean of admission and financial aid at Connecticut College agrees, warning, “Do NOT get caught in the trap of trying to figure out what is going to impress the admission committee. You have NO idea who is going to read your essay and what is going to connect with them. So, don't try to guess that.” Victoria Romero, vice president for enrollment, at Scripps College adds, “Do not write about something you don’t care about.” She says, “I think students try to figure out what an admission officer wants to read, and the reality is the reader begins every next essay with no expectations about the content THEY want to read.” Chrystal Russell, dean of admission at Hampden-Sydney College, agrees, saying, “If you're not interested in writing it, we will not be interested when reading it.” Jay Jacobs, vice provost for enrollment management at the University of Vermont elaborates, advising. “Don’t try to make yourself sound any different than you are.” He says, “The number one goal for admission officers is to better understand the applicant, what they like to do, what they want to do, where they spend the majority of their time, and what makes them tick. If a student stays genuine to that, it will shine through and make an engaging and successful essay.”

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Don’t Be Artificial

The headlines about college admission are dominated by stories about artificial intelligence and the college essay. Let’s set some ground rules–to allow ChatGPT or some other tool to do your work is not only unethical, it is also unintelligent. The only worse mistake you could make is to let another human write your essay for you. Instead of preoccupying yourself with whether or not colleges are using AI detection software (most are not), spend your time focused on how best to express yourself authentically. Rick Clark is the executive director of strategic student success at Georgia Institute of Technology, one of the first institutions to clearly outline their AI policy for applicants. He says, “Much of a college application is devoted to lines, boxes, and numbers. Essays and supplements are the one place to establish connection, personality, and distinction. AI, in its current state, is terrible at all three.” He adds, “My hope is that students will use ChatGPT or other tools for brainstorming and to get started, but then move quickly into crafting an essay that will provide insight and value.”

Don’t Overdo It

Michael Stefanowicz, vice president for enrollment management at Landmark College says, “You can only cover so much detail about yourself in an admission essay, and a lot of students feel pressure to tell their life story or choose their most defining experience to date as an essay topic. Admission professionals know that you’re sharing just one part of your lived experience in the essay.” He adds, “Some of the favorite essays I’ve read have been episodic, reflecting on the way you’ve found meaning in a seemingly ordinary experience, advice you’ve lived out, a mistake you’ve learned from, or a special tradition in your life.” Gary Ross, vice president for admission and financial aid at Colgate University adds, “More than a few applicants each year craft essays that talk about the frustration and struggles they have experienced in identifying a topic for their college application essay. Presenting your college application essay as a smorgasbord of topics that ultimately landed on the cutting room floor does not give us much insight into an applicant.”

Don’t Believe In Magic

Jason Nevinger, senior director of admission at the University of Rochester warns, “Be skeptical of anyone or any company telling you, ‘This is the essay that got me into _____.’ There is no magic topic, approach, sentence structure, or prose that got any student into any institution ever.” Social media is littered with advertisements promising strategic essay help. Don’t waste your time, energy, or money trying to emulate a certain style, topic, or tone. Liz Cheron is chief executive officer for the Coalition for College and former assistant vice president of enrollment & dean of admissions at Northeastern University. She agrees with Nevinger, saying “Don't put pressure on yourself to find the perfect, slam dunk topic. The vast majority of college essays do exactly what they're supposed to do–they are well-written and tell the admission officer more about the student in that student's voice–and that can take many different forms.”

Don’t Over Recycle

Beatrice Atkinson-Myers, associate director of global recruitment at the University of California at Santa Cruz tells students, “Do not use the same response for each university; research and craft your essay to match the program at the university you are interested in studying. Don't waste time telling me things I can read elsewhere in your application. Use your essay to give the admissions officer insights into your motivations, interests, and thinking. Don't make your essay the kitchen sink, focus on one or two examples which demonstrate your depth and creativity.” Her UC colleague, Jim Rawlins, associate vice chancellor of enrollment management at the University of California at San Diego agrees, saying “Answer the question. Not doing so is the surest way we can tell you are simply giving us a snippet of something you actually wrote for a different purpose.”

