how do you write a creative writing

Tip 7: Practice Overcoming Writer’s Block

At some point in their writing journey, every writer has reached a point where writing doesn’t feel fun anymore.

There are lots of different causes for writer’s block. You might be unsure what to write, afraid of failing, or simply burned out from writing too much.

It’s important to find ways to overcome creative blocks, so you don’t end up putting down your pen for good.

One useful technique is to change your environment. If you normally write at home, try writing in a coffee shop or in your local library.

Another technique is to try a different activity for a while. Go for a walk, take a shower, do your dishes, or try another hobby. Before long, you’ll find yourself wanting to write again.

Perhaps the most underrated method is to simply take a break from writing. Give yourself permission to stop for a while—it’s always okay to take a step back.

Tip 8: Study Writing Craft

Many new writers falsely believe that writing can’t be taught; you’re either good at it or you’re not.

But the truth is that creative writing is a craft, just like woodworking, oil painting, or ballet. You wouldn’t expect anyone to be naturally good at ballet without years of training, so why is writing any different?

One way to learn new creative writing techniques is by reading craft books . Some great books to start with include On Writing by Stephen King, Story Genius by Lisa Cron, and The Creative Writer’s Handbook by Philip K. Jason.

These books can help you learn the basics of how to write well. For example, you can learn how to construct high-quality sentences, how to avoid passive voice, and how to use poetic devices.

The more you learn, the more powerful your writing will become.

Tip 9: Invent Your Own Process

When you’re just starting out as a writer, it can be tempting to copy someone else’s writing process.

Maybe you heard an interview with a bestselling author who said you have to outline a story before you draft it. Or maybe you found out your favorite author writes 1,000 words every day, and now you think you have to write 1,000 words every day too.

But it’s important to remember that no two writers have the exact same writing process. What works best for someone else might not work for you.

There’s no right or wrong way to be a creative writer. Your job is to find a writing process that makes you feel fulfilled, productive, and inspired—and if your favorite writers don’t write the same way, that’s perfectly okay.

Tip 10: Don’t Aim for Perfection

There’s a good chance your writing is never going to be perfect. Mine definitely isn’t!

Remember that writing is about the process, not the product. Even if the final product is never perfect, the process has helped you grow as a writer—and hopefully, it’s also been a lot of fun.

You should decide what your main goal for writing is. Maybe it’s writing stories you might be able to publish someday. Maybe it’s telling stories about characters you rarely see in existing stories. Maybe it’s simply a fun new hobby.

Whatever your goal is, remember that you’re already on your way to achieving it. You don’t need to aim for perfection in order to succeed.

There’s no secret to getting better at creative writing. The process is very simple—it just takes a lot of hard work.

All you have to do is follow this two-step process:

• Step 1: Write consistently
• Step 2: Ask for feedback on your writing

The first step is fairly self-explanatory. Whenever you’re learning a new skill, it’s important to practice it. The more you write, the more you’ll learn about how to be a successful creative writer.

The second step is the one that receives more pushback from writers because it requires a lot of courage and vulnerability, but it’s just as important as the first step.

If you don’t get feedback, you could write every day and still never improve. That’s because most people can’t spot the weaknesses in their own stories.

You can ask for feedback from your friends, family, or writing groups. They can help you see your work from a different perspective and identify areas for improvement.

As long as you write consistently and listen to the feedback on the work you’re producing, you’ll be able to create a positive cycle where you create better and better stories over time.

If you want to improve your creative writing skills, there are numerous resources you can use to find help.

One great method is to join a writing community where you can share your work and get feedback from other writers.

You can look for free critique groups online, on websites such as Scribophile and Critique Circle. Or you can start your own group with your friends.

You can also consider joining a local writing class or retreat. Many schools and community centers offer classes and workshops you can join.

Another option is to use creative writing tools. ProWritingAid can give you AI-powered suggestions about how to improve your prose and make your writing shine.

Good luck, and happy writing!

Be confident about grammar

Check every email, essay, or story for grammar mistakes. Fix them before you press send.

Hannah Yang

Hannah Yang is a speculative fiction writer who writes about all things strange and surreal. Her work has appeared in Analog Science Fiction, Apex Magazine, The Dark, and elsewhere, and two of her stories have been finalists for the Locus Award. Her favorite hobbies include watercolor painting, playing guitar, and rock climbing. You can follow her work on hannahyang.com, or subscribe to her newsletter for publication updates.

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Last updated on Feb 14, 2023

10 Types of Creative Writing (with Examples You’ll Love)

A lot falls under the term ‘creative writing’: poetry, short fiction, plays, novels, personal essays, and songs, to name just a few. By virtue of the creativity that characterizes it, creative writing is an extremely versatile art. So instead of defining what creative writing is , it may be easier to understand what it does by looking at examples that demonstrate the sheer range of styles and genres under its vast umbrella.

To that end, we’ve collected a non-exhaustive list of works across multiple formats that have inspired the writers here at Reedsy. With 20 different works to explore, we hope they will inspire you, too. 

People have been writing creatively for almost as long as we have been able to hold pens. Just think of long-form epic poems like The Odyssey or, later, the Cantar de Mio Cid — some of the earliest recorded writings of their kind. 

Poetry is also a great place to start if you want to dip your own pen into the inkwell of creative writing. It can be as short or long as you want (you don’t have to write an epic of Homeric proportions), encourages you to build your observation skills, and often speaks from a single point of view . 

Here are a few examples:

“Ozymandias” by Percy Bysshe Shelley

Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.

This classic poem by Romantic poet Percy Shelley (also known as Mary Shelley’s husband) is all about legacy. What do we leave behind? How will we be remembered? The great king Ozymandias built himself a massive statue, proclaiming his might, but the irony is that his statue doesn’t survive the ravages of time. By framing this poem as told to him by a “traveller from an antique land,” Shelley effectively turns this into a story. Along with the careful use of juxtaposition to create irony, this poem accomplishes a lot in just a few lines. 

“Trying to Raise the Dead” by Dorianne Laux

 A direction. An object. My love, it needs a place to rest. Say anything. I’m listening. I’m ready to believe. Even lies, I don’t care.

Poetry is cherished for its ability to evoke strong emotions from the reader using very few words which is exactly what Dorianne Laux does in “ Trying to Raise the Dead .” With vivid imagery that underscores the painful yearning of the narrator, she transports us to a private nighttime scene as the narrator sneaks away from a party to pray to someone they’ve lost. We ache for their loss and how badly they want their lost loved one to acknowledge them in some way. It’s truly a masterclass on how writing can be used to portray emotions. 

If you find yourself inspired to try out some poetry — and maybe even get it published — check out these poetry layouts that can elevate your verse!

Song Lyrics

Poetry’s closely related cousin, song lyrics are another great way to flex your creative writing muscles. You not only have to find the perfect rhyme scheme but also match it to the rhythm of the music. This can be a great challenge for an experienced poet or the musically inclined. 

To see how music can add something extra to your poetry, check out these two examples:

“Hallelujah” by Leonard Cohen

 You say I took the name in vain I don't even know the name But if I did, well, really, what's it to ya? There's a blaze of light in every word It doesn't matter which you heard The holy or the broken Hallelujah 

Metaphors are commonplace in almost every kind of creative writing, but will often take center stage in shorter works like poetry and songs. At the slightest mention, they invite the listener to bring their emotional or cultural experience to the piece, allowing the writer to express more with fewer words while also giving it a deeper meaning. If a whole song is couched in metaphor, you might even be able to find multiple meanings to it, like in Leonard Cohen’s “ Hallelujah .” While Cohen’s Biblical references create a song that, on the surface, seems like it’s about a struggle with religion, the ambiguity of the lyrics has allowed it to be seen as a song about a complicated romantic relationship. 

“I Will Follow You into the Dark” by Death Cab for Cutie

 ​​If Heaven and Hell decide that they both are satisfied Illuminate the no's on their vacancy signs If there's no one beside you when your soul embarks Then I'll follow you into the dark

You can think of song lyrics as poetry set to music. They manage to do many of the same things their literary counterparts do — including tugging on your heartstrings. Death Cab for Cutie’s incredibly popular indie rock ballad is about the singer’s deep devotion to his lover. While some might find the song a bit too dark and macabre, its melancholy tune and poignant lyrics remind us that love can endure beyond death.

Plays and Screenplays

From the short form of poetry, we move into the world of drama — also known as the play. This form is as old as the poem, stretching back to the works of ancient Greek playwrights like Sophocles, who adapted the myths of their day into dramatic form. The stage play (and the more modern screenplay) gives the words on the page a literal human voice, bringing life to a story and its characters entirely through dialogue. 

Interested to see what that looks like? Take a look at these examples:

All My Sons by Arthur Miller

“I know you're no worse than most men but I thought you were better. I never saw you as a man. I saw you as my father.” 

Arthur Miller acts as a bridge between the classic and the new, creating 20th century tragedies that take place in living rooms and backyard instead of royal courts, so we had to include his breakout hit on this list. Set in the backyard of an all-American family in the summer of 1946, this tragedy manages to communicate family tensions in an unimaginable scale, building up to an intense climax reminiscent of classical drama. 

💡 Read more about Arthur Miller and classical influences in our breakdown of Freytag’s pyramid . 

“Everything is Fine” by Michael Schur ( The Good Place )

“Well, then this system sucks. What...one in a million gets to live in paradise and everyone else is tortured for eternity? Come on! I mean, I wasn't freaking Gandhi, but I was okay. I was a medium person. I should get to spend eternity in a medium place! Like Cincinnati. Everyone who wasn't perfect but wasn't terrible should get to spend eternity in Cincinnati.” 

A screenplay, especially a TV pilot, is like a mini-play, but with the extra job of convincing an audience that they want to watch a hundred more episodes of the show. Blending moral philosophy with comedy, The Good Place is a fun hang-out show set in the afterlife that asks some big questions about what it means to be good. 

It follows Eleanor Shellstrop, an incredibly imperfect woman from Arizona who wakes up in ‘The Good Place’ and realizes that there’s been a cosmic mixup. Determined not to lose her place in paradise, she recruits her “soulmate,” a former ethics professor, to teach her philosophy with the hope that she can learn to be a good person and keep up her charade of being an upstanding citizen. The pilot does a superb job of setting up the stakes, the story, and the characters, while smuggling in deep philosophical ideas.

Personal essays

Our first foray into nonfiction on this list is the personal essay. As its name suggests, these stories are in some way autobiographical — concerned with the author’s life and experiences. But don’t be fooled by the realistic component. These essays can take any shape or form, from comics to diary entries to recipes and anything else you can imagine. Typically zeroing in on a single issue, they allow you to explore your life and prove that the personal can be universal.

Here are a couple of fantastic examples:

“On Selling Your First Novel After 11 Years” by Min Jin Lee (Literary Hub)

There was so much to learn and practice, but I began to see the prose in verse and the verse in prose. Patterns surfaced in poems, stories, and plays. There was music in sentences and paragraphs. I could hear the silences in a sentence. All this schooling was like getting x-ray vision and animal-like hearing. 

This deeply honest personal essay by Pachinko author Min Jin Lee is an account of her eleven-year struggle to publish her first novel . Like all good writing, it is intensely focused on personal emotional details. While grounded in the specifics of the author's personal journey, it embodies an experience that is absolutely universal: that of difficulty and adversity met by eventual success. 

“A Cyclist on the English Landscape” by Roff Smith (New York Times)

These images, though, aren’t meant to be about me. They’re meant to represent a cyclist on the landscape, anybody — you, perhaps. 

Roff Smith’s gorgeous photo essay for the NYT is a testament to the power of creatively combining visuals with text. Here, photographs of Smith atop a bike are far from simply ornamental. They’re integral to the ruminative mood of the essay, as essential as the writing. Though Smith places his work at the crosscurrents of various aesthetic influences (such as the painter Edward Hopper), what stands out the most in this taciturn, thoughtful piece of writing is his use of the second person to address the reader directly. Suddenly, the writer steps out of the body of the essay and makes eye contact with the reader. The reader is now part of the story as a second character, finally entering the picture.

Short Fiction

The short story is the happy medium of fiction writing. These bite-sized narratives can be devoured in a single sitting and still leave you reeling. Sometimes viewed as a stepping stone to novel writing, that couldn’t be further from the truth. Short story writing is an art all its own. The limited length means every word counts and there’s no better way to see that than with these two examples:

“An MFA Story” by Paul Dalla Rosa (Electric Literature)

At Starbucks, I remembered a reading Zhen had given, a reading organized by the program’s faculty. I had not wanted to go but did. In the bar, he read, "I wrote this in a Starbucks in Shanghai. On the bank of the Huangpu." It wasn’t an aside or introduction. It was two lines of the poem. I was in a Starbucks and I wasn’t writing any poems. I wasn’t writing anything. 

This short story is a delightfully metafictional tale about the struggles of being a writer in New York. From paying the bills to facing criticism in a writing workshop and envying more productive writers, Paul Dalla Rosa’s story is a clever satire of the tribulations involved in the writing profession, and all the contradictions embodied by systemic creativity (as famously laid out in Mark McGurl’s The Program Era ). What’s more, this story is an excellent example of something that often happens in creative writing: a writer casting light on the private thoughts or moments of doubt we don’t admit to or openly talk about. 

“Flowering Walrus” by Scott Skinner (Reedsy)

I tell him they’d been there a month at least, and he looks concerned. He has my tongue on a tissue paper and is gripping its sides with his pointer and thumb. My tongue has never spent much time outside of my mouth, and I imagine it as a walrus basking in the rays of the dental light. My walrus is not well. 

A winner of Reedsy’s weekly Prompts writing contest, ‘ Flowering Walrus ’ is a story that balances the trivial and the serious well. In the pauses between its excellent, natural dialogue , the story manages to scatter the fear and sadness of bad medical news, as the protagonist hides his worries from his wife and daughter. Rich in subtext, these silences grow and resonate with the readers.

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Perhaps the thing that first comes to mind when talking about creative writing, novels are a form of fiction that many people know and love but writers sometimes find intimidating. The good news is that novels are nothing but one word put after another, like any other piece of writing, but expanded and put into a flowing narrative. Piece of cake, right?

To get an idea of the format’s breadth of scope, take a look at these two (very different) satirical novels: 

Convenience Store Woman by Sayaka Murata

I wished I was back in the convenience store where I was valued as a working member of staff and things weren’t as complicated as this. Once we donned our uniforms, we were all equals regardless of gender, age, or nationality — all simply store workers. 

Keiko, a thirty-six-year-old convenience store employee, finds comfort and happiness in the strict, uneventful routine of the shop’s daily operations. A funny, satirical, but simultaneously unnerving examination of the social structures we take for granted, Sayaka Murata’s Convenience Store Woman is deeply original and lingers with the reader long after they’ve put it down.

Erasure by Percival Everett

The hard, gritty truth of the matter is that I hardly ever think about race. Those times when I did think about it a lot I did so because of my guilt for not thinking about it.  

Erasure is a truly accomplished satire of the publishing industry’s tendency to essentialize African American authors and their writing. Everett’s protagonist is a writer whose work doesn’t fit with what publishers expect from him — work that describes the “African American experience” — so he writes a parody novel about life in the ghetto. The publishers go crazy for it and, to the protagonist’s horror, it becomes the next big thing. This sophisticated novel is both ironic and tender, leaving its readers with much food for thought.

Creative Nonfiction

Creative nonfiction is pretty broad: it applies to anything that does not claim to be fictional (although the rise of autofiction has definitely blurred the boundaries between fiction and nonfiction). It encompasses everything from personal essays and memoirs to humor writing, and they range in length from blog posts to full-length books. The defining characteristic of this massive genre is that it takes the world or the author’s experience and turns it into a narrative that a reader can follow along with.

Here, we want to focus on novel-length works that dig deep into their respective topics. While very different, these two examples truly show the breadth and depth of possibility of creative nonfiction:

Men We Reaped by Jesmyn Ward

Men’s bodies litter my family history. The pain of the women they left behind pulls them from the beyond, makes them appear as ghosts. In death, they transcend the circumstances of this place that I love and hate all at once and become supernatural. 

