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Before you begin, I would like to ask you question.

Who, or what, is your imagination?

Have you ever thought to give it a name? What are its mannerisms? Does it run wild and untamed, like my Border Collie (Oggy) when he sees an open field? Does its ideas and inspiration come in short bursts, like Kodak camera flashes? Is your imagination the brooding type, overlooking horn rimmed glasses as it hovers over a leather bound notebook? Or, is your imagination a long lost friend that you always liked in the back of your mind, but just could never seem to remember the name of (or birthday) until now?

When was the last time you used your imagination? A while back, I see.

Now, when was the last time you used your imagination inside of a classroom?

Here, we will discuss the importance of creativity in the writing classroom. You will find writing examples and activities (blue), my own creative thoughts (white), additional watches and reads (yellow), and final thoughts (green).

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Creative Writing Prompt + Student Sample

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Creative Writing Prompt + Student Sample

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Short Story Prompt & Student Sample - Short Story #1

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Creative Writing for the Classroom | Anna Brekken | TEDxYouth@CherryCreek

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Batanian, M. (2018). Integrating and Sustaining Creativity in the Language Arts Classroom. Learning to Teach Language Arts, Mathematics, Science, and Social Studies Through Research and Practice, 7(1). Retrieved from https://openjournals.utoledo.edu/index.php/learningtoteach/article/view/252

Brekken, A. (2022, May 5). Creative writing for the classroom | Anna Brekken | tedxyouth@cherrycreek. YouTube. https://www.youtube.com/watch?v=KPAFrHE8rRY

Creative writing prompts for high school students. Immerse Education. (2024, February 15). https://www.immerse.education/study-tips/creative-writing/prompts-for-high-school-students/

Gallagher, K., & Kittle, P. (2018). 180 days: Two teachers and the quest to engage and empower adolescents. Heinemann.

Goram, L. (2023, September 27). Developing approaches to writing in the secondary English classroom. My College. https://my.chartered.college/impact_article/developing-approaches-to-writing-in-the-secondary-english-classroom/

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3rd grade me has a writing test today. I wore a big navy bow in my hair because of it.

I write about a monster that swings with me through what I will later learn is called, a canopied rainforest

This monster was eerily similar to an Orangutan, albeit friendly, and almost "tore off all my limbs"

My teacher laughs as she shares that line with her hallway mate

5th grade me wears ponytails stacked with hairbows and a bookbag stuffed with an overflowing pencil box that is ready to write at a moment's notice

Freshly cracked spiral notebooks wait to be opened and flooded with a mind full of stories that I'm willing to

unleash on anyone who is willing to take the time

7th grade me has one ponytail now and less hairbows

but still a bookbag filled to the brim with black inked Bic pens and composition notebooks where my stories come out in carefully composed loopy letters

I have another writing test, but no bow today

I write about a strawberry banana smoothie in a blender with no lid, and the disaster that ensues

I fail.

9th grade me wears her hair straight, thanks to "Just for Me!"

I hear "You're not a '2' writer, that can't be right"

I write poems sometimes, mostly for church. I learn about Greek Mythology, allusion, and the importance of word choice.

Essays are okay, I suppose.

11th grade me wears her hair with a side part.

She hears from a teacher,

"you know, I used to write like you when I was your age"

This is not a compliment.

12th grade me does not write.

19 year old me sees so much color and whimsy in the children's section of the library, and I allow myself to think..

What if-

22 year old me only writes inside of my head, and the occasional half finished journal entry

26 year old me is student teaching.

She writes a story about a monster who isn't accepted by the people around him because

He just wants to bake cakes

He doesn't like scaring children

But everyone says he has to

“Talented people are strained from reaching their full potential because they can’t communicate” (Brekken, 2022)

27 year old me comes to love this story

28 year old me is proud of this story

29 year old me has ideas for a follow up

Where would we be, without creativity?

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Lin Goram, English Subject Development Lead, Teach First, UK

Reading and writing are given broadly equal emphasis in the most recent iteration of the National Curriculum for English (Department for Education - a ministerial department responsi... More , 2014). But the two are positioned differently. The National Curriculum recommends that cultural, emotional, intellectual, social and spiritual development are achieved 'through reading in particular'. A curriculum is put forward that supports students to 'develop their love of literature through widespread reading for enjoyment' (DfE, 2014, p. 2). Conversely, the emphasis on developing skills of writing in English focuses more on the functional. Students need to be able to 'write clearly, accurately and coherently' (DfE, 2014, p. 2). This is unsurprising: writing is often seen as a functional tool of communication. There is one slightly oblique reference to self-expression: through speaking and writing, students should be able to 'communicate their ideas and emotions to others' (DfE, 2014, p. 2).