Don’t Overedit

Emily Roper-Doten, vice president for undergraduate admissions and financial assistance at Clark University warns against “Too many editors!” She says, “Pick a couple of trusted folks to be your sounding board when considering topics and as readers once you have drafts. You don’t want too many voices in your essay to drown you out!” Scripps’ Romero agrees, suggesting, “Ask a good friend, someone you trust and knows you well, to read your essays.” She adds, “The goal is for the admission committee to get to know a little about you and who better to help you create that framework, than a good friend. This may not work for all students because of content but helps them understand it’s important to be themselves.” Whitney Soule, vice provost and dean of admissions at The University of Pennsylvania adds, “Avoid well-meaning editorial interference that might seem to polish your writing but actually takes your own personal ‘shine’ right out of the message.” She says, “As readers, we connect to applicants through their genuine tone and style. Considering editorial advice for flow and message is OK but hold on to the 'you' for what you want to say and how you want to say it.”

Don’t Get Showy

Palmer Muntz, senior regional admissions counselor at the University of Alaska Fairbanks cautions applicants, “Don’t be fancier than you are. You don’t need to put on airs.” He adds, “Yes, proofread your work for grammar and spelling, but be natural. Craft something you’d want to read yourself, which probably means keeping your paragraphs short, using familiar words, and writing in an active voice.” Connecticut College’s Strickler agrees, warning, “Don't try to be someone you are not. If you are not funny, don't try to write a funny essay. If you are not an intellectual, trying to write an intellectual essay is a bad idea.”

Anthony Jones, the vice president of enrollment management at Loyola University New Orleans offers a unique metaphor for thinking about the essay. He says, “In the new world of the hyper-fast college admission process, it's become easy to overlook the essential meaning of the college application. It's meant to reveal Y...O...U, the real you, not some phony digital avatar. Think of the essay as the essence of that voice but in analog. Like the completeness and authenticity captured in a vinyl record, the few lines you're given to explain your view should be a slow walk through unrestrained expression chock full of unapologetic nuances, crevices of emotion, and exactness about how you feel in the moment. Then, and only then, can you give the admissions officer an experience that makes them want to tune in and listen for more.”

Don’t Be A Downer

James Nondorf, vice president and dean of admissions and financial aid at The University of Chicago says, “Don’t be negative about other people, be appreciative of those who have supported you, and be excited about who you are and what you will bring to our campus!” He adds, “While admissions offices want smart students for our classrooms, we also want kind-hearted, caring, and joyous students who will add to our campus communities too.”

Don’t Pattern Match

Alan Ramirez is the dean of admission and financial aid at Sewanee, The University of the South. He explains, “A big concern I have is when students find themselves comparing their writing to other students or past applicants and transform their writing to be more like those individuals as a way to better their chances of offering a more-compelling essay.” He emphasizes that the result is that the “essay is no longer authentic nor the best representation of themselves and the whole point of the essay is lost. Their distinctive voice and viewpoint contribute to the range of voices in the incoming class, enhancing the diversity of perspectives we aim to achieve.” Ramirez simple tells students, “Be yourself, that’s what we want to see, plus there's no one else who can do it better than you!”

Don’t Feel Tied To A Topic

Jessica Ricker is the vice president for enrollment and dean of admissions and financial aid at Skidmore College. She says, “Sometimes students feel they must tell a story of grief or hardship, and then end up reliving that during the essay-writing process in ways that are emotionally detrimental. I encourage students to choose a topic they can reflect upon positively but recommend that if they choose a more challenging experience to write about, they avoid belaboring the details and instead focus on the outcome of that journey.” She adds, "They simply need to name it, frame its impact, and then help us as the reader understand how it has shaped their lens on life and their approach moving forward.”