Writer Jesmyn Ward recounts the deaths of five men from her rural Mississippi community in as many years. In her award-winning memoir , she delves into the lives of the friends and family she lost and tries to find some sense among the tragedy. Working backwards across five years, she questions why this had to happen over and over again, and slowly unveils the long history of racism and poverty that rules rural Black communities. Moving and emotionally raw, Men We Reaped is an indictment of a cruel system and the story of a woman's grief and rage as she tries to navigate it.

Cork Dork by Bianca Bosker

He believed that wine could reshape someone’s life. That’s why he preferred buying bottles to splurging on sweaters. Sweaters were things. Bottles of wine, said Morgan, “are ways that my humanity will be changed.” 

In this work of immersive journalism , Bianca Bosker leaves behind her life as a tech journalist to explore the world of wine. Becoming a “cork dork” takes her everywhere from New York’s most refined restaurants to science labs while she learns what it takes to be a sommelier and a true wine obsessive. This funny and entertaining trip through the past and present of wine-making and tasting is sure to leave you better informed and wishing you, too, could leave your life behind for one devoted to wine. 

Illustrated Narratives (Comics, graphic novels)

Once relegated to the “funny pages”, the past forty years of comics history have proven it to be a serious medium. Comics have transformed from the early days of Jack Kirby’s superheroes into a medium where almost every genre is represented. Humorous one-shots in the Sunday papers stand alongside illustrated memoirs, horror, fantasy, and just about anything else you can imagine. This type of visual storytelling lets the writer and artist get creative with perspective, tone, and so much more. For two very different, though equally entertaining, examples, check these out:

Calvin & Hobbes by Bill Watterson

"Life is like topography, Hobbes. There are summits of happiness and success, flat stretches of boring routine and valleys of frustration and failure." 

This beloved comic strip follows Calvin, a rambunctious six-year-old boy, and his stuffed tiger/imaginary friend, Hobbes. They get into all kinds of hijinks at school and at home, and muse on the world in the way only a six-year-old and an anthropomorphic tiger can. As laugh-out-loud funny as it is, Calvin & Hobbes ’ popularity persists as much for its whimsy as its use of humor to comment on life, childhood, adulthood, and everything in between. 

From Hell by Alan Moore and Eddie Campbell 

"I shall tell you where we are. We're in the most extreme and utter region of the human mind. A dim, subconscious underworld. A radiant abyss where men meet themselves. Hell, Netley. We're in Hell." 

Comics aren't just the realm of superheroes and one-joke strips, as Alan Moore proves in this serialized graphic novel released between 1989 and 1998. A meticulously researched alternative history of Victorian London’s Ripper killings, this macabre story pulls no punches. Fact and fiction blend into a world where the Royal Family is involved in a dark conspiracy and Freemasons lurk on the sidelines. It’s a surreal mad-cap adventure that’s unsettling in the best way possible. 

Video Games and RPGs

Probably the least expected entry on this list, we thought that video games and RPGs also deserved a mention — and some well-earned recognition for the intricate storytelling that goes into creating them. 

Essentially gamified adventure stories, without attention to plot, characters, and a narrative arc, these games would lose a lot of their charm, so let’s look at two examples where the creative writing really shines through: 

80 Days by inkle studios

"It was a triumph of invention over nature, and will almost certainly disappear into the dust once more in the next fifty years." 

Named Time Magazine ’s game of the year in 2014, this narrative adventure is based on Around the World in 80 Days by Jules Verne. The player is cast as the novel’s narrator, Passpartout, and tasked with circumnavigating the globe in service of their employer, Phileas Fogg. Set in an alternate steampunk Victorian era, the game uses its globe-trotting to comment on the colonialist fantasies inherent in the original novel and its time period. On a storytelling level, the choose-your-own-adventure style means no two players’ journeys will be the same. This innovative approach to a classic novel shows the potential of video games as a storytelling medium, truly making the player part of the story. 

What Remains of Edith Finch by Giant Sparrow

"If we lived forever, maybe we'd have time to understand things. But as it is, I think the best we can do is try to open our eyes, and appreciate how strange and brief all of this is." 

This video game casts the player as 17-year-old Edith Finch. Returning to her family’s home on an island in the Pacific northwest, Edith explores the vast house and tries to figure out why she’s the only one of her family left alive. The story of each family member is revealed as you make your way through the house, slowly unpacking the tragic fate of the Finches. Eerie and immersive, this first-person exploration game uses the medium to tell a series of truly unique tales. 

Fun and breezy on the surface, humor is often recognized as one of the trickiest forms of creative writing. After all, while you can see the artistic value in a piece of prose that you don’t necessarily enjoy, if a joke isn’t funny, you could say that it’s objectively failed.

With that said, it’s far from an impossible task, and many have succeeded in bringing smiles to their readers’ faces through their writing. Here are two examples:

‘How You Hope Your Extended Family Will React When You Explain Your Job to Them’ by Mike Lacher (McSweeney’s Internet Tendency)

“Is it true you don’t have desks?” your grandmother will ask. You will nod again and crack open a can of Country Time Lemonade. “My stars,” she will say, “it must be so wonderful to not have a traditional office and instead share a bistro-esque coworking space.” 

Satire and parody make up a whole subgenre of creative writing, and websites like McSweeney’s Internet Tendency and The Onion consistently hit the mark with their parodies of magazine publishing and news media. This particular example finds humor in the divide between traditional family expectations and contemporary, ‘trendy’ work cultures. Playing on the inherent silliness of today’s tech-forward middle-class jobs, this witty piece imagines a scenario where the writer’s family fully understands what they do — and are enthralled to hear more. “‘Now is it true,’ your uncle will whisper, ‘that you’ve got a potential investment from one of the founders of I Can Haz Cheezburger?’”

‘Not a Foodie’ by Hilary Fitzgerald Campbell (Electric Literature)

I’m not a foodie, I never have been, and I know, in my heart, I never will be. 

Highlighting what she sees as an unbearable social obsession with food , in this comic Hilary Fitzgerald Campbell takes a hilarious stand against the importance of food. From the writer’s courageous thesis (“I think there are more exciting things to talk about, and focus on in life, than what’s for dinner”) to the amusing appearance of family members and the narrator’s partner, ‘Not a Foodie’ demonstrates that even a seemingly mundane pet peeve can be approached creatively — and even reveal something profound about life.

We hope this list inspires you with your own writing. If there’s one thing you take away from this post, let it be that there is no limit to what you can write about or how you can write about it. 

In the next part of this guide, we'll drill down into the fascinating world of creative nonfiction.

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The short story is a fiction writer’s laboratory: here is where you can experiment with characters, plots, and ideas without the heavy lifting of writing a novel. Learning how to write a short story is essential to mastering the art of storytelling . With far fewer words to worry about, storytellers can make many more mistakes—and strokes of genius!—through experimentation and the fun of fiction writing.

Nonetheless, the art of writing short stories is not easy to master. How do you tell a complete story in so few words? What does a story need to have in order to be successful? Whether you’re struggling with how to write a short story outline, or how to fully develop a character in so few words, this guide is your starting point.

Famous authors like Virginia Woolf, Haruki Murakami, and Agatha Christie have used the short story form to play with ideas before turning those stories into novels. Whether you want to master the elements of fiction, experiment with novel ideas, or simply have fun with storytelling, here’s everything you need on how to write a short story step by step.

How to Write a Short Story: Contents

The Core Elements of a Short Story

How to write a short story outline, how to write a short story step by step, how to write a short story: length and setting, how to write a short story: point of view, how to write a short story: protagonist, antagonist, motivation, how to write a short story: characters, how to write a short story: prose, how to write a short story: story structure, how to write a short story: capturing reader interest, where to read and submit short stories.

There’s no secret formula to writing a short story. However, a good short story will have most or all of the following elements:

• A protagonist with a certain desire or need. It is essential for the protagonist to want something they don’t have, otherwise they will not drive the story forward.
• A clear dilemma. We don’t need much backstory to see how the dilemma started; we’re primarily concerned with how the protagonist resolves it.
• A decision. What does the protagonist do to resolve their dilemma?
• A climax. In Freytag’s Pyramid , the climax of a story is when the tension reaches its peak, and the reader discovers the outcome of the protagonist’s decision(s).
• An outcome. How does the climax change the protagonist? Are they a different person? Do they have a different philosophy or outlook on life?

Of course, short stories also utilize the elements of fiction , such as a setting , plot , and point of view . It helps to study these elements and to understand their intricacies. But, when it comes to laying down the skeleton of a short story, the above elements are what you need to get started.

Note: a short story rarely, if ever, has subplots. The focus should be entirely on a single, central storyline. Subplots will either pull focus away from the main story, or else push the story into the territory of novellas and novels.

The shorter the story is, the fewer of these elements are essentials. If you’re interested in writing short-short stories, check out our guide on how to write flash fiction .

Some writers are “pantsers”—they “write by the seat of their pants,” making things up on the go with little more than an idea for a story. Other writers are “plotters,” meaning they decide the story’s structure in advance of writing it.

You don’t need a short story outline to write a good short story. But, if you’d like to give yourself some scaffolding before putting words on the page, this article answers the question of how to write a short story outline:

https://writers.com/how-to-write-a-story-outline

There are many ways to approach the short story craft, but this method is tried-and-tested for writers of all levels. Here’s how to write a short story step-by-step.

1. Start With an Idea

Often, generating an idea is the hardest part. You want to write, but what will you write about?

What’s more, it’s easy to start coming up with ideas and then dismissing them. You want to tell an authentic, original story, but everything you come up with has already been written, it seems.

Here are a few tips:

• Originality presents itself in your storytelling, not in your ideas. For example, the premise of both Shakespeare’s A Midsummer Night’s Dream and Ostrovsky’s The Snow Maiden are very similar: two men and two women, in intertwining love triangles, sort out their feelings for each other amidst mischievous forest spirits, love potions, and friendship drama. The way each story is written makes them very distinct from one another, to the point where, unless it’s pointed out to you, you might not even notice the similarities.
• An idea is not a final draft. You will find that exploring the possibilities of your story will generate something far different than the idea you started out with. This is a good thing—it means you made the story your own!
• Experiment with genres and tropes. Even if you want to write literary fiction , pay attention to the narrative structures that drive genre stories, and practice your storytelling using those structures. Again, you will naturally make the story your own simply by playing with ideas.

If you’re struggling simply to find ideas, try out this prompt generator , or pull prompts from this Twitter .

2. Outline, OR Conceive Your Characters

If you plan to outline, do so once you’ve generated an idea. You can learn about how to write a short story outline earlier in this article.

If you don’t plan to outline, you should at least start with a character or characters. Certainly, you need a protagonist, but you should also think about any characters that aid or inhibit your protagonist’s journey.

When thinking about character development, ask the following questions:

• What is my character’s background? Where do they come from, how did they get here, where do they want to be?
• What does your character desire the most? This can be both material or conceptual, like “fitting in” or “being loved.”
• What is your character’s fatal flaw? In other words, what limitation prevents the protagonist from achieving their desire? Often, this flaw is a blind spot that directly counters their desire. For example, self hatred stands in the way of a protagonist searching for love.
• How does your character think and speak? Think of examples, both fictional and in the real world, who might resemble your character.

In short stories, there are rarely more characters than a protagonist, an antagonist (if relevant), and a small group of supporting characters. The more characters you include, the longer your story will be. Focus on making only one or two characters complex: it is absolutely okay to have the rest of the cast be flat characters that move the story along.

Learn more about character development here:

https://writers.com/character-development-definition

3. Write Scenes Around Conflict

Once you have an outline or some characters, start building scenes around conflict. Every part of your story, including the opening sentence, should in some way relate to the protagonist’s conflict.

Conflict is the lifeblood of storytelling: without it, the reader doesn’t have a clear reason to keep reading. Loveable characters are not enough, as the story has to give the reader something to root for.

Take, for example, Edgar Allan Poe’s classic short story The Cask of Amontillado . We start at the conflict: the narrator has been slighted by Fortunato, and plans to exact revenge. Every scene in the story builds tension and follows the protagonist as he exacts this revenge.

In your story, start writing scenes around conflict, and make sure each paragraph and piece of dialogue relates, in some way, to your protagonist’s unmet desires.

Read more about writing effective conflict here:

What is Conflict in a Story? Definition and Examples

4. Write Your First Draft

The scenes you build around conflict will eventually be stitched into a complete story. Make sure as the story progresses that each scene heightens the story’s tension, and that this tension remains unbroken until the climax resolves whether or not your protagonist meets their desires.

Don’t stress too hard on writing a perfect story. Rather, take Anne Lamott’s advice, and “write a shitty first draft.” The goal is not to pen a complete story at first draft; rather, it’s to set ideas down on paper. You are simply, as Shannon Hale suggests, “shoveling sand into a box so that later [you] can build castles.”

5. Step Away, Breathe, Revise

Whenever Stephen King finishes a novel, he puts it in a drawer and doesn’t think about it for 6 weeks. With short stories, you probably don’t need to take as long of a break. But, the idea itself is true: when you’ve finished your first draft, set it aside for a while. Let yourself come back to the story with fresh eyes, so that you can confidently revise, revise, revise .

In revision, you want to make sure each word has an essential place in the story, that each scene ramps up tension, and that each character is clearly defined. The culmination of these elements allows a story to explore complex themes and ideas, giving the reader something to think about after the story has ended.

6. Compare Against Our Short Story Checklist

Does your story have everything it needs to succeed? Compare it against this short story checklist, as written by our instructor Rosemary Tantra Bensko.

Below is a collection of practical short story writing tips by Writers.com instructor Rosemary Tantra Bensko . Each paragraph is its own checklist item: a core element of short story writing advice to follow unless you have clear reasons to the contrary. We hope it’s a helpful resource in your own writing.

Update 9/1/2020: We’ve now made a summary of Rosemary’s short story checklist available as a PDF download . Enjoy!

Click to download

Your short story is 1000 to 7500 words in length.

The story takes place in one time period, not spread out or with gaps other than to drive someplace, sleep, etc. If there are those gaps, there is a space between the paragraphs, the new paragraph beginning flush left, to indicate a new scene.

Each scene takes place in one location, or in continual transit, such as driving a truck or flying in a plane.

Unless it’s a very lengthy Romance story, in which there may be two Point of View (POV) characters, there is one POV character. If we are told what any character secretly thinks, it will only be the POV character. The degree to which we are privy to the unexpressed thoughts, memories and hopes of the POV character remains consistent throughout the story.

You avoid head-hopping by only having one POV character per scene, even in a Romance. You avoid straying into even brief moments of telling us what other characters think other than the POV character. You use words like “apparently,” “obviously,” or “supposedly” to suggest how non-POV-characters think rather than stating it.

Your short story has one clear protagonist who is usually the character changing most.

Your story has a clear antagonist, who generally makes the protagonist change by thwarting his goals.

(Possible exception to the two short story writing tips above: In some types of Mystery and Action stories, particularly in a series, etc., the protagonist doesn’t necessarily grow personally, but instead his change relates to understanding the antagonist enough to arrest or kill him.)

The protagonist changes with an Arc arising out of how he is stuck in his Flaw at the beginning of the story, which makes the reader bond with him as a human, and feel the pain of his problems he causes himself. (Or if it’s the non-personal growth type plot: he’s presented at the beginning of the story with a high-stakes problem that requires him to prevent or punish a crime.)

The protagonist usually is shown to Want something, because that’s what people normally do, defining their personalities and behavior patterns, pushing them onward from day to day. This may be obvious from the beginning of the story, though it may not become heightened until the Inciting Incident , which happens near the beginning of Act 1. The Want is usually something the reader sort of wants the character to succeed in, while at the same time, knows the Want is not in his authentic best interests. This mixed feeling in the reader creates tension.

The protagonist is usually shown to Need something valid and beneficial, but at first, he doesn’t recognize it, admit it, honor it, integrate it with his Want, or let the Want go so he can achieve the Need instead. Ideally, the Want and Need can be combined in a satisfying way toward the end for the sake of continuity of forward momentum of victoriously achieving the goals set out from the beginning. It’s the encounters with the antagonist that forcibly teach the protagonist to prioritize his Needs correctly and overcome his Flaw so he can defeat the obstacles put in his path.

The protagonist in a personal growth plot needs to change his Flaw/Want but like most people, doesn’t automatically do that when faced with the problem. He tries the easy way, which doesn’t work. Only when the Crisis takes him to a low point does he boldly change enough to become victorious over himself and the external situation. What he learns becomes the Theme.