The National Curriculum for English has been criticised for creating a writing course of study focusing on the components of writing in a decontextualised way, 'privileg[ing] grammar and punctuation over style and creativity' (Barrs, 2019, p. 25). This has led to a writing curriculum that is 'reductive, ideological and pedestrian' (Barrs, 2019, p. 28). For this reason, teachers and trainee teachers have for the past few decades expressed a lack of confidence when guiding students' writing development (see Cliff Hodges, 2005). Added to this, English teachers identify most strongly with the growth model of English, which means that this knowledge-driven approach to the teaching of writing undermines a large proportion of English teachers' professional values (Goodwyn, 2016).

This article examines tensions around teaching writing in the secondary English classroom, focusing on the role of the teacher and offering some approaches to planning effective writing teaching.

Teachers and writing

Cremin and Oliver's (2016) review of research into teachers as writers found that, in general, teachers often have a narrow view of what a 'writer' is and what constitutes 'writing', with a focus on production of longer-form narrative and descriptive pieces. However, teachers who identify as writers are more likely to be open-minded about what it means to be a writer and what writing is. Additionally, those identifying as writers are also more likely to enjoy writing and say that they are good at it. This appears to be because they are focusing on ideas and personal expression rather than on 'grammar, spelling, punctuation, organisation, creativity, sentence structure, handwriting, neatness and vocabulary' (Cremin and Oliver, 2016, p. 14).

Those who identify as writers consider writing to be a personal act of creative expression (McDermott, 2019). The National Curriculum for English tempers this definition with its rules associated with functional - as opposed to creative - expression. This creates cognitive dissonance, which leads to some teachers feeling anxiety when teaching creative writing. Teachers are not writers: they are teachers of writing. But they have past writing experiences and they bring their own identities and pasts as writers into the English classroom. This extends to their time as students: teachers who identify as writers also say that that they had a teacher who inspired them as a writer (Cremin and Baker, 2016).

It is important to unpick this so that teachers can find a productive way forward in the writing classroom. Often the two identities of 'writer' and 'teacher' are put in opposition to each other, setting up a dichotomy where a writer must change or compromise in some way in order to be a teacher, and vice versa (Cremin and Baker, 2010; McDermott, 2019). For teachers to see themselves also as writers, it isn't just a question of writing more (Cremin and Baker, 2010; Cremin and Oliver, 2016) - we need to understand the influences on a teacher's writing identity and how this influences classroom practice.

This is an under-researched area, and Cremin and Oliver (2016) have made it clear that there is currently no research examining the impact of teachers' writing on their students' exam outcomes. However, we have seen that the status quo has limitations, and so this article moves to examining ways in which to articulate opportunities for teachers and their students to develop writing in the secondary English classroom.

Teachers as writers

Cremin and Baker's 2010 research into teaching creative writing examines teachers' writing behaviour in the classroom. They use the concept of the writing identity to explore teachers' articulation of their feelings when modelling writing for their classes. Two identities emerge: the teacher-writer and the writer-teacher, positioned at each end of a continuum. This helps us to understand how a teacher's writing identity influences their behaviour when teaching creative writing.

At one end is the writer-teacher. The writer-teacher approach models to students how a writer thinks and what they do, free of constraint. This aligns with McDermott's (2019) approach: the teacher is foremostly writing for themselves and is therefore emotionally invested. In this role, one of the appeals is that 'you were in control of what you wrote' (Cremin and Baker, 2010, p. 14). The writer-teacher aligns with students - everyone is a writer. This authentic immersion prompts modelling that exhibits 'hesitation, ongoing error correction and problem-solving' (Cremin and Baker, 2010, p. 16), as teachers strive to produce something of which they are proud. In this role, teachers writing alongside their students can 'help them see' (Cremin and Baker, p. 19) by uncovering the internal monologue of the decisions that the writer is making. For this reason, writing in the moment has authentic power in a way that pre-prepared models do not.

At the other end of Cremin and Baker's (2010) continuum is the teacher-writer. This aligns with the approach discussed earlier in this article, in which writing is produced to model success criteria for 'good' writing in the English classroom, as defined by the National Curriculum for English (DfE, 2014). The teacher-writer is writing for the institution, aware of the need to model elements of the success criteria, foregrounding this over authenticity where necessary. This results in teachers having less control over what they write: it is a product-writing approach in which the outcome is assessed rather than the process.

According to Cremin and Baker's (2010) research, in modelling phases, teachers often begin as writer-teachers and move along the continuum towards the teacher-writer end. As a writer, it can be easy to become frustrated if the writing is not going well. Additionally, when the teacher is focusing on the act of writing, modelling using an 'I do' approach, it can easily become disengaging for students, who would be more engaged with a 'we do' activity. The easiest thing for a writer-teacher to do if either of these things happen is to stop writing and move to teacher-writer mode, focusing on students' writing instead. This reveals a weakness in the practices of the writer-teacher: modelling writing in the classroom is extrinsically motivated, which is not an authentic motivation for a writer. Stopping writing is not an option for students in a classroom: ultimately, they are writing to be assessed.