Landmark College’s Stefanowicz adds, “A lot of students worry about how personal to get in sharing a part of their identity like your race or heritage (recalling last year’s Supreme Court case about race-conscious admissions), a learning difference or other disability, your religious values, LGBTQ identity…the list goes on.” He emphasizes, “This is always your choice, and your essay doesn’t have to be about a defining identity. But I encourage you to be fully yourself as you present yourself to colleges—because the college admission process is about finding a school where your whole self is welcome and you find a setting to flourish!”

Don’t Be Redundant

Hillen Grason Jr., dean of admission at Franklin & Marshall College, advises, “Don't repeat academic or co-curricular information that is easily identifiable within other parts of your application unless the topic is a core tenant of you as an individual.” He adds, “Use your essay, and other parts of your application, wisely. Your essay is the best way to convey who your authentic self is to the schools you apply. If you navigated a situation that led to a dip in your grades or co-curricular involvement, leverage the ‘additional information’ section of the application.

Thomas Marr is a regional manager of admissions for the Americas at The University of St Andrews in Scotland and points out that “Not all international schools use the main college essay as part of their assessment when reviewing student applications.” He says, “At the University of St Andrews, we focus on the supplemental essay and students should avoid the mistake of making the supplemental a repeat of their other essay. The supplemental (called the Personal Statement if using the UCAS application process) is to show the extent of their passion and enthusiasm for the subject/s to which they are applying and we expect about 75% of the content to cover this. They can use the remaining space to mention their interests outside of the classroom. Some students confuse passion for the school with passion for their subject; do not fall into that trap.”

A Few Final Don’ts

Don’t delay. Every college applicant I have ever worked with has wished they had started earlier. You can best avoid the pitfalls above if you give yourself the time and space to write a thoughtful essay and welcome feedback openly but cautiously. Don’t put too much pressure on yourself to be perfect . Do your best, share your voice, and stay true to who you are.

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	Jun 30, 2024   2024-2025 Graduate Catalog (Catalog goes into effect at the start of the Fall 2024 semester)     2024-2025 Graduate Catalog (Catalog goes into effect at the start of the Fall 2024 semester) | College of Liberal Arts and Social Sciences    > Department of English    > Creative Writing, MFA Admission Requirements In addition to meeting the college graduate admission requirements   , applicants to the MFA in Creative Writing program must meet the following minimum requirements for admission to the program and for the degree: The applicant should have completed 12 hours of advanced English with an average of 3.0 or better grade point average. The applicant should have two years of college-level study in one foreign language or otherwise demonstrate, with a passing score on the GSFLT, a reading knowledge of a foreign language. Three letters of recommendation. Submission of a manuscript consisting of a maximum of 10 pages of poetry or 20-25 pages of fiction. A statement of intent (1,000 or fewer words): reasons for pursuing graduate study in creative writing, which writers in the applicant’s genre the applicant is reading, and comments on those writers. On a separate sheet of paper, list awards and publications of the applicant. Two official copies of transcripts from each school attended. The GRE Advanced Subject (Code 64) score is not required for MFA applicants. an overall undergraduate or graduate grade point average of 3.00 or higher (on a 4‐ point scale) from an institution accredited by one of the six regional accrediting associations as specified in the UH Minimum Qualifications for Admission to Masters and Doctoral Programs ( General Admission Policy   ), or a grade point average in the top 80% on other GPA scales and a combined IELTS score above 7 or TOEFL score above 79 or a DUOLINGO score above 105. Consult the Creative Writing Program for additional information and more specific requirements. Degree Requirements Students must complete a minimum of 36 hours of approved graduate courses. these courses must be distributed over creative writing workshops and courses in literary studies. Specific requirements are as follows: 15 hours in creative writing, including 9 hours in the primary genre, 3 hours of Master Workshop, and 3 hours of Poetic Forms and Techniques for poetry students, Fiction Forms and Techniques for fiction students, or Nonfiction Forms and Techniques for nonfiction students. Students are strongly encouraged to take the course in Forms and Techniques early in the MFA program. 3 hours of Writers on Literature 12 hours in English or American literature or other literary studies (Students should divide their courses between early and later literatures. 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