Each scene shows its main character’s goal at its beginning, which aligns in a significant way with the protagonist’s overall goal for the story. The scene has a “charge,” showing either progress toward the goal or regression away from the goal by the ending. Most scenes end with a negative charge, because a story is about not obtaining one’s goals easily, until the end, in which the scene/s end with a positive charge.

The protagonist’s goal of the story becomes triggered until the Inciting Incident near the beginning, when something happens to shake up his life. This is the only major thing in the story that is allowed to be a random event that occurs to him.

Your characters speak differently from one another, and their dialogue suggests subtext, what they are really thinking but not saying: subtle passive-aggressive jibes, their underlying emotions, etc.

Your characters are not illustrative of ideas and beliefs you are pushing for, but come across as real people.

Your language is succinct, fresh and exciting, specific, colorful, avoiding clichés and platitudes. Sentence structures vary. In Genre stories, the language is simple, the symbolism is direct, and words are well-known, and sentences are relatively short. In Literary stories , you are freer to use more sophisticated ideas, words, sentence structures, styles , and underlying metaphors and implied motifs.

Your plot elements occur in the proper places according to classical Three Act Structure (or Freytag’s Pyramid ) so the reader feels he has vicariously gone through a harrowing trial with the protagonist and won, raising his sense of hope and possibility. Literary short stories may be more subtle, with lower stakes, experimenting beyond classical structures like the Hero’s Journey. They can be more like vignettes sometimes, or even slice-of-life, though these types are hard to place in publications.

In Genre stories, all the questions are answered, threads are tied up, problems are solved, though the results of carnage may be spread over the landscape. In Literary short stories, you are free to explore uncertainty, ambiguity, and inchoate, realistic endings that suggest multiple interpretations, and unresolved issues.

Some Literary stories may be nonrealistic, such as with Surrealism, Absurdism, New Wave Fabulism, Weird and Magical Realism . If this is what you write, they still need their own internal logic and they should not be bewildering as to the what the reader is meant to experience, whether it’s a nuanced, unnameable mood or a trip into the subconscious.

Literary stories may also go beyond any label other than Experimental. For example, a story could be a list of To Do items on a paper held by a magnet to a refrigerator for the housemate to read. The person writing the list may grow more passive-aggressive and manipulative as the list grows, and we learn about the relationship between the housemates through the implied threats and cajoling.

Your short story is suspenseful, meaning readers hope the protagonist will achieve his best goal, his Need, by the Climax battle against the antagonist.

Your story entertains. This is especially necessary for Genre short stories.

The story captivates readers at the very beginning with a Hook, which can be a puzzling mystery to solve, an amazing character’s or narrator’s Voice, an astounding location, humor, a startling image, or a world the reader wants to become immersed in.

Expository prose (telling, like an essay) takes up very, very little space in your short story, and it does not appear near the beginning. The story is in Narrative format instead, in which one action follows the next. You’ve removed every unnecessary instance of Expository prose and replaced it with showing Narrative. Distancing words like “used to,” “he would often,” “over the years, he,” “each morning, he” indicate that you are reporting on a lengthy time period, summing it up, rather than sticking to Narrative format, in which immediacy makes the story engaging.

You’ve earned the right to include Expository Backstory by making the reader yearn for knowing what happened in the past to solve a mystery. This can’t possibly happen at the beginning, obviously. Expository Backstory does not take place in the first pages of your story.

Your reader cares what happens and there are high stakes (especially important in Genre stories). Your reader worries until the end, when the protagonist survives, succeeds in his quest to help the community, gets the girl, solves or prevents the crime, achieves new scientific developments, takes over rule of his realm, etc.

Every sentence is compelling enough to urge the reader to read the next one—because he really, really wants to—instead of doing something else he could be doing. Your story is not going to be assigned to people to analyze in school like the ones you studied, so you have found a way from the beginning to intrigue strangers to want to spend their time with your words.

Whether you’re looking for inspiration or want to publish your own stories, you’ll find great literary journals for writers of all backgrounds at this article:

https://writers.com/short-story-submissions

Learn How to Write a Short Story at Writers.com

The short story takes an hour to learn and a lifetime to master. Learn how to write a short story with Writers.com. Our upcoming fiction courses will give you the ropes to tell authentic, original short stories that captivate and entrance your readers.

Rosemary – Is there any chance you could add a little something to your checklist? I’d love to know the best places to submit our short stories for publication. Thanks so much.

Hi, Kim Hanson,

Some good places to find publications specific to your story are NewPages, Poets and Writers, Duotrope, and The Submission Grinder.

“ In Genre stories, all the questions are answered, threads are tied up, problems are solved, though the results of carnage may be spread over the landscape.”

Not just no but NO.

See for example the work of MacArthur Fellow Kelly Link.

[…] How to Write a Short Story: The Short Story Checklist […]

Thank you for these directions and tips. It’s very encouraging to someone like me, just NOW taking up writing.

[…] Writers.com. A great intro to writing. https://writers.com/how-to-write-a-short-story […]

Hello: I started to write seriously in the late 70’s. I loved to write in High School in the early 60’s but life got in the way. Around the 00’s many of the obstacles disappeared. Since then I have been writing more, and some of my work was vanilla transgender stories. Here in 2024 transgender stories have become tiresome because I really don’t have much in common with that mind set.

The glare of an editor that could potentially pay me is quite daunting, so I would like to start out unpaid to see where that goes. I am not sure if a writer’s agent would be a good fit for me. My work life was in the Trades, not as some sort of Academic. That alone causes timidity, but I did read about a fiction writer who had been a house painter.

This is my first effort to publish since the late 70’s. My pseudonym would perhaps include Ahabidah.

Gwen Boucher.

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10 Effective Ways to Improve Your Creative Writing

Writing a story is a craft that requires constant tweaks, edits and trial and error by the writer. Here are ten tips to improve your creative writing and save you hours of painful re-writing in the future.

(1) Don’t underestimate your reader

You have a fantastic plot, your characters are realistic, the setting is ideal and you want to make sure that the reader gets every little detail that you have in mind. Great!

The only problem is that you may be tempted to bombard your reader with many intimate details so that they see it exactly as you do. In-depth descriptions can be useful and effective, but don’t overdo it. Keep your writing neat and tight; don’t waste space on long, rambling descriptions about things that aren’t necessary to your story.

Wouldn’t it be ideal if editors received submissions and decided to look past the typos and incorrect formatting because they think it might be a little gem of a story? The fact is that if your manuscript is full of errors or doesn’t follow the required guidelines then it’s going in the trash.

Don’t rely on your computer’s spell checker. If you make a typo, the computer will not warn you if you’ve still spelt a valid word. Your gorgeous heroine meets the bog (boy) of her dreams? The wealthy doctor places his golf ball on his tea (tee)?

(3) Give Your Characters Life

Characters are vital to your story so treat them with care and give them that breath of life that you, the writer, have the power to give. Give them unique characteristics; make them believable by making them have a purpose, motivation and conflicts to resolve.

(4) Use Strong Words

You want your writing to sound decisive, so use words that get the point across. Did Bob’s really big headache cause him a lot of pain or did Bob’s migraine cause excruciating pain? But remember not to overdo it: don’t use words that the reader won’t understand, you want to use strong words, not confusing or extravagant ones.

(5) Show Don’t Tell.

Who hasn’t heard that one before? But it’s a valid point and a useful rule for all writers. Fiction is for entertainment, so entertain your reader! Give them an excuse to escape into the reality that you have created. Let them see, hear, feel, smell, laugh, cry, love and hate. Show your reader the world that you’ve created, don’t just tell them about it.

(6) Check your Commas

While commas can be effective many inexperienced writers tend to sprinkle their sentences with them. When placed incorrectly, commas can chop up your sentences and sometimes even alter the meaning. Brush up on your high-school grammar; your work will improve with that alone.

(7) Grab their Attention from the Start

Opening lines are often referred to as ‘the hook’ because that’s exactly what you want them to be. You get the reader’s attention and reel them in for the rest of the story. Try something powerful to kick-start your story. For example: ‘Mark’s back broke with an audible crack’ or ‘Eliza didn’t realize that she was going blind’ or ‘The bullet that pierced Henry’s back and left him paralyzed was meant for a homeless man’. Each of these lines makes the reader ask ‘why?’ and once they ask that question, the reader will keep on reading until they find the answer.

(8) Give Your Reader a Satisfactory Ending

You can leave the reader speculating or wondering why at the end of your story, but try to resolve as much as you can. If your reader finishes the last sentence and is still asking questions about what happened to who and why, then you still need to tie up the loose ends.

(9) Sober up

Think of writing as going out to a bar: you go out, the lighting is dim, it’s noisy, maybe you drink too much but you meet a person who’s attractive, witty, shares the same interests as you and you’re smitten by them. A few days later you meet for coffee: are they as good looking or charming as you remember?

This can happen with writing. You become intoxicated with the feeling of success and think that you have written an award-winning piece. The question is, once you’ve sobered up, is it as good as you thought it was? Put your manuscript away and try not to think about it for a couple days. Then take it out and read it with a clear, open mind. Read it through once from beginning to end, then break it up into sections, then read it sentence by sentence. Is it as good as you remembered? If so, then well done! But the odds are that if you were too excited about finally wrapping it up, then you’ll find some points to revise.

(10) Challenge Yourself

Are you trying too hard to write in a specific genre or style? Do you only write short stories or novels or poems or movie scripts? Give that creative muscle a workout and try something different. It will be a refreshing exercise for your mind and you might be surprised by the result. If you don’t succeed then you have still learnt a valuable lesson.

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• Creativity Techniques

26+ Creative Writing Tips for Young Writers

So you want to be a writer? And not just any writer, you want to be a creative writer. The road to being a legendary storyteller won’t be easy, but with our creative writing tips for kids, you’ll be on the right track! Creative writing isn’t just about writing stories. You could write poems, graphic novels, song lyrics and even movie scripts. But there is one thing you’ll need and that is good creative writing skills. 

Here are over 26 tips to improve your creative writing skills :

Read a wide range of books

When it comes to creative writing, reading is essential. Reading allows you to explore the styles of other writers and gain inspiration to improve your own writing. But don’t just limit yourself to reading only popular books or your favourites. Read all sorts of books, everything from fairytales to scary stories. Take a look at comics, short stories, novels and poetry. Just fill your heads with the knowledge and wisdom of other writers and soon you’ll be just like them!

Write about real-life events

The hardest thing about creative writing is connecting emotionally with your audience. By focusing your writing on real-life events, you know that in some way or another your readers will be able to relate. And with creative writing you don’t need to use real names or details – There are certain things you can keep private while writing about the rare details. Using real-life events is also a good way to find inspiration for your stories. 

Be imaginative

Be as crazy and wild as you like with your imagination. Create your world, your own monsters , or even your own language! The more imaginative your story, the more exciting it will be to read. Remember that there are no rules on what makes a good idea in creative writing. So don’t be afraid to make stuff up!

Find your writing style

Thes best writers have a particular style about them. When you think of Roald Dahl , you know his books are going to have a sense of humour. While with Dr Seuss , you’re prepared to read some funny new words . Alternatively, when you look at R.L.Stine, you know that he is all about the horror. Think about your own writing style. Do you want to be a horror writer? Maybe someone who always writes in the first person? Will always focus your books on your culture or a particular character?

Stick to a routine

Routine is extremely important to writers. If you just write some stuff here and there, it’s likely that you’ll soon give up on writing altogether! A strict routine means that every day at a certain time you will make time to write about something, anything. Even if you’re bored or can’t think of anything, you’ll still pick up that pencil and write. Soon enough you’ll get into the habit of writing good stuff daily and this is definitely important for anyone who wants to be a professional creative writer!

Know your audience

Writing isn’t just about thinking about your own interests, it’s also about thinking about the interests of your audience. If you want to excite fellow classmates, know what they like. Do they like football , monsters or a particular video game? With that knowledge, you can create the most popular book for your target audience. A book that they can’t stop reading and will recommend to others! 

Daily Exercises

To keep your creative writing skills up to scratch it is important to keep practising every day. Even if you have no inspiration. At times when your mind is blank, you should try to use tools like writing prompts , video prompts or other ways of coming up with ideas . You could even take a look at these daily writing exercises as an example. We even created a whole list of over 100 creative writing exercises to try out when you need some inspiration or ideas. 

Work together with others

Everyone needs a little help now and then. We recommend joining a writing club or finding other classmates who are also interested in writing to improve your own creative writing skills. Together you can share ideas, tips and even write a story together! A good storytelling game to play in a group is the “ finish the story” game . 

Get feedback

Without feedback, you’ll never be able to improve your writing. Feedback, whether good or bad is important to all writers. Good feedback gives you the motivation to carry on. While bad feedback just gives you areas to improve and adapt your writing, so you can be the best! After every piece of writing always try to get feedback from it, whether it is from friends, family, teachers or an online writing community .

Enter writing competitions

The best way to improve your creative writing is by entering all sorts of writing competitions . Whether it’s a poetry competition or short story competition, competitions let you compete against other writers and even help you get useful feedback on your writing. Most competitions even have rules to structure your writing, these rules can help you prepare for the real world of writing and getting your work published. And not only that you might even win some cool prizes!

Keep a notebook

Every writer’s best friend is their notebook. Wherever you go make sure you have a notebook handy to jot down any ideas you get on the go. Inspiration can come from anywhere , so the next time you get an idea instead of forgetting about it, write it down. You never know, this idea could become a best-selling novel in the future. 

Research your ideas

So, you got a couple of ideas for short stories. The next step is to research these ideas deeper. 

Researching your ideas could involve reading books similar to your ideas or going online to learn more about a particular topic. For example, if you wanted to write a book on dragons, you would want to know everything about them in history to come up with a good, relatable storyline for your book.

Create Writing Goals

How do you know if your writing is improving over time? Simple – Just create writing goals for yourself. Examples of writing goals might include, to write 100 words every day or to write 600 words by the end of next week. Whatever your goals make sure you can measure them easily. That way you’ll know if you met them or not. You might want to take a look at these bullet journal layouts for writers to help you track the progress of your writing.

Follow your passions

Writing can be tedious and many people even give up after writing a few words. The only way you can keep that fire burning is by writing about your true passions. Whatever it is you enjoy doing or love, you could just write about those things. These are the types of things you’ll enjoy researching and already know so much about, making writing a whole lot more fun!

Don’t Settle for the first draft

You finally wrote your first story. But the writing process isn’t complete yet! Now it’s time to read your story and make the all-important edits. Editing your story is more than just fixing spelling or grammar mistakes. It’s also about criticising your own work and looking for areas of improvement. For example, is the conflict strong enough? Is your opening line exciting? How can you improve your ending?

Plan before writing

Never just jump into writing your story. Always plan first! Whether this means listing down the key scenes in your story or using a storyboard template to map out these scenes. You should have an outline of your story somewhere, which you can refer to when actually writing your story. This way you won’t make basic mistakes like not having a climax in your story which builds up to your main conflict or missing crucial characters out.

It’s strange the difference it makes to read your writing out aloud compared to reading it in your head. When reading aloud you tend to notice more mistakes in your sentences or discover paragraphs which make no sense at all. You might even want to read your story aloud to your family or a group of friends to get feedback on how your story sounds. 

Pace your story

Pacing is important. You don’t want to just start and then quickly jump into the main conflict because this will take all the excitement away from your conflict. And at the same time, you don’t want to give the solution away too early and this will make your conflict too easy for your characters to solve. The key is to gradually build up to your conflict by describing your characters and the many events that lead up to the main conflict. Then you might want to make the conflict more difficult for your characters by including more than one issue in your story to solve. 

Think about themes

Every story has a theme or moral. Some stories are about friendship, others are about the dangers of trusting strangers. And a story can even have more than one theme. The point of a theme is to give something valuable to your readers once they have finished reading your book. In other words, to give them a life lesson, they’ll never forget!

Use dialogue carefully

Dialogue is a tricky thing to get right. Your whole story should not be made up of dialogue unless you’re writing a script. Alternatively, it can be strange to include no dialogue at all in your story. The purpose of dialogue should be to move your story forward. It should also help your readers learn more about a particular character’s personality and their relationship with other characters in your book. 