Approaches to teaching writing

The recommendations below are made with the intention of supporting both teachers and their students in becoming more comfortable and confident with writing. As we have said, there is currently no research drawing clear links between this and student attainment (Cremin and Oliver, 2016). But new approaches support the growth model of English, as well as teacher and student wellbeing, both of which are important principles.

Reflect

Reflect on your experiences, confidence and attitudes to writing. It is important that we do this: as teachers who model the process of writing and draw out key elements of effective writing, we are expected to be competent, but 'this is potentially problematic if [we] lack self-assurance and positive writing identities' (Cremin and Baker, 2016, p. 9).

Plan

When planning, think about what your identity will be in the classroom for that lesson, at that point in the unit - are you a writer-teacher or a teacher-writer? This will be led by the lesson's objective, which is in turn led by the learning needs of students. There is room for both in a unit of work, but they are most effective when planned. If you are clear on when you are a writer-teacher or teacher-writer, it is less likely that your emotions will get in the way of your planned identity in that moment if your writing is not going as well as you hoped.

Write

When you have planned to be a writer-teacher, be as much of a writer as you can: write alongside students, share your work and your frustrations and take the sort of risks that you want your students to take. Reflect on this to better understand the experience of your students. This includes becoming comfortable with discomfort, which will come from writing publicly. When you have planned to be a teacher-writer, consider your boundaries: what does your writing need to show? How can you demonstrate this as authentically as possible? How can you ensure that you hold this identity, even if the act of writing feels challenging?

Talk

There is no substitute for teachers being genuinely interested in what students have to say (Marshal and Wiliam, 2006). Peter Elbow's work (nd) supports approaches to the sharing of writing. The underpinning principles are allowing students to be in control of sharing their writing and for this to happen in pairs. When discussing writing, you can be a writer-teacher, listening as a peer or ally, asking questions about the process or commenting on thoughts, ideas and feelings in the writing, or giving non-judgemental feedback and asking neutral questions to draw out ideas about the creative process. You can also be a teacher-writer, giving constructive feedback designed to support students to improve their work according to success criteria. Of course, pupils can take on these two roles as well. Being clear with yourself and with your class can support these conversations to have impact on writing.

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Developing approaches to writing in the secondary English classroom : My College

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Lin Goram, English Subject Development Lead, Teach First, UK Writing and the National Curriculum for English Reading and writing are given broadly equal emphasis in the most recent iteration of the National Curriculum for English (DfE, 2014). But the two are positioned differently. The National Curriculum recommends that cultural, emotional, intellectual, social and spiritual development [...]

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Creative Writing Project (Multimedia) + Teacher Example

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Creative Writing Project (Multimedia) + Teacher Example

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Book Cave - content-rated book deals to your inbox - Fabulous free and discounted content-rated ebooks

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There are many different views on how to teach creative writing and enhance creativity, but I am convinced that far too often teachers and writing mentors are teaching in ways that are not only possibly wrong but that actively discourage budding authors. Or at the very least, their methods don't give students the freedom they need to discover what they write best. Here are some writing group tips that I've learned along my writing journey as both a student and author.

Take three separate creative writing classes I've taken over the years, one in middle school, one in high school, and one in college. You might think you know which one of them was the most enjoyable, but you'd probably guess wrong.

My eighth grade writing class was the most fun I've ever had in a classroom. Every day our teacher would give us prompts on the board. We did lectures about characters and writing, but for the most part, the entire class was dedicated to simply writing. I enjoyed it a lot because I like writing fiction, as opposed to poetry or nonfiction. I remember most of this class, and I had a great time.

My high school creative class was awful. We had several different units where we had to write in a specific genre. The first unit we went through was a personal narrative unit, where we had to reflect on ourselves and write about deeply personal things. I hated that unit the most because I was forced to share things I didn't want to tell anybody. After that, we did a poetry unit and then a VERY short fiction unit. I hated that class every moment I was in it.

My college class was mediocre at best. Every time we met, the teacher would give us a lecture on writing. At that point, I had already written and published a book and the instruction was on points I had already researched and thoroughly understood, so I would find myself zoning out. We had four units. Poetry, nonfiction, fiction, and screenplays. I would write all the assignments at the beginning, then proceed to check out for the rest of the unit. It was, in my opinion, weeks of wasted time.

I think far too many creative writing teachers are doing it wrong. At its core, writing is a form of creative art. It is also an individual process, and in every class, you will have those who are poets, those who are novelists, and those who are essayists. When people are forced to write a genre they're not interested in, especially for extended assignments, they will hate the class, as I did.