One thing to avoid with dialogue is… small talk! There’s no point in writing dialogue, such as “How’s the weather?”, if your story has nothing to do with the weather. This is because it doesn’t move your story along.  For more information check out this guide on how to write dialogue in a story .

Write now, edit later

Writing is a magical process. Don’t lose that magic by focusing on editing your sentences while you’re still writing your story up. Not only could this make your story sound fragmented, but you might also forget some key ideas to include in your story or take away the imagination from your writing. When it comes to creative writing, just write and come back to editing your story later.

Ask yourself questions

Always question your writing. Once done, think about any holes in your story. Is there something the reader won’t understand or needs further describing? What if your character finds another solution to solving the conflict? How about adding a new character or removing a character from your story? There are so many questions to ask and keep asking them until you feel confident about your final piece.

Create a dedicated writing space

Some kids like writing on their beds, others at the kitchen table. While this is good for beginners, going pro with your writing might require having a dedicated writing space. Some of the basics you’ll need is a desk and comfy chair, along with writing materials like pens, pencils and notebooks. But to really create an inspiring place, you could also stick some beautiful pictures, some inspiring quotes from writers and anything else that will keep you motivated and prepared. 

Beware of flowery words

Vocabulary is good. It’s always exciting when you learn a new word that you have never heard before. But don’t go around plotting in complicated words into your story, unless it’s necessary to show a character’s personality. Most long words are not natural sounding, meaning your audience will have a hard time relating to your story if it’s full of complicated words from the dictionary like Xenophobia or Xylograph .

Create believable characters

Nobody’s perfect. And why should your story characters be any different? To create believable characters, you’ll need to give them some common flaws as well as some really cool strengths. Your character’s flaws can be used as a setback to why they can’t achieve their goals, while their strengths are the things that will help win over adversity. Just think about your own strengths and weaknesses and use them as inspirations for your storybook characters. You can use the Imagine Forest character creator to plan out your story characters. 

Show, don’t tell

You can say that someone is nice or you can show them how that person is nice. Take the following as an example, “Katie was a nice girl.” Now compare that sentence to this, “Katie spent her weekends at the retirement home, singing to the seniors and making them laugh.”. The difference between the two sentences is huge. The first one sounds boring and you don’t really know why Katie is nice. While in the second sentence, you get the sense that Katie is nice from her actions without even using the word nice in the sentence!

Make the conflict impossible

Imagine the following scenario, you are a championship boxer who has won many medals over the year and the conflict is…Well, you got a boxing match coming up. Now that doesn’t sound so exciting! In fact, most readers won’t even care about the boxer winning the match or not! 

Now imagine this scenario: You’re a poor kid from New Jersey, you barely have enough money to pay the bills. You never did any professional boxing, but you want to enter a boxing competition, so you can win and use the money to pay your bills. 

The second scenario has a bigger mountain to climb. In other words, a much harder challenge to face compared to the character in the first scenario. Giving your characters an almost impossible task or conflict is essential in good story-telling.

Write powerful scenes

Scenes help build a picture in your reader’s mind without even including any actual pictures in your story. Creating powerful scenes involves more than describing the appearance of a setting, it’s also about thinking about the smell, the sounds and what your characters are feeling while they are in a particular setting. By being descriptive with your scenes, your audience can imagine themselves being right there with characters through the hard times and good times!

There’s nothing worse than an ending which leaves the reader feeling underwhelmed. You read all the way through and then it just ends in the most typical, obvious way ever! Strong endings don’t always end on a happy ending. They can end with a sad ending or a cliff-hanger.  In fact, most stories actually leave the reader with more questions in their head, as they wonder what happens next. This then gives you the opportunity to create even more books to continue the story and keep your readers hooked for life (or at least for a very long time)! 

Over 25 creative writing tips later and you should now be ready to master the art of creative writing! The most important tip for all you creative writers out there is to be imaginative! Without a good imagination, you’ll struggle to wow your audience with your writing skills. Do you have any more creative writing tips to share? Let us know in the comments!

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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Go ahead and tilt your mobile the right way (portrait). the kool kids don't use landscape....

We’ve explored creative writing criteria, literary elements and how to replicate the text over on our The Ultimate Guide to VCE Creative Writing blog post . If you need a quick refresher or you’re new to creative writing, I highly recommend checking it out!

For many students, writing creative pieces can be slightly daunting. For some, it is about unleashing the writer within as the boundaries and thematic constraints that exist in Text Response are lifted. For others, it can be an opportunity to discover new writing styles, branching out from the generic T-E-E-L structure.

Formats of imaginative pieces include:

• short narratives,
• a personal diary entry ,
• chronicling the character's thoughts,
• and monologues.

Writing in an imaginative style allows you to draw from your own morals, views and feelings. You can weave in personal anecdotes, experiences, and metaphorical language which gives one's writing that pizazz and individualist factor!

Moreover, you can showcase how you have perceived and interpreted the characters within the novel/film, the landscapes they inhabit. Alternatively, you can step into different personas. For example, for the topic of conflict, I can write as an injured army medic, a doctor, a foreign correspondent and a war photographer.

However, imaginative writing also has many pitfalls students tumble into (do not despair; you can get out of it!):

1) Don't get too caught up in emotions and flowery language.

Great imaginative pieces are not only graded on how good your story telling skills are. More importantly, your teachers would be grading on the palpable links to the themes of the text and prompt you have been given.

In Year 11, when I wrote an imaginative piece, I went overboard with the flowery metaphorical language. My teacher said ‘Overall, the piece is good however, at some parts it sounded like purple prose.’ When I read it over now, I shudder a little.

2) In Reading and Creative, there is greater emphasis on extrapolating themes and ideas from your studied text.  

So, those radical and out-of-the box ideas and views you have in relation to the text can now be used.

For example, the overarching themes in  Every Man In This Village Is A Liar  encompass the Palestinian-Israeli conflict, inequality (the unequal status of women in Middle East), the effect of war on the physical body and the human psych and, how the media portrays war and violence. The starting point to planning any context piece is to use quotes and ideas within your text. Infer meaning from those quotes and main ideas and ask yourself:

• 'Does it hold a great degree of relevance to issues prevalent today?'
• 'Can I link it to my sac/exam prompt?' 

So, here's an example of planning a creative piece. Two of my favourite quotes from  Life of Galileo  are:

'Science is the rightful, much loved daughter of the church.'

‘Our ignorance is limitless; let us lop off a millimeter off it. Why try to be clever now that we at last have a chance of being less stupid.’

In essence, this conveys the overarching theme of science vs. religion, and how Church and the inquisition exploit the peoples' views through their own ignorance. Their fear of change, pioneering and gaining of new knowledge stems from the prospect of chaos if society's entrenched values are uprooted. I interpreted this as 'ignorance is not bliss' and instead, it breeds fear in people. This is in relevance with the tragic events that has occurred in recent years - acts of terrorism, and/or racially motivated attacks. In the context of our modern society, religion and science still maintain an intriguing and tumultuous relationship. As the advancement of technology and ethics are not at equilibrium, this is where controversy arises. Conversely, we now have to consider whether this relates to the prompt:

A person never knows who they truly are, until tested by conflict.

Possible idea for this example:

"Is it ethical to administer a new drug capable of rewiring and regenerating brain function at a neuronal level to someone who has sustained extensive brain damage? Is it deemed humane to potentially change a person's character? At what personal cost will this have? - Playing god."

Tips to achieve A+ in creative writing

1. ensure it is related to the text..

A lot of students believe that the reading and creating essay is exactly the same as the old context essay. However, there is a significant difference! While a creative context essay does not have to link to the text in any way and only needs to explore a certain idea (e.g. encountering conflict), the reading and creating essay needs to offer a relevant interpretation of the text as well as show understanding of the text’s messages and how the text creates meaning .

The easiest way to write a creative response that links clearly to the text is to write about a scenario that is related to the plot line. You can do this by writing a continuation of the storyline (i.e. what happens after the end?), or by filling in gaps in the plot line which the author did not explicitly outline (what happens behind the scenes that caused the outcome?) In this way, your response will be completely original and still demonstrate an understanding of the world of the text.

2. Write in a way that shows understanding of how the text creates meaning.

When creating your response, be aware of the features present in your text (such as characters, narrative, motifs etc) that you can use in your own essay. For example, if the text is narrated from a first-person perspective, you may also mimic this in your essay. Or, you could tell it in first-person from another character’s point of view to demonstrate another interpretation of the text. You may also include motifs from the text into your own response. But be careful when making decisions about structure, conventions and language. If the text is written in very formal and concise language, it is probably not a good idea to use slang. Similarly, if the text is a play, structuring your response as a script might be a better choice than writing a poem!

3. Explore the explicit and implied ideas and values in the texts.

Lastly, remember that whilst it is a creative response, your purpose is NOT to tell a nice story but to explore the ideas, values and messages left by the author! There will always be various interpretations regarding these values, and you can express your understanding of the text through your portrayal of certain characters, or through the events in your response. For example, if you were studying Measure for Measure and wanted to explore how human nature cannot be restrained or limited by law and punishment, you could write a continuation of the play in which the city of Vienna has reverted to its original state of moral decay.

4. Show, don't tell

Creative essays are great because they offer interesting and unique stories; however, there is one common downfall that occurs in writing. Some students create pieces that are  too  straightforward. Rather than using vocabulary, imagery and symbolism to express a point, they simply write down a statement that sums up what they wish to say. Your aim is to invite the reader to  experience  the story through your words. This can be done through the character’s thoughts, feelings, actions etc. Thus the well-known phrase among writers, ‘ Show, don’t tell’ . Keeping this idea in mind turn you into a much more successful writer – and you’ll see the difference!

Tell: Katie was very happy.

Show: Katie’s face lifted. Little wrinkles appeared around her bright eyes, her dimples made an appearance that dug into her cheeks as a big grin emerged to show her perfect teeth.

Tell: She felt horrible for the weeping children.

Show: Guilt throbbed inside her as she stared at the weeping children. Her heart pounded against her chest, her hands trembling beside her still body, her brain screaming at her to do  something .

Tell: I was scared.

Show: I hear my breathing; heavy, and rapid. I shut my eyes tightly. I can feel goosebumps running up my arms and down my back.

To test whether or not you are ‘telling’ instead of ‘showing’, think about whether or not your sentence leaves room for questions. In Example 1, ‘Katie was very happy’ would leave the reader thinking – what thought or action showed that she was happy? Whereas ‘show’ demonstrated that she was happy without directly stating it.

The key is to go into the finer details of your story!

Finally, have fun and enjoy the process of planning a creative narrative, let your imagination run a little wild and rein it in with your knowledge! Hopefully these tips were helpful and you are now more confident and informed on the Reading and Creating response! 

This blog post was written by Amanda Lau, Rosemary Chen, and Lisa Tran.

Get our FREE VCE English Text Response mini-guide

Now quite sure how to nail your text response essays? Then download our free mini-guide, where we break down the art of writing the perfect text-response essay into three comprehensive steps. Click below to get your own copy today!

Access a FREE sample of our How To Write A Killer Creative study guide

• Learn how to apply key creative frameworks and literary elements to elevate your writing
• Introduces the REPLICATE and IMAGINE strategy , a straightforward and methodical approach to creative writing
• Includes a step-by-step method to guide you through every phase of creative writing
• Explains the Written Explanation component, with multiple annotated A+ examples
• Includes excerpts from multiple A+ creative pieces

It’s getting closer to the Literature exam and you’re probably starting to get more serious about avoiding dropping too many SAC marks! Depending on which order your school does Literature SACs in, you may be currently facing the often feared ‘Creative Response’. Whether you feel beyond excited to finally bring some creative flair to Literature, or you’re totally scared at the thought of creating something new, I wanted to use this blog post to help you achieve at least ten of the marks in this section. That is through the reflective commentary, which you can totally score full marks on if you put in the effort.

The VCAA Literature Study Design determines that students must submit ‘a reflective commentary establishing connections with the original text’. This aspect of the assessment counts for 10 of the 60 marks available for the Creative Response outcome. The study design further denotes that students must

‘reflect critically upon their own responses as they relate to the text, and discuss the purpose context of their creations’.

This allows your schools and teachers to direct in a relatively broad way on how you should form your reflective commentary, and may mean your friends at other schools write theirs in a very different way. In this blog post I will leave you with a suggestion of how I best believe a reflective commentary could be structured to include all important aspects, as well as tips on how to include all of what the study design asks. As I said, these are ten marks that can easily be snatched with just a little bit of hard work and attention to detail, so why not snatch them?

To induce the things needed to be included in the reflective commentary, we can look to the key knowledge and key skills points outlined in the study design:

Key knowledge:

- the point of view, context and form of the original text,

- the ways the central ideas of the original text are represented,

- the features of the original text including ideas, images characters and situations, and the language in which these are expressed,

- techniques used to create, recreate or adapt a text and how they represent particular concerns or attitudes.

Key skills:

- identify elements of construction, context, point of view and form particular to the text, and apply understanding of these in a creative response

- choose stylistically appropriate features including characterisation, setting, narrative, tone and style

- critically reflect on how language choices and literary features from the original text are used in the adaptation

What you’re really trying to do in your reflective commentary is prove to your teacher that you are hitting all these key knowledge and key skills points. As you write, ensure you are discussing how the author uses point of view, context, form, elements of construction and stylistic features in their text. It is than imperative that you describe how you have similarly used such device in your creative response. Ensure that you also discuss how you are involving the ideas and themes of the text in your creative piece, and how you are discussing them further, or exploring them in greater depth. Obviously only talk about those that are relevant to your creative response!

Sample reflective commentary

Having scored a 10/10 in my own reflective commentary, I will provide a structure that can be used to ensure you are including everything you need. I discussed my own reactions to the original text, and described how I wanted to rouse similar reactions in the reader of my creative response.

In your reflective commentary, it can be easier to put everything under subheadings. These are the ones that I used:

-Characterisation

-Literary features (here I chose 7 particular literary features used in my text and discussed how I emulated them)

Under each of these paragraphs, I analysed how the author used such features to create and convey meaning, and discussed how I, in my own piece, drew on her use of them and expanded on her ideas. Here is an example of my ‘Purpose’ paragraph, which will hopefully give you an idea on how you might write your own commentary! My text was Cate Kennedy’s  Dark Roots , in particular the short story ‘What Thou and I Did, Till we Loved’.

In my piece, I ultimately attempted to lead the reader to a place of discomfort, faced with a situation that they wish never to be faced with. When I first read What Thou and I Did, Till we Loved (Dark Roots, Cate Kennedy), I simply wished never to be in Rebecca’s position, as I was sobered by the sadness of her demise as she watched her lover fade away. I sought to elicit the same response from the reader, as I aimed to convey the deterioration that both lovers suffer, as well as the loss of communication between them. I also attempted to allow the reader to question the humanity in keep people alive by machines and drugs, and whether it is fair to force people to live an unnatural life. I have sought to explore this even further than What Thou and I Did, Till we Loved bringing in the question of euthanasia and whether we have a right to die as Kyle begs of Max to “kill me” at the end of the piece, and Max concedes that “[he] would if [he] could”. The themes of my piece seeks to explore are the ways of coping with grief, guilt at causing the illness of a loved one, a life with a lack of substance, and the loss of communication due to illness.

Hopefully you’re feeling better about how you might go about completing your creative response, and getting that 10/10 on your reflective commentary!

‍ We’ve explored creative writing criteria, literary elements and how to replicate the text over on our The Ultimate Guide to VCE Creative Writing blog post . If you need a quick refresher or you’re new to creative writing, I highly recommend checking it out!

Creative Responses in VCE Literature

This was my favourite SAC in Literature; it allows so much creative freedom in creating and recreating a literary work. When else will you be able to depart from the (admittedly rather boring) standard essay structure?!

In your adaptations and transformations SAC (see my blog post about this literature assessment  here !), you learnt how the  meaning  of the text changed as the form changed. Here’s  your  opportunity to change the meaning of the text, maybe emphasising a particular thematic idea, or perhaps recreating a completely new perspective. Remember – you have almost complete creative licence in this assessment…use it to your advantage!

But don’t forget that the most important part of this task is that you must have a  highly convincing connection between the original text and your creative response . There must be a tangible relationship present, through an in-depth understanding of the original text’s features. These features include characterisation (what motivates these characters), setting, context, narrative structure, tone and writing/film style. Establishing a clear nexus between the original text and your creative piece does not mean you need to replicate everything of the text; you can stylistically choose to reject or contrast elements of the original text – as long as these choices are deliberate and unambiguous. Therefore, your creative response must demonstrate that you read your original text closely and perceptively by acknowledging these features of the text.

You can establish this relationship by:

• Adopting or resisting the same genre as the original text : e.g. an epistolary genre (written in letters) – do letters make an appearance in your text? Is that something you want to highlight? What about writing a monologue or a script if the text is a film or a play?
• Adopting or resisting the author’s writing/language style : does your writer characteristically write plainly or with great descriptive detail? What about irony or humour? Consider the length and style of sentences. Are there frequent uses of symbols or metaphors?
• Adopting or resisting the text’s point of view : do you want to draw readers’ attention to another thematic idea that was not explored in the original text? Will you align with the author’s views and values or will you oppose them? (See my views and values blogpost here!)
• Adopting or resisting the original setting, narrative structure or tone
• Writing through a peripheral character’s perspective : give a voice to a minor character that didn’t have a detailed backstory. Find a gap in the text and create and new perspective.
• Developing a prologue, epilogue or another chapter/scene : what new insight can you add with this addition and extension of the text? It must add something new – otherwise it is a redundant addition.
• Rewriting a key event/scene from another character’s point of view : does this highlight how important narrative perspective is?
• Recontextualising the original text : by putting the same story or characters into a completely different context, for example in the 21st century with technology, how does the meaning change in the narrative?

I chose to write a creative piece from the perspective of an inanimate object that followed the protagonist’s journey throughout the entire film, providing an unexpected point of view of the text. Be original and most importantly, enjoy it!

If you're doing a creative piece - whether for English or Literature - you'll find the following blogs super helpful:

The Ultimate Guide to VCE Creative Writing

‍ 5-Step Recipe for Creative Writing

How To Achieve A+ in Creative Writing (Reading and Creating)

• What Is The Creative Response?
• What Are You Expected To Cover? (Creative Writing Criteria)
• Literary Elements (Characterisation, Themes, Language, Symbolism, Imagery)
• LSG's unique REPLICATE and IMAGINE strategy
• Sample A+ Creative Response
• Writing The Written Explanation
• Resources To Help You Prepare For Your Creative Response

1. What Is The Creative Response?

The Creative Response, which forms part of the ‘Reading and creating texts’ component of the study design, is part of the 1st Area of Study (AoS 1) - meaning that the majority of students will tackle the Creative Response in Term 1. Unlike the analytical text response, in the Creative Response you will be asked to write your own imaginative piece in response to a selected text. 

You are expected to read and understand the selected text, analyse its key features, and write a creative piece which demonstrates your comprehension of the text.

2. What Are You Expected To Cover? (Creative Writing Criteria)

The creative writing task assesses your ability to combine features of an existing text with your own original ideas. The key intention here is to demonstrate your understanding of the world of the text. You can achieve this by exploring and applying selected elements from the text, such as context, themes, literary devices like symbols, and/or characters. You should also consider the values embedded within the text - this includes explicit values (which can be seen on the surface of the text) and implied values (values we uncover through analysis of the text’s deeper meaning). Try to reflect these values within your writing. 

Your piece will be a creative response, after all, so you should apply the conventions of this style of writing. Firstly, your creative should follow the structure of a beginning, middle, and end. We can also think of this as rising tension, climax, and resolution. Secondly, you should develop an authentic use of language, voice and style to make your writing more engaging and sophisticated. Thirdly, you can use literary devices to build meaning and depth within your piece. As always, your writing should be consistent with the rules of spelling, punctuation, and syntax (that is, written expression) in Standard Australian English.

Part of this assessment is the Written Explanation, which is a chance for you to explain and justify your creative writing choices. Within the Written Explanation, you should reflect on your writing process and analyse your own work. The primary goal here is to explain the links you’ve made to the original text, by considering features like purpose, context, and language. 

Ultimately, to put it simply, you are expected to understand the selected text and demonstrate this in your creative piece. If you're looking to quickly increase your creative skills, watch our incredibly popular video below:

3. Literary Elements (Characterisation, Themes, Language, Symbolism, Imagery)

Literary elements are different parts of the creative writing equation that ensure your piece is consistent with the expected features of this type of writing. When selecting which literary elements to include in your piece, remember to consider the original text and ensure that your work, while creative, also demonstrates your ability to replicate some of its elements.

Characterisation

As we know, characters are fictionalised people within the world of a creative text. Almost an entire century ago, the English writer E. M. Forster famously introduced the concept of flat and round characters in his 1927 book, ‘Aspects of the Novel’. According to Forster, flat characters can be defined by a single characteristic; in other words, they are two-dimensional. For example, the characters of The Simpsons could arguably all be defined as flat characters; Homer is characterised as a slob, Flanders is defined by his Christian faith, Lisa is stereotyped as the ‘teacher’s pet’, and Bart is portrayed as rebellious. We can define all of these characters as flat because they are labelled to the audience in these two-dimensional ways.

In contrast to this, round characters have multiple characteristics, which brings them closer to seeming like real, human figures. The personality of these characters extends beyond a single attribute. In Harry Potter , Harry himself is a round character because of how much we learn about him over the course of the series. For example, we find out about Harry’s difficult childhood, his personal challenges, his love interests, and we see his personality grow from book to book. 

Whether the characters of your creative are flat or round will depend on their involvement within, and importance to, the storyline of your piece. Generally speaking, however, you should aim for the central character(s) to be round, while any minor characters are likely to be flat. Developing round major characters will ensure that they are realistic and believable. In turn, you’ll be able to better demonstrate your imaginative skills and understanding of the text through these characters. 

Themes are the key ideas and issues that are relevant to the storyline of a fictional text. We can identify themes by labelling the main areas of meaning within a text and thinking about the messages that emerge throughout the text. To build your understanding of themes within a particular text and to evaluate the themes of your own creative, consider the following questions:

• What is the text really about, beyond superficial elements like plot and character?
• What is the text saying to its reader?
• What are the core idea(s) or issue(s) within the text?
• What idea(s) or issue(s) do the message(s) of the text correspond with?

To return to our example of The Simpsons , we could say that the themes within this sitcom include love and family, neighbourliness, and social class. From episode to episode, The Simpsons comments on these different issues. For example, Marge and Homer’s relationship, with its domestic setting and marital ups and downs, is a core aspect of the Simpsons household. Likewise, family is a major component of not only the Simpsons themselves, but also the broader Springfield community. The interactions between parents and children is evident on Evergreen Terrace with the Simpsons and the Flanders families, as well as in other settings such as Springfield Elementary School (where even an adult Principal Skinner is seen through his relationship with his elderly mother). These broad areas can be identified as the key thematic concerns of the series because each episode centres around these ideas.

Language refers to the way in which a piece of writing is expressed. We can define this as the ‘style’, or ‘tone’, of a text. The words and phrasing chosen by a writer determine how ideas are communicated. Effective language will be appropriate for the world of the text and contribute to the narrative in a meaningful way. There are a number of ways in which a piece of writing can be articulated and you should consider the nature of your piece and the language of the original text when deciding what type of language is most appropriate for your creative.

Dialogue, on the other hand, is an exchange of conversation between characters. Dialogue is often used to provide context to a text, develop its storyline, or offer direct insight into a character’s thoughts, feelings and personality. ‍

A symbol can be defined as a thing that represents something else. Symbols are typically material objects that hold abstract meaning. For example, in Harry Potter , Harry’s scar is a symbol of his difficult childhood. Because Harry’s scar causes him pain in Voldemort’s presence, it can also be said that the scar is symbolic of the connection forged between Harry and Voldemort when his attempt to kill Harry failed. As this example suggests, symbols are often associated with the text’s themes - in this case, Harry’s scar relates to the themes of childhood and death. 

The key with symbolism is to connect a particular theme or idea to a physical object. For example, the theme of grief could be portrayed through a photo of someone who has died. Likewise, the theme of change might be represented by a ticking clock, while a character’s clothing could be a symbol of their wealth or status.

For more literary elements, also known as metalanguage, check out our lists:

Part 1 – Metalanguage Word Bank For Books

Part 2 – Metalanguage Word Bank For Films With Examples

And if that's not enough, you'll also want to check out our How To Write A Killer Creative Study Guide where we unpack these elements in more detail AND analyse imagery, foreshadowing, flash-backs and flash-forwards! 

4. LSG's unique REPLICATE and IMAGINE Strategy

If we think about the criteria of creative writing, we’ll see that much of this task involves demonstrating your understanding of the text. For this reason, being able to replicate the world of the text will enable you to showcase your understanding and, in turn, to meet the criteria your teacher will be looking for. Let’s consider how you can strengthen your creative by taking the time to understand the text on a meaningful level and reflect this within your writing.

Step 1: Read

Writing a strong creative piece begins with reading. Reading the text (or watching, in the case of a film) is essential to developing an informed creative response. The more closely you read, the more confidently you’ll be able to engage with the important ideas and textual elements necessary to take your creative from good to great. 

While reading the text for the first time, focus on developing your understanding and clarifying any uncertainty. I would recommend taking the time to read a plot summary before beginning on the text - this will allow you to go in with a reasonable idea of what to expect, and also provide a security net to minimise your likelihood of misunderstanding the plot. 

While reading the text once is sufficient, you will benefit from reading it twice. A second reading enables you to take the time to annotate key sections of the text and to further your initial understanding. If you choose to read the text a second time, pay extra attention to the themes and inner-workings of the text. This means reading between the lines and starting to form an analytical understanding of what the text is about, beyond surface ideas like plot and character. 

Annotating the text (or note-taking, in the case of a film) is an important aspect of any academic reading. The key intention is to ensure your annotation approach is as convenient and accessible as possible. To achieve this, I suggest listing the key themes, allocating a different coloured highlighter to each, and colour-coding sections of the text which you think relate to each specific theme. This will give your annotating process more direction compared to the common approach of simply leaving notes in the margin, which may be time-consuming to read over later. 

I would also recommend making the most of coloured tabs - these enable you to immediately see the key sections of the text, rather than flicking through aimlessly. If you can colour-code these tabs according to the same key as your highlighters, you’ll be able to instantly spot which sections correspond with which theme (and trust me, this will come in handy if you decide to replicate these themes in your own creative).

Aside from annotating the text itself, try to ensure that the notes you write are concise - not only will this save you time, but it’ll mean you focus on condensing the key information. In turn, you’ll have less material to sift through later on, giving you the ability to jump straight into planning and drafting your own piece. This video, How to effectively annotate your books for school! and this blog post, How to effectively annotate your texts in VCE will provide you with more helpful strategies to get the most out of annotating. ‍

Step 2: Understand the World of the Text

‍ Regardless of how many times you read the text, your understanding will be strengthened by seeking out resources to help you think about the text on a deeper level. A good starting point for this is to have a look for LSG blog posts and videos that are about your specific text.

Watching or reading interviews with the author of the text is a fantastic way to hear directly about their intention in writing the text - after all, they are the single most authoritative source on the text. The goal here is to understand the author’s intent (something we’ll expand on in Chapter 8: Strengthening Your Creative ) so that you can reflect this within your own writing. Focus on how the author explains certain aspects of their text, as well as any points they make about its context and background. 

Additionally, peer discussions and asking questions in class will help you to further develop your understanding of the text and clarify any uncertainty. Seeing the text from another’s perspective will develop your knowledge beyond a superficial understanding of the text and introduce ideas you may not have otherwise considered.

Remember to take notes as you go - these will be useful to reflect on later. ‍

Step 3: Implement Your Understanding ‍

Okay, so you’ve taken the time to read and annotate the text, and you’ve sought out external resources to further develop your comprehension. Now we want to apply this understanding within a creative context. Reflect on what you know about the text. Think closely: What have you learnt about its context, characters, and themes? What elements of the text stand out? The goal here is to draw inspiration from the text and begin to think about which aspects of the text you might like to replicate within your creative piece. Begin to put together a shortlist to keep track of your ideas. The aim here is to develop a picture of the parts of the text you might decide to replicate in your own writing. 

Although understanding and replicating the text is important, if we were to only do this, your piece wouldn’t have much creative flair or originality. Here, we’ve taught you the ‘ Replicate ’ component of this strategy . If you’d like additional information about how to elevate this to an A+ standard AND a comprehensive explanation of the ‘ Imagine ’ component, check out our How to Write A Killer Creative study guide ! ‍

5. Sample A+ Creative Response

Here's a sample excerpt from a creative piece written by Taylah Russell, LSG tutor and 47 study scorer, in response to the short story 'Waiting' in Cate Kennedy's anthology, Like a House on Fire :

"The clinician presses forcefully into my lower abdomen, refusing to stop and accept my reality. The poor thing, deprived of such hopelessness as I, seems to honestly believe that the longer he agonises over finding something, the more likely it is that some form of life will appear. That those horoscopes in those grimy magazines, written by journalists who’ve probably been fired from their former reputable jobs, may actually hold some validity. I place my hands over my eyes, tentatively pressing against my eyelids, turning my surroundings a dark black and blocking the stream of water that has readied itself to spill when the time comes, when that young boy finally gives up and realises that his degree holds no value in providing me with happiness."

As we can see in this paragraph, the writer is replicating certain themes from the original text, such as grief. Additionally, this piece is written from the perspective of the original protagonist, which means that its characters and context are also directly inspired by Kennedy. Ultimately, by carrying across these text elements of theme, character, and context, the writer is able to clearly demonstrate an extensive knowledge of the text , while also showcasing their creativity. To see more of this creative piece as well as another A+ example, check out the How to Write A Killer Creative study guide !

6. Writing The Written Explanation ‍

For a detailed overview of the Written Explanation, check out our Written Explanation Explained blog post. ‍

7. Resources To Help You Prepare For Your Creative Response

Youtube videos ‍.

We create general creative writing videos where I explain the method behind this task: ‍

We also create videos that outline ways you can set yourself apart in this assessment:

‍ ‍ Check out our entire YouTube channel (and don't forget to subscribe for regular new videos!). ‍

Blog Posts ‍

Our awesome team of English high-achievers have written a number of blog posts about creative writing to help you elevate the standard of your work! ‍

5-Step Recipe for Creative Writing   ‍

How to achieve A+ in creative writing (Reading and Creating) ‍

"Creative Response to Text" Ideas ‍

Written Explanation - Explained ‍

Reading My 10/10 Marked CREATIVE GAT essay ‍

VCE Creative Response to Runaway by Alice Munro

VCE English Unit 3, Areas of Study 2: Creating Texts - What Is It?

VCE Creative Writing: How To Structure Your Story

Study guide ‍.

And if that isn't enough, I'd highly recommend our How To Write A Killer Creative study guide .

In this study guide, we teach you the unique REPLICATE and IMAGINE strategy, a straightforward and methodical approach to creative writing. The study guide also covers our step-by-step method to guide you through every phase of creative writing (no more not knowing where to start!) AND includes excerpts from multiple A+ creative pieces. Find out more and download a free preview here . 

Written expression is often overlooked in our essays. Often, if we are made aware of clunky or awkward expression, we are also not quite sure how to go about improving it. Although sophisticated and pertinent ideas serve as the foundation of a successful essay, how we construct our sentences and express these ideas may be what distinguishes a good essay from a great essay.

These differences can be rather subtle, but the small things can and do matter.

1) USE YOUR VOCAL CHORDS  

(to read out loud, not sing… unless you really want to)

Take your essay and read it out loud. Let your own conscience guide you in terms of whether a particular sentence flows well, is complete and makes sense. Keep your eye out for these small errors in particular: Grammar: Does your sentence actually make sense? Let’s have a look at an example: Although Funder suggests that the act of telling one’s story, especially one of victimisation, can catalyse the internal confrontation and healing required to move on.

(This is not grammatically correct! This is because this example only contains a subordinate clause and is lacking a main clause.)

But wait… what is this ‘subordinate clause’ and ‘main clause’?

A clause includes a subject and a verb .

Melissa ate an apple.After Wendy ate an apple.

What is the difference between the two clauses above?

‘Melissa ate an apple’ makes grammatical sense on its own. This is what we call a main clause (or an independent clause). On the other hand, ‘ After Wendy ate an apple’ is an incomplete sentence as it does not make sense. What happened after Wendy ate her apple? This is the information that is missing from the latter clause, making this a subordinate clause (or a dependent clause).