The key to a successful creative writing class is freedom of expression. Your students shouldn't be confined to one genre or expectation. The reason so many people hate school in general is because it's a constant guessing game of trying to figure out what the teacher wants so you can get the best grade, rather than actually learning useful information to prepare you for life and your career. If you assign units like two of my teachers did, the class becomes more about you than it is about the students.

That said, I understand my first creative writing class might not have been ideal for poets or essayist. That's why I've combined my knowledge as a student and an author to give you a short list of things you SHOULD do in a creative writing class, along with a list of things you SHOULD NOT do. These tips are geared toward a classroom setting, but would also work great for a more informal creative writing group.

You SHOULD:

1. Give prompts. Some people have no idea what to write. My first book was inspired by a prompt from my eighth grade creative writing class. Because of that class and the positive encouragement there, I eventually became a published author. Prompts help writers get started, and while this forces them outside their comfort zone to fit their usual genre around what you have given them, it doesn't force them to write in a genre they detest.

2. Give lots of prompts. My first creative writing teacher gave us a prompt every day at the very beginning of class. I still have my creative writing notebook from that year, and there are countless novel ideas contained within its pages.

3. For assignments, you can have separate prompts for each, but my first creative writing teacher did something different. With most assignments we were told to select a prompt we had already done and expand upon it, focusing on one element. For example, she had us write a bunch of short prompts centering around setting, then had a follow up assignment requiring us to choose one of those prompts and expand upon it, adding another element such as mood. This way, students will have a solid base for future projects.

4. Encourage the writers to explore outside their normal genre. Some might not realize they like another genre better, and it's good for them to try new things, especially if they are young. College students probably have that figured out by the time of taking the class, but some might not. At most, though, assign one only paper per genre, so students can branch out while not becoming overwhelmed with constant constrictions. There is nothing more mind numbing than an entire unit and weeks wasted on poetry when you just want to write, say, a space opera.

5. Aside from those few assignments, allow students to write in whatever genre pleases them most. You will have a lot of different types of papers coming through, and that's less boring for you to read anyway.

6. Focus less on grading, and more on writing. The main point of a creative writing class is to help students find their passion in writing. It doesn't matter if their work is perfect, or if they followed the prompt exactly. As long as a student is writing and improving, that's all that matters.

7. Provide your students with optional resources as best you can. My middle school and high school teachers didn't do this, and understandably so, but my college professor sent us several opportunities to write outside of class and encouraged us to submit our writing to competitions and newspapers. Some students are made for writing, and as their teacher, you can help them get started.

8. Require reading for the class. Reading is the best way to learn how to write, and to get new ideas. Writers of all kinds should always be reading-especially aspiring writers. But like with writing assignments, don't devote an entire reading unit to one genre or you will lose many of your best future writers by boring them into disinterest. (See entry #4 below.)

9. Have the students create a portfolio. Some classes make the portfolio out to be a really big deal, but it shouldn't be a source of stress for your students. Both of my latter creative writing classes had portfolios, but my first one did not, and I wish it had. Writing portfolios are a way for students to either submit their work or have it in an organized place so they can look back on it later to revise old ideas.

You SHOULD NOT:

1. Lecture, lecture, lecture. Of course some lectures are important, but keep it to a minimum. The creative minds that come through your classroom are going to get very bored if all you do is talk at them.

2. Be a harsh grader. What's the point? As I said earlier, the point of a creative writing class is to write and discover a passion. If you give your students a bad grade regardless of their effort, they're going to hate the class, and, by extension, writing in general. Genre expectations, word limits, grammar policing, etc, do not have a place in this sort of artistic environment.

3. Force your students to write something deeply personal. This one goes without saying. If they want to, they can, but never force someone to open up to you-that will only make them resent you. (Or it will force them to make up a fictitious story to pass off as truth.)

4. Assign book reports, or specific books for them to read (outside of the textbook for the class and perhaps one short story or a book of their choice in each genre so they can get a feel for the differences). You can have a reporting system where students tell you how much they have read, but book reports are a waste of time, and it's hilariously easy to fake a book report in most cases. And of course, do not continually assign them a certain book to read. Not everyone is going to like the same books. All that matters is that they are reading, and that's going to look different for everyone depending on what genre they write in.

Those are all the tips I have to make your creative writing class more effective and enjoyable! Remember, this is all my opinion. I have never been a teacher, let alone a creative writing one, but from my experiences as a student, this is how I would run my classroom or creative writing group.

Keep on writing!
Have you taken or taught a creative writing class or group? What did you like or not like about it? Let me know in the comments!
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Are We Teaching Creative Writing Wrong? - Book Cave

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Guest author Salandra Wolfe is convinced that far too often teachers and writing mentors are teaching in ways that are not only possibly wrong but that actively discourage budding authors. See her tips for inspiring the next generation of writers.