So now let’s try again…

Although Funder suggests that the act of telling one’s story, especially one of victimisation, can catalyse the internal confrontation and healing required to move on, ultimately, these individuals can never be truly free from the past that has irrevocably defined them.  

(Hooray! This is a complete sentence now.)

Spelling : Are the title of the text, the author or director’s name, characters’ names, publisher’s name, etc. all spelt correctly (and capitalised, underlined, and italicised appropriately)?

Did you use the correct there, their and they’re? How about it’s and its? (and so on).

Sentence length: Did that sentence just go on for 5 lines on a page and you are out of breath now? You can most probably split that overloaded sentence into two or more sentences that make much more sense. Check whether you have a clear subject in your sentence. If you have three different ideas in one sentence, give each idea its own opportunity (ie. sentence) to shine. The opposite also applies: if it is for a very short sentence, did that sentence pack enough content or analysis?

One spelling error or half-finished sentence in an essay will not severely affect your mark, but they can easily add up if they occur often enough. Consequently, this will distract the reader from engaging with your ideas fully and thus disrupt the flow of your essay.

By being aware of these aspects, you are now able to easily fix them and boost your writing.

2) BE SUBTLE

Try not to be casual or overt in your writing as it can be quite jarring to read and unfortunately give readers a potentially negative impression of your piece.

Try not to use phrases such as:

- In my opinion… (You do not need it as your entire essay should be your implicit opinion!)

- This quote shows that… (Embed the quote and link to its implication instead)

- This technique is designed to… (Identify the technique and be specific, especially in Language Analysis)

- I think that…, I believe… (Avoid using first person in a formal essay. Use of first person in creative writing is fine though if required)

They are redundant and do not add much to your ideas and analysis. Try omitting them and see whether that helps your sentence flow better and seem more formal.

3) LINK ‘EM UP

Sentences that seem disjointed or a clear connection can make it difficult for your teacher or the assessor to join the dots between an idea and an implication or consequence. Use linking words as they are fantastic for explicitly showing the reader how your ideas are related and thus allow your writing to proceed smoothly.

Therefore, hence, thus, thereby, consequently, subsequently, in addition, additionally, furthermore, moreover, on the other hand, on the contrary, however, henceforth, and so on… The list is endless!

4) ADD OOMPH (through vocabulary)

In general, having a wide vocabulary will allow you to express your ideas and analysis more accurately as you are likely to have access to a precise word that can capture the essence of your idea. Make a vocabulary list for a particular text or for Language Analysis (such as tone words) and aim to use varied language to convey yourself well.

If you’d like to see a list of sentence starters and essay phrases to help you get a headstart on expanding your vocabulary, check out this blog .

Focus on verbs and expanding your list of synonyms for words such as shows, demonstrates, highlights, emphasises, suggests and so on. An individual, character, author or director may not only be conveying but also denigrating or remonstrating or bolstering or glorifying or insinuating . Adding precision to your writing through careful vocabulary choice will distinguish your writing and also add complexity.

BEWARE! There is a fine line to tread with sophisticated vocabulary - do not overload your writing as you can risk writing convoluted sentences that hinder the reader’s ability to understand your piece. Also make sure that you understand the nuances of each synonym and that they are used in the correct context! (They are synonyms after all - not the same word!)

If you are debating whether to use a word, ask yourself: do you know what it means? 

If yes: Go for it!

If no: Do not use it until you know what it means.

Reading sample essays, The Age Text Talks, reviews and more of the texts you are currently studying will expose you to not only a multitude of interpretations of your text, but also to different sentence structures, writing styles or vocabulary that you could incorporate into your own writing.

I would also highly recommend that you read outside of the texts you are studying if you have time, whether that may be novels by the same author or even newspapers. Your written expression will only benefit from this exposure as the ways you can express yourself through writing continue to increase upon seeing others’ eloquence.

6) GET WRITING

If you do not write, you will never be able to improve your written expression. Put pen to paper (or hands to keyboard) and start constructing that essay. You can only fix your writing once you have writing to fix.

• What is a Written Explanation?
• Creative Response-Based Written Explanations
• Oral Presentation-Based Written Explanations

1. What is a Written Explanation?

Written Explanation (also known as Statement of Intention, SOE, and various other names throughout different schools) is a short introductory piece to your essay. The Written Explanation is intended to explore the reasons behind why you made particular writing decisions. This is done via FLAPC:

F orm,  L anguage,  A udience,  P urpose,  C ontext

2. Creative Response-Based Written Explanations

The following is taken from the VCAA study design for Creative Response-Based Written Explanations:

'a written explanation of creative decisions and how these demonstrate understanding of the text.'

Most assessors are quite lenient with how you want to approach the Written Explanation – there is no rigid structure that you need to abide by. As we will discuss below, this allows you to consider which aspects of form, language, audience, purpose and context you wish to include. Each of the points should establish why you have written your piece. They are considered as part of your SAC and thus, are marked accordingly. They are not  examinable during the English exam. 

There are traditionally three forms of writing accepted in assessments: expository, creative or persuasive essay. 

‘I chose to write in an expository style, employing conventions of format and style of a traditional essay. This allows me to express my ideas in a logical order while adopting a sophisticated tone.’

When writing, you choose particular words and phrases to illustrate your ideas. Think about what type of language have you used and why. Perhaps your piece is formal or informal, sophisticated or simple, or from a first or third person perspective. All these factors are important in shaping your Context piece. Also consider language techniques you may have incorporated such as repetition, rhetorical questions, metaphors, symbolism and more.

‘I have chosen to write from a first person perspective to shed light on the inner workings of Gardiner from  The Lieutenant .'

You must select a targeted audience for your essay. Your choice can be adults to young children, or even to your future self. Make sure your target audience is suitable for your essay – select a group that would realistically be interested in your work.

‘My piece is to be published in an anthology for those who have had difficulty assimilating into a new group or culture. As they have familiarity with the concepts I discuss, I intend for readers to depart with a greater understanding and appreciation of the ideas in my written piece.’

The purpose section is where you discuss the message you would like to send to your audience. Here you discuss your contention or arguments; whether you completely agree, disagree or a bit of both in regards to your prompt.

‘The purpose of this essay is to demonstrate that there can be different outcomes from encountering conflict: firstly, that conflicts can change many people through growth in understanding or a sense of self-development and secondly, that there are times when people remain unaffected by conflict and thus, unchanged.’

Since your essay is based on your studied text, you should provide a brief discussion of the basic ideas behind the Context . You can do this prior to your  Purpose  section since it is a good lead-in.

‘In this essay, I explored the idea that ‘Conflict inevitably changes people’; a concept heavily explored in  The Lieutenant . Every person encounters conflict. It drives individuals to challenge themselves, and deal with new experiences.'

Different schools will set different word limits for Written Explanations. These can range from 300 – 350 words based on the VCAA study design. With such a small word limit, be succinct and choose wisely what you will discuss in order to score the maximum marks allocated to Written Explanations.

3. Oral Presentation-Based Written Explanations

The VCAA study design requests students write:

'a written statement of intention to accompany the student’s own oral presentation, articulating the intention of decisions made in the planning process, and how these demonstrate understanding of argument and persuasive language.'

Using the topic,  'Why we need to stop crying "cultural appropriation" when  cultural exchange  is far more important ', let's see how this can be done with FLAPC with some examples below (if you need help selecting a topic, check out our 2020 Oral Presentation topics to get those brain juices flowing ):

‘I chose to adopt the conventions of a persuasive speech, where I use a structure of presenting my main ideas by rebutting arguments made by the opposition. Throughout my speech, I embed persuasive tactics in an effort to firstly, encourage engagement from the audience and secondly, sway them to readily accept my point of view.

‘Since I am an Asian-Australian, I have purposefully forgone the opportunity to adopt a persona and instead, have chosen to write from a first person perspective as I can uniquely shed light on my own experiences towards cultural exchange and how that has directly impacted me. My speech heavily focuses on delivering tangible examples, such as anecdotes and social media usage, as I aim to heighten the topic’s relevancy and relatability for my audience. Moreover, as my focus is to reinforce positive attitudes towards cultural exchange, I have adopted a light-hearted approach with humour through the first portion of my speech, then moving into an urgent tone towards the end to highlight the importance of this issue.'

'I have opted to target young Australian adults since we are the generation of the future, and have a major role to play in positively shaping the Australian society’s views and attitudes towards cultural exchange.

'I aim to convince my audience that it is too easy to cry 'cultural appropriation' by being overly sensitive, and instead, we need to consider the benefits of cultural exchange. Cultural exchange itself, has shaped the world as we know it today – it has an important role in globalisation, understanding foreign cultures and the development of Australian society.'

'Australia is known to be one of the most multicultural countries in the world. However, recent media has drawn attention to cries of 'cultural appropriation' towards Indigenous Australians and other cultures, claiming that we fail to appreciate and respect cultural values when we take others' culture for our own (whether it be fashion, music, food or otherwise).'

‍ Sample FLAPC compiled and rearranged for flow and fluency:

Australia is known to be one of the most multicultural countries in the world. However, recent media has drawn attention to cries of 'cultural appropriation' towards Indigenous Australians and other cultures, claiming that we fail to appreciate and respect cultural values when we take others' culture for our own (whether it be fashion, music, food or otherwise). I aim to convince my audience that it is too easy to cry 'cultural appropriation' by being overly sensitive, and instead, we need to consider the benefits of cultural exchange. Cultural exchange itself, has shaped the world as we know it today – it has an important role in globalisation, understanding foreign cultures and the development of Australian society. I chose to adopt the conventions of a persuasive speech, where I use a structure of presenting my main ideas by rebutting arguments made by the opposition. Throughout my speech, I embed persuasive tactics in an effort to firstly, encourage engagement from the audience and secondly, sway them to readily accept my point of view. Since I am an Asian-Australian, I have purposefully forgone the opportunity to adopt a persona and instead, have chosen to write from a first person perspective as I can uniquely shed light on my own experiences towards cultural exchange and how that has directly impacted me. This also has an additional persuasive effect as I invite my audience to relate to my opinions through their own similar experiences as young Australian adults. I have opted to target this audience since we are the generation of the future, and have a major role to play in positively shaping the Australian society’s views and attitudes towards cultural exchange. My speech heavily focuses on delivering tangible examples, such as anecdotes and social media usage, as I aim to heighten the topic’s relevance and relatability for my audience. Moreover, as my focus is to reinforce positive attitudes towards cultural exchange, I have adopted a light-hearted approach with humour through the first portion of my speech, then moving into an urgent tone towards the end to highlight the importance of this issue.

Download a PDF version of this blog for printing or offline use

Need more help with your Creative Response? Check out How To Achieve A+ in Creative Writing (Reading and Creating)!

See how Lisa achieved full marks in her SAC in her Advice for A+ Oral Presentations guide.

Just when you thought you had finally become accustomed to the complicated art of essay writing, VCE decides to throw you a curveball in the form of a reading and comparing essay that addresses not just one, but two texts. Being introduced to a comparative essay for the first time, it is not surprising that many students encounter difficulties in structuring their writing. For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

(An accurate representation of the common VCE English student attempting to write a comparative essay)

Luckily, there are quite a few tips and tricks out there that will help you on the journey to a well-structured essay!

What is reading and comparing?

This area of study relates to comparing and contrasting two texts in order to unearth  the common themes, ideas, motifs and issues explored. By drawing upon similarities and differences, we are enabled to gain a more profound comprehension of both texts. However, aside from merely comparing what is presented on the surface of a text, (symbols, characters, motifs, themes etc) it is also imperative that you delve a little deeper. Some questions you might want to ask yourself as you are planning a comparative essay are:

- What message are the authors trying to convey?

- What is the significance of symbols, themes, characterisation and motifs in relation to the texts as a whole?

- What was the setting/context in which the authors wrote their texts?

- Why did the authors choose to write about a specific setting/context? Were they directly involved in the social/political issues explored in the texts themselves?

- What are the main similarities and differences and how can I link them together?

Congratulations! Once you have thoughtfully considered these questions, you are one step closer to piecing together your essay!

Because there's such an emphasis on drawing insightful text connections in this area of study, in the LSG Comparative study guide we show you how to use the CONVERGENT and DIVERGENT strategy to identify unique points of comparison. In the study guide, which has been written by 45+ study scorers, we also explain how to strengthen your comparative discussion through Advanced Essay Paragraph Structures which truly showcase the power of the CONVERGENT and DIVERGENT strategy. I don't discuss the strategy in detail here, but you can check it out in How To Write Killer Comparative. ‍

How to structure your essay

Since the purpose of this task is to evaluate the similarities and differences between two texts, (unless you’ve royally misinterpreted the nature of reading and comparing! ) your body paragraphs will need to address both text A and text B. As with all exceptional VCE essays, I would stress that you DO NOT disregard the significance of beginning your essay with an introduction that neatly and briefly outlines your arguments in relation to the essay topic. You SHOULD also have a conclusion to close your essay, which functions as a summary to the ideas you have conveyed in your body paragraphs.

Although there are a few ways in which to structure a comparative essay, with students generally opting for whichever approach works best for them, I will focus upon two different methods, which I find to be the easiest and most concise.

You can choose to address one text per paragraph and alternate between them, for example:

Introduction

BP1: Text A (theme/idea 1)

BP2: Text B (theme/idea 1)

BP3: Text A (theme/idea 2)

BP4: Text B (theme/idea 2)

As you can see from the structure above, you would need to refer in your first two paragraphs to a common theme or idea prevalent in both texts, comparing how the texts explore such ideas and drawing upon any similarities or differences, before repeating this pattern in the next two paragraphs. In this structure, it is easiest to solely focus upon text A in body paragraph one and then in body paragraph two to put most of the attention on text B, whilst also comparing it to the elements of text A examined in paragraph 1.

- Easy for the assessor to recognise which text is being discussed since this is a very straightforward structure

- Whilst writing the essay, you won’t be confused about which text you are focusing on in each paragraph

- Limited capacity to go in depth when comparing and contrasting the texts, which may lead the assessor to believe you haven’t really grasped the core concepts of either text

This approach is a bit more complicated than the first and will definitely take practice, patience and perseverance to master.

BP1: Text A and Text B (theme/idea 1)

BP2: Text A and Text B (theme/idea 2)

BP3: Text A and Text B (theme/idea 3)

In the body paragraphs of this structure, the writer will constantly alternate between the texts and a good essay of this form will make it clear which text is being referred to, even if the discussion constantly changes from text A to text B. Within each paragraph, the writer will consistently use comparative language to contrast both texts. Typically, each paragraph will place emphasis on a different theme or idea.

- This is a more sophisticated structure than the former; if it is done well, it will highlight to the assessor that you are able to utilise complex structures in a concise way that goes into minute detail when comparing the texts

- Capacity to implement more comparative language

- As you are writing an essay of this form, you might momentarily become sidetracked and confused as you will be constantly changing between referring to text A and text B, thus, it is easier for your ideas to become convoluted, rendering it difficult for the assessor to follow your line of thought.

For more information on essay structures, watch this video:

Useful vocabulary

A key component of structure is not just the layout, but also your choice of vocabulary. Assessors will be looking for key words that prove you are not merely discussing the texts separately in relation to the prompt, but that you are actually able to compare the texts. Some useful terms and expressions include:

Whereas/while/whilst

These texts are dissimilar in that…

These texts are not dissimilar in that…

Alternately…

On the contrary…

Contrarily…

Text A contrasts text B as…

On the other hand…

In a similar fashion to text A, text B…

Both texts…

Both authors…

However, this text takes a different approach…

(This text) parallels/mirrors (the other text) in the sense that…

These texts are alike in the respect that…

Both texts are related as they…

Finally, you have completed that tedious reading and comparing response and I strongly believe that that deserves a sweet treat and a pat on the back.

Although it may have been super challenging, I can assure you that as with everything, the more you practice, the easier it becomes! Consistency is key!

If you’ve been studying John Donne’s metaphysical poetry, you’ve probably noticed that his works are riddled with different symbols and motifs. Embedded throughout his poetry, these literary devices may seem slightly abstruse to the reader. You may find yourself asking: What do they mean? And in relation to what? Even Donne’s contemporaries failed to appreciate his poetry. The neoclassical poet John Dryden rejected Donne’s works because it “affects the metaphysics” and “perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love”.

One thing that you should understand about Donne’s romantic poetry, is that while his stark images of compasses and spheres may seem foreign to you, they were also alien to his predecessors too. So, if you’re struggling to comprehend his enigmatic poetry, not to fear! Because John Donne’s poetic peers didn’t initially get it either.

The reason for this is because Donne refused to conform to the poetic conventions of the time. The poet emerged as an idiosyncratic in the Elizabethan era, the Renaissance. Unlike his contemporaries, he didn’t employ elaborate descriptions of symbol natural landscapes, classical myths and female beauty. The reason for this was because Donne did not believe in the one-sided love and emotional frustrations that his contemporaries tried so hard to convey in such imagery.

Donne’s poetry was so different because he rejected and even openly mocked the idea of such a high-minded religious worship in literary romance. In “A Valediction Forbidding Mourning,” Donne criticises the “tear-floods” and “sigh-tempests” of the “dull sublunary lovers.”. In a similar vein, Donne satirises the “sighs” and “tears” (The Canonisation) so prevalent in Petrarchan works.

Instead, Donne advocated for a different kind of love. He espoused a love that comprised of the Body and the Soul, which was a dominant intellectual issue in the literary treatment of love in the 1590s. More specifically, Donne embraced the balance between Platonic love and the Ovidian love.

Platonic: Platonic love is essentially love that surpasses the mere sensual and physical. It is a very spiritual concept and is based on reason, affection, respect, intellect and compatibility.

Ovidian: Ovidian love

The idea of balance derived from discoveries being made about the human body during the Elizabethan era. The Renaissance was fundamentally a time of discovery (particularly in the area of science). Elizabethans believed that elements in the body needed to be balanced,

Top Tip: When you’re analysing John Donne’s poetry and writing essays, be aware of Donne’s overarching message in his romantic poetry. Most explanations about his use transcendent relationship with his lover is thus determined by obtaining a balance between the spiritual and earthly pleasures. Most examination questions will leave room for to discuss the connection between the material and the divine world! Make sure to understand this, because this is a huge component to his poetry.

Updated 26/12/2020

It’s that time of year again when many VCE English students start brainstorming their Oral Presentation SACs. To help you out, we’ve collated some of the biggest names and issues in the recent Australian media.

Each heading represents a broad, ongoing issue, and under it are more specific debates within each issue. Going down a more precise route with your topic selection can make your speech a lot more engaging and current, so pick a broad issue that speaks to you, and ‘zoom in’ on a debate for your speech. Don't forget to also check out Our Ultimate Guide to Oral Presentations for everything you need to know for Oral Presentations.

CLIMATE CHANGE

1. green new deal.

Originally, the 'New Deal' was a bunch of economic reforms that restimulated the economy back into action after the Great Depression. The ' Green New Deal' is a bunch of policies that combines this economic approach with the need to fight the climate crisis. It was first brought before the United States Congress by Alexandria Ocasio-Cortez in late 2018 , but was ultimately voted down. It called for a 10-year transformation of the economy to provide green jobs; transition to renewable, zero-emission energy sources; and eliminate pollution across sectors such as manufacturing, agriculture and transport. Is this something that we need to adopt in Australia? Is now the best time for that conversation, given the political climate (not to mention the actual climate of the worst bushfire season in history)? And what exactly are the options? Australia Needs a Green New Deal (03/11/2019) What could an Australian green new deal look like? (28/11/2019) Why the Green New Deal matters (29/11/2019) Let’s make the 2020s the decade that Australia gets its mojo back (04/01/2020)

2. Young People on Strike

2019 saw the emergence of the ' school strike for climate' , an international movement of students skipping school to demonstrate and demand action on climate change. It took off after Greta Thunberg, a Swedish schoolgirl, began protesting outside the Swedish parliament in late 2018. It sparked widespread discussion on young people, education and the merits of striking. Scott Morrison was drawn into the discussion, stating that he doesn’t 'want our children to have anxieties about these issues', while defending his government’s track record on renewable energy investment. So - should young people be worrying about these issues at all? Are they missing out on crucial years of education by taking to the streets? And, is what they’re saying really unreasonable at all? Global climate strike sees ‘hundreds of thousands’ of Australians rally (video, 0/09/2019) The climate strike organiser who received a near-perfect ATAR (18/12/2019) How Greta Thunberg’s school strike went global: a lo ok back (podcast, 30/12/2019)

3. To Prime Minister or Not To Prime Minister

Australia is already facing its most severe bushfire season yet with several months of fire season left to go. During these months, Scott Morrison took a holiday in Hawaii, staying there even after stating his intention to return . Even as he returned, he was shunned for perceived insensitivity and insincerity . What should a Prime Minister do in a state of national emergency? While Morrison delegated many of the duties to state premiers, are these distinctions important in times of crisis? Is he the leader we deserve after his resounding, miraculous election victory in 2019? Where to from here? ScoMo, Where the Bloody Hell Are You? (20/12/2019) Don’t dismiss our anger in Cobargo Scott Morrison, we are the ones living through a crisis (02/01/2020) Scott Morrison, Australia’s singed prime minister (03/01/2020) ‘Bloodcurdling insanity’: Real reason ScoMo is under fire (04/01/2020)

4. Emissions Trading Scheme (ETS)

An ETS basically makes carbon gas emissions an economic good that gets bought and sold like any other - corporations that emit more gas will need to now purchase permission to emit, while corporations that emit less will be able to sell their permits. The debate for an ETS in Australia is old (surprisingly perhaps, John Howard first broached the idea towards the end of his Prime Ministership ), but became political poison after Julia Gillard introduced it despite promising that her government wouldn’t introduce a carbon tax in the 2010 election. It has since been scrapped, making Australia the only government in the world to ever dismantle an operational ETS. A decade later, is it now the right time to revisit this discussion? Just why are so many people opposed to policy that would stop corporations from emitting for free? And what does this mean for our international reputation and commitments? One of the world’s biggest emitters is trying to fly under the radar at Cop25 (06/12/2019) For 10 Years, Australia Has Been In A Climate-Policy Abyss (07/12/2019) ‘Not moving fast enough’: former head of Scott Morrison’s department criticises climate change policies (18/12/2019)

SOCIAL EQUITY

1. homophobia in sport.

So this is nothing particularly new, but it’s unfortunately still present even as we move into 2020. Should sports stars be penalised for their opinions when they’re exclusionary and harmful, or should we respect them for their sporting prowess? Maybe this speaks more broadly to the standards we expect sporting stars or public figures in general to set as role models… Israel Folau: Australian rugby star condemned for linking bushfires to ‘sinful’ homosexuality (18/11/2019) Marcus Stoinis fined $7,500 for homophobic slur during Big Bash League (04/01/2020)

Bear with me on this one - while she isn’t specifically a ‘social equity’ debate, Lizzo’s emergence as a breakout singer of 2019 intersects with a lot of social equity movements, from body positivity and feminism to racial justice and self-empowerment. Her upcoming shows in Australia sold out in minutes, which speaks to her newfound popularity as a global star. What is it about Lizzo that resonates with so many people? What and who does she represent? Is the new decade also a watershed moment for diversity in entertainment? Lizzo taps into the real meaning of freedom in 2019 (07/10/2019) Lizzo, pop’s reigning phenomenon, brings her juice to Australia (05/01/2020)

3. Gender Wage Gap in Sport

Again, this one isn’t too new, but a fresh wave of activism for equal pay in sport was sparked this year by Megan Rapinoe, the captain of the US women’s national soccer team (which won the World Cup in 2019). She, her team and the men’s team sued the national soccer federation for gender discrimination and other countries, Australia included, followed suit. Why does the wage gap exist and what are the reasons for closing it? Is a preference for the men’s game enough to justify paying women less (despite the fact that preferences like this are usually rooted in misogyny and are subjective anyway)? And how does this translate between different sports such as soccer, AFLW and tennis (where Serena Williams and Novak Djokovic have clashed over this before)? AFLW pay dispute is over (28/10/2019) Matildas become first women’s team in world football to be paid the same as men’s team (video, 05/11/2019) Australia’s women footballers get equal pay in landmark deal (06/11/2019) ‘We Have To Be Better’: Megan Rapinoe and the Year of Victory and Advocacy (18/12/2019)

4. Newstart

Newstart is Australia’s income support for those aged 22 to 64 who are unemployed. Though a form of social security, it’s fallen behind in terms of how much economic security it can provide recently, with years of no real increases (that is, increases which offset inflation - basically things are getting more expensive and even if Newstart increases, it doesn’t give you more purchasing power in reality). Is it finally time to increase Newstart? There was some discussion around the holiday season being particularly expensive, but should an increase be permanent? How hard is it to get a job in today’s economy? And are the payments enough to live on if you can’t find a job? Morrison government defends Newstart amid criticism it is among low est welfare payments in OECD (08/10/2019) Report highlights social crisis confronting Australian youth on welfare (14/12/2019) Survey finds two-thirds of Australians back a Newstart Christmas boost (22/12/2019) The economic case for increasing Newstart (01/01/2020)

5. First Nations Justice

'Voice' was the Australian National Dictionary Centre’s word of the year in 2019 , in the context of Indigenous representation in the Australian parliament. A Voice to Parliament would enshrine Indigenous input into laws and policies on issues affecting First Nations communities, and has been called for by activists for some time now. How does this tie into/is this distinct from other issues such as constitutional recognition? Why haven’t we seen a lot of progress or consensus on these issues? And what might it mean for those communities to be able to make autonomous decisions? There’s a 60,000-Year-Old Way to Help Stop Australia Burning (16/12/2019) ‘I feel unchained’: Mauboy adds her voice to Indigenous recognition campaign (29/12/2019) The Voice to Parliament isn’t a new idea – Indigenous activists called for it nearly a century ago (02/01/2020) ‘It can be more controversial’: Costello warns on constitutional recognition for Indigenous Australians (02/01/2020)

1. Teaching as a Decreasingly Popular Profession

Australian teachers have been struggling with increasingly difficult jobs and flat-lining pay in recent years, and teachers’ unions haven’t been able to successfully find a solution to offset these concerns. Tertiary students are now turning away from pursuing a career in education , and there could be many reasons as to why. What does this mean for the future of Australian education? In what ways do you as a student feel the impacts? And what could be some solutions - perhaps both from a teacher’s point of view, but also from a student-centric viewpoint? Three charts on teachers’ pay in Australia: it starts out OK, but goes downhill pretty quickly (02/09/2019) The epic failure at the root of Australia’s maths problem (06/12/2019) Why male teachers are disappearing from Australian sc hools (12/12/2019) A new voice for class teachers (30/12/2019)

2. Australia Falling Behind

Unfortunately, Australian students have been falling behind many of their global counterparts in terms of educational outcomes - we even hit our worst ever results in the OECD’s international student assessment in 2018. What does this mean in an increasingly globalised world and is there a way to turn this around? How might a student perspective on this be unique from that of a politician for example, or another stakeholder? And is education an isolated issue, or should we be looking at more holistic solutions that incorporate health-related, economic and/or social solutions as well? Murri School students experience social and emotional benefits from six-day nature camp (13/10/2019 - a bit of a reach, but an interesting read about education outside of the traditional classroom) No need to panic – we can fix Australian schools. But to rush the reform is to ruin it (08/12/2019) Coalition to review Australian education curriculum in bid to reverse fall in student results (11/12/2019) Aboriginal English recognition in schools critical for improving student outcomes for Indigenous Australians (21/12/2019) We love to criticise the United States, but guess what? Their public schools are better than ours (04/01/2019)

This is another one of those long-running debates, though it’s on the table again as the ACT has recently legalised recreational cannabis . This goes against federal law, which still bans the possession and use of weed, and makes Canberra the first Australian jurisdiction to decriminalise it. Canberra has also led the way on issues such as same-sex marriage, legalising it as early as 2013 (four years before the rest of the nation would follow suit). Discussion about other drugs such as ecstasy has also been raised as a result, and this piece might be an interesting read on why different drugs have different legal statuses. Still, is legalising pot the way to go considering how other Western democracies are already moving in this direction? Is it even a harmful drug at all? And what about the others, such as ecstasy? Or even alcohol, for that matter? Nation’s capital legalises cannabis for personal use (25/09/2019) Peter Dutton: government may overturn ‘dangerous’ ACT decision to legalise cannabis (25/09/2019) Australia could be the first country to legalise ecstasy – are we going too far? (03/10/2019) Canberra women with endometriosis are self-medicating with cannabis, but legalising the drug might not help (28/12/2019)

2. Climate Grief

This is an interesting and pretty recent phenomenon - climate grief or climate burnout are new terms that have come into existence to describe the mental health impacts of the climate crisis. In particular, they describe the frustration and despair that people may feel as a result, given that progress on reducing carbon emissions is frighteningly slow and natural disasters are becoming more frequent and devastating at the same time. What is your take on it and who’s feeling it? Do you have to be affected by disasters, or can it also affect young people who feel pessimistic about the future of the planet? And what could be some strategies for overcoming it? What is the importance of seeing climate through a health lens and how might it inspire activism or change? Australian Farmers Muddled in Mental Health Crisis (26/09/2019 - a good read on how climate issues intersect with economic issues as well) Australian town breaks record for mental health awareness following devastating flood (16/12/2019) Australian bushfires could lead to a mental health crisis, expert warns (03/01/2020)

3. Mental Health

2019 saw some other new developments in the conversation around mental health in Australia. A report found that mental health concerns are getting more widespread among young people, while government investment doesn’t really seem to be effective. Meanwhile, we’re also seeing progress on destigmatising mental health issues within sport - overseas, athletes such as Paul Merson and Stan Collymore have shared stories of their battles, while Cricket Australia looks into ways of creating more supportive environments for their players. How can we streamline the message around mental health, or the relevant support networks? What solutions haven’t we tried yet, and how might the discussion around this shift in the next decade? What are the implications if we don’t address these issues? Note that this can be a sensitive issue which may cause distress to some people. Mental health issues increasing among Austra lians (30/09/2019) Push to get wellbeing counsellors into schools as mental health bill costs Australia billions (31/10/2019) What’s driving poor mental health among young Australians? We asked them (20/11/2019) Kevin Roberts: Cricket Australia committed to better understanding menta l health (14/12/2019) People with mental illness less likely to get cancer screening (03/01/2020)

4. Abortions in NSW

NSW recently legalised abortions for pregnancies shorter than 22 weeks after one of the longest debates in their state Upper House. While the choice versus life debate has raged around the world for decades now (i.e. maybe don’t do a pro-choice speech that people will have heard before, and probably don’t do a pro-life speech in 2020), what is the landscape of the debate like in our day and age? Who opposes it and why? What is the problem with making health issues criminal issues instead (e.g. drug policy as well)? And what other issues might be linked to this? Can someone who is pro-life also support tougher border restrictions that lead to refugee deaths at sea, for example? Note that this can be a sensitive issue which may cause distress to some people. Why NSW is still fighting about abortion (17/09/2019) Controversial abortion bill passes NSW Upper House after long-haul debate (25/09/2019) Abortion Is Now Legal in NSW After Controversial Bill Passes Lower House (26/09/2019) NSW abortion law: doctors say last-minute changes ‘unnecessary’ but manageable (26/09/2019)

Wondering where to go from here? Well, luckily, my eBook, How To Write A Killer Oral Presentation , details my exact step-by-step process so you can get that A+ in your SAC this year.

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We've curated essay prompts based off our The Crucible and Year of Wonders Study Guide which explores themes, characters, and quotes.

• Compare how the conflict between illusion and reality is explored in these texts. ‍
• 'Uncertainty breeds fear, and fear breeds further uncertainty.' Compare how this idea is demonstrated in The Crucible and Year of Wonders . ‍
• Compare how secrets and superstition affect the characters in both texts. ‍
• Compare how The Crucible and Year of Wonders explore issues of human fallibility and deception. ‍
• Compare the ways these texts examine the preservation of morality amidst accusation and condemnation. ‍
• 'Humans are ultimately inclined towards evil rather than good.' Compare how the two texts explore this inclination. ‍
• Compare how The Crucible and Year of Wonders examines the strength of one's faith during hardship and conflict. ‍
• “How little we know, I thought, of the people we live amongst.” ( Year of Wonders ) Compare what the two texts say about community and one's understanding of reality. ‍
• "Here we are, alive, and you and I will have to make it what we can.” ( Year of Wonders) 'It is only possible to discover what it means to live when faced with death.' Compare the ways these texts explore this possibility. ‍
• “It is the essence of power that it accrues to those with the ability to determine the nature of the real.” ( The Crucible ) Compare the ways the two texts demonstrate the connection between power and controlling the truth. ‍
• Compare how truths and falsehoods shape the lives and societies in The Crucible and Year of Wonders . ‍
• Compare how The Crucible and Year of Wonders shows that conflict can cause both regression and strengthening of integrity and humanity. ‍
• Compare how women are perceived in both The Crucible and Year of Wonders . ‍
• Compare the ways morality is examined and determined in these texts. ‍
• "Man, remember, until an hour before the Devil fell, God thought him beautiful in heaven?" ( The Crucible ) Compare how the two texts explore the repercussions of disillusionment.

The Crucible and Year of Wonders is usually studied in the Australian curriculum under Comparative (also known as Reading and Comparing). For a detailed guide on Comparative , check out our Ultimate Guide to VCE Comparative .

David Malouf’s Ransom and Stephan Frears’ The Queen was a brand-new text pairing added to the study design in 2020. It is a unit with many nuances and intricacies to discuss, making it a perfect pairing to unpack in an essay topic breakdown!  

For some context, backstory and a plot summary of both Ransom and The Queen , head to an earlier post Understanding Ransom and The Queen . This may help with your understanding of the essay prompt later in this post. And if you need a refresher on what the Comparative is, see our Ultimate Guide to VCE Comparative .

Overall, both Ransom and The Queen overlap fairly heavily in terms of key themes, ideas and messages. Even if you haven’t watched The Queen or read Ransom yourself, the essay topic I have chosen can give you an idea of how to seamlessly integrate such thematic overlaps and similarities into your own writing, whilst also acknowledging the differences in both texts.

Breaking Down the Prompt: THINK

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response .

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

The Essay Prompt:

'it is true that the gods made me a king, but they also made me a man, and mortal.' – Priam (87-88)

'Your Majesty, there’s a last minute addition from Downing Street. They’re suggesting adding and as a grandmother here.' – Janvrin (Script, 87th Minute)

How do both texts explore the tensions that are created between a person’s public and private life? 

Step 1: Analyse 

This prompt is both a quote-based, and a how-based prompt (learn more about the five types of prompts here). This means that the examiner wants us to explain how the text creators (Frears and Malouf) convey tensions between one’s public and private life, using the quote to help us do so.

Step 2: Brainstorm

First, let’s break down the prompt part of the essay question. Here, the keywords are:

‘tensions’ - we have to focus on the contrast, and the hardships, that stem from the characters in both texts as they juggle their roles as leaders and individuals of their own accord. These difficulties are explored in more detail in an earlier LSG blog Ransom and The Queen.

‘public and private lives’ - invites us to consider the individuals in both texts, specifically leaders such as Queen Elizabeth and Priam, who have distinctly different public and private personas. Specifically, we want to focus on how the differences that arise between these two ‘lives’ suggest that compromises must be made in order for leaders to perform their role to its greatest potential.

Now it’s time to break down the quote itself!

Both the quotes from Ransom and The Queen illustrate points of tension in the lives of leaders.  

Priam’s quote occurs toward the climax of Ransom . The examiner is directing you to discuss how being ‘a man’ , and therefore seemingly unremarkable in nature, challenges Priam’s existence as a ‘king’ , thus creating a point of tension in his reign.

Similarly, Janvrin’s quote also highlights how being a ‘grandmother’ is a role that must be performed by Queen Elizabeth in conjunction with her existence as the Queen of England. Yet, the inclusion of ‘Downing Street’ in this quote also moves you to consider how the queen’s own private affairs, such as Diana’s death, must be handled in conjunction with an outside team such as Tony Blair as British Prime Minister, thus entangling both her public and private personas.

Through both quotes, it is evident that when responding to how Frears and Malouf explore tensions in their respective texts, you should analyse the key characters of each text and their roles as both leaders and individuals in their own right. 

I’ve grouped my ideas in a logical order so you can easily identify how each idea relates to my essay plan in Section C. During your own brainstorming, this will be difficult to achieve, so just keep in mind that you don’t need a logical layout of ideas until the planning stage!

• At the beginning of both texts, each protagonist fails to recognise and adequately perform their role as a ‘man’ and ‘grandmother’ respectively, due to their duties as a leader. This leaves them out-of-touch with the people around them, suggesting that being a leader can negatively impact one’s relationships with those they care about most.
• Priam refers to himself as ‘mortal’ in the prompt, revealing his own vulnerability. Furthermore, the inclusion of ‘Downing Street’ encourages discussion surrounding Tony Blair and his role as a public figure. In both cases, these men express their emotions to their people and those closest to them, leaving them open to backlash and criticism of their authority as leaders.
• For Queen Elizabeth, expressing her grief ‘as a grandmother’ allows her to connect emotionally to her people and regain their support, whilst for Priam, appearing to Achilles simply as ‘a man’ enables him to return to Troy both successful in his mission and respected by his people. This reveals that leaders should not let their public and private lives evoke tension, but rather should harness elements of each respective realm to build a modern, effective and relatable leadership style.

Step 3: Create a Plan

By dissecting the prompt’s keywords and briefly analysing the quote and its meaning, I have come up with three main points:

Paragraph 1: In both texts, Frears and Malouf suggest that in allowing themselves to be controlled by their public personas, leaders may struggle to connect with both their people and their own families

• Ransom : Somax is initially unable to connect with Priam due to his adherence to royal protocol and tradition
• The Queen : Queen is unable to provide emotional support to her grandsons following their mother’s death, due to her own stoicism and emotionally distant nature 

Paragraph 2: Yet, in revealing an aspect of their personal lives, leaders risk compromising their public authority

• Ransom : When Priam breaks protocol and leaves the walls of Troy, the Trojan people question the strength and competence of their leader
• The Queen : Tony Blair’s unconventional style means he initially fails to gain respect from the Royal Family, despite being elected British Prime Minister

Paragraph 3: This delicate balance between one’s public and private lives is achieved most successfully when leaders reveal an element of their private selves and make themselves vulnerable and relatable to their people.

• Ransom : Priam recognises the importance of being a father as well as a leader, allowing him to bury Hector’s body whilst retaining respect and admiration from his people
• The Queen : By adopting Blair’s suggestions and addressing the British people in an honest, vulnerable way, Queen Elizabeth is able to regain their trust and respect.

Stephen Frears’ film The Queen , set in contemporary England, and David Malouf’s novel Ransom , taking place in Ancient Greece, both explore the concept that one’s public identity can create tensions between their ceremonial constructed persona, and their own private identities. In both texts, Frears and Malouf (1) suggest that in allowing themselves to be controlled by their public personas, leaders may struggle to connect with their people, and their own families. Yet, in revealing an aspect of their own lives, they may also risk compromising their own public authority. This delicate balance between one’s public and private lives, therefore, is conveyed throughout Ransom and The Queen to be achieved most successfully when leaders reveal an element of their private lives and make themselves both vulnerable and relatable to their people, harnessing aspects of both their public and private lives in order to confidently perform their roles to the greatest extent possible. (2)

Annotations (1) Make sure to refer to the author/director in your introduction and continually throughout your essay. This helps to ensure you are considering their purpose and its intended effect/message to the audience (see Views and Values for more on this).

(2) This is where I have included the broader implications of the topic – it will be my final paragraph where I somewhat challenge the prompt

In both Ransom and The Queen , leaders that allow themselves to be dictated by their public identities and subsequent rules, protocols and expectations, are portrayed to express difficulty in connecting with their constituents and their own families. In The Queen , Queen Elizabeth finds comfort in placing 'duty first, self second', as in performing in her role as a monarch for many years, she foregrounds such identity over her ability to connect personally with those around her. However, this struggle to formulate intimate connections is conveyed by Frears (3) to, at times, be at her detriment. Upon meeting the Royal Family, Cherie Blair, who symbolises the wider British society (4) , describes that family as 'a bunch of free loading, emotionally retarded nutters'. This blunt description serves to indicate that in acting according to 'how [she] was brought up' and 'all [she’s] ever known', the queen compromises her public image and relatability to her people. In a similar manner, in Ransom , Somax describes only having 'seen King Priam at a distance…he is surprised at how old he looks', clearly illustrating the emotional and physical distance between the king and the people of Troy. Such distance is portrayed by Malouf to not only affect the way the people view their king, but also the manner in which Priam himself is able to formulate and express basic human emotions, as 'royal custom – the habit of averting his gaze', initially prevents him from connecting with Somax on a more intimate level. Through this, both Malouf and Frears highlight how, (5) in allowing themselves to be consumed by their roles as leaders, both Priam and Queen Elizabeth have sacrificed their ability to truly connect and engage with those around them, leaving them out-of-touch with the same people they govern. However, this lack of connection is also shown to extend to their families, as the queen is pictured by Frears to be physically disconnected with her own grandsons. Upon learning of Diana’s death, Prince Charles is depicted delivering the news to his sons, whilst the queen watches on from the corridor, as Frears uses a mid-shot with the door frame obstructing the audience’s view of Queen Elizabeth herself. This can be seen to symbolise (6) the ‘barricade’ between the queen and her own family, as her role as monarch separates her from those she loves. (7) In a similar manner, Priam’s only recollection of the birth of his son is 'recall[ing] a series of small squalling bundles', as his 'role…to hold myself apart in ceremonial stillness' directly prevents him from understanding, and becoming involved with his family, emotionally distancing himself from his own sons. Consequently, Frears and Malouf convey to their audience that the role of being a leader can negatively impact upon one’s relationship with others, serving as a constant burden and barrier to achieving intimate emotional connections.

Annotations (3) In writing ‘conveyed by Frears’ as opposed to ‘conveyed’ I am trying to demonstrate that I am aware the film is a construction made by a director (in this case Frears) for a purpose – he is trying to communicate with the audience through the actions of his characters. See LSG’s Views and Values blog post or How To Write A Killer Text Response (the Views and Values section) for more on this.

(4) In this case, I am attempting to go ‘beyond’ what is simply portrayed in this scene and incorporate the setting of the text – in this case, highlighting my awareness of the time and place in which the film is set (i.e. context ). While aimed at Literature students, this blog on context is helpful as it walks you through some contextual aspects you should consider. 

(5) This is one of the main ways I would link my two ideas in Year 12, and draw ‘mini conclusion’ or a link (think of the TEEL structure ) back to the topic. Yet, in beginning with ‘Malouf and Frears’, I am keeping the purpose of each text central to my link.

(6) When using film techniques , try to analyse their meaning. Rather than simply stating ‘Frears uses a mid-shot’, tell your assessor WHY he does this and what its intended effect is on the audience. This not only acts as a form of ‘textual evidence’ but also demonstrates your understanding of the text itself.

(7) In this sentence, I have tried to draw connections between the physical world and the author’s purpose in portraying the isolation of the British Royal family. Here, I’m referring to the ideas, views and values of the author/director.

On the other hand, however, in revealing one’s private life and expressing humility, leaders are also shown to risk their public authority. In Ransom , Priam becomes determined, following the death of Hector, to try 'something impossible. Something new' and allow for an element of vulnerability to be expressed, in order to successfully ransom his son’s body. Such an unusual, unconventional method of leadership, however, is depicted to take the people of Troy by surprise, as they witness their leader dressed 'in plain white' (8) , stripped of his former royal gown. Therefore, the Trojans, who 'crowd the ramparts of the city' and 'line the walls of Troy' each day, in an attempt to view and 'cheer' their leader, 'do not know how to react' upon viewing Priam in such a common, ignoble state, reconsidering the way in which they regard and respect him. In a similar manner, in The Queen , Tony Blair is a Prime Minister whose ‘unconventional' style of leadership is seen to initially unnerve the Royal family. Upon being elected, Blair is described in a montage scene (9) to be a 'wonderful new Prime Minister…a compassionate young man…such a breath of fresh air', a different style of leader to previous Prime Ministers whom the queen previously worked with. The description of Blair as a 'compassionate young man' is significant as such compassion, combined with his youth, acts as a deterrent for the Royals in showing him respect as a leader, taken aback by his unusual views and values. Consequently, upon the death of Diana, although Blair attempts to advise Queen Elizabeth on behalf of the British People, Prince Phillip declares 'who does he think he’s talking to? You’re the sovereign. The head of state. You don’t get dictated to' clearly symbolising their lack of respect and willingness to consider Blair’s perspectives and ideas. In this way, Frears highlights how, in adopting an unconventional style of leadership, those in power may struggle to gain the respect of others around them, particularly their fellow leaders, with the Queen Mother’s statement of 'silly Mr Blair and his Cheshire cat grin' clearly portraying Tony Blair’s lack of authority within the Royal Family. Whilst, in Ransom , the people of Troy struggle to come to terms with Priam’s own change in his leadership style, wondering 'is the king deserting them?', those in The Queen are seen to accept Blair’s leadership style, evident through his 'landslide victory', as, unlike the people of Troy, they are seen to be open to a more progressive form of leadership. In both texts, however, Frears and Malouf demonstrate that leaders who illustrate an element of vulnerability, such as Priam and Tony Blair, may struggle asserting their authority over those with more traditional standards and views, such as the Trojan people and the Royal Family, and thus sacrifice an element of their public image and reputation.

Annotations (8) This is a brief quote – these are useful to ‘replace’ your own words. It ensures you are remaining relevant in your analysis (aka not going off track!!) and acts as a way to ‘show off’ to your assessors that you know your text. However, as these quotes are so simple, I would rarely go into depth with my analysis of them – save this for your longer quotations.

(9) Although naming the scene as a ‘montage’ isn’t entirely necessary in this case, it shows the assessor that you remember where this scene takes place and gives a bit of context , further achieving that first criterion.

Yet, both David Malouf and Stephen Frears examine the notion that in revealing an element of their private life and making themselves vulnerable, a leader may be able to become more relevant, thereby easing the tension between their public and private personas (10). In The Queen , Queen Elizabeth’s adamant refusal to 'dance to their tune' and abide by the requests of her people leads her to proclaim 'I don’t think I have ever been hated like that', with Frears’ depiction of her crying outside Balmoral evident of her realisation that she needs to adapt to the 'change…shift in values' occurring among her constituents. This private expression of vulnerability by Elizabeth is the catalyst for her change in leadership style, with the setting of Balmoral itself, and subsequent events that take place there, symbolising the ability for leaders to harness an element of their personal lives and use it to adapt and connect with their people. In a similar manner, Priam’s declaration that coming to Achilles 'as a man of sorrow' gives him the 'chance to break free of the obligation of always being the hero' highlights Malouf’s view that, at times, leaders must 'break free' of the overwhelming 'obligation[s]' of their public life in order to achieve their objectives and desires within the private sphere. Priam’s realisation that the 'gods made me…mortal' (11) and subsequent appearance as 'a man of sorrow' allow him to successfully bury the body of his son, as he places his identity as 'a man' at the forefront. Priam’s ability to use his emotion in order to fulfil the desires of both him, as 'a father', and the wider people of Troy in allowing their most esteemed warrior to receive a proper burial, is mirrored in The Queen , where Queen Elizabeth adopts the use of emotion to regain the respect of British society. In returning from Balmoral, the queen directly interacts with the people outside Buckingham Palace, with Frears using a long shot to capture the extremely large numbers that had gathered outside the palace gates to emphasise the scale of public sorrow occurring. The queen’s interaction with her people, combined with her public address 'as a grandmother' (12) , symbolises the way in which she was able to harness her identity both 'as your queen, and as a grandmother' to appeal to her people, gain their respect, and successfully lead them through an unprecedented, tumultuous event, thus easing the strain between her public and private personas. Likewise, Priam’s claim 'that the gods made me a king, but also made me a man' (13) highlights that he too has developed an understanding that in order to lead most successfully, one must express an element of vulnerability and humility, allowing for the people to emotionally connect and relate to those whom they admire. Therefore, both Malouf and Frears highlight that expressing elements of their private lives through their public identities is a method most effective in gaining leaders the respect and admiration they crave, as those they lead are able to find an element of commonality and relatability within such esteemed individuals.

Annotations (10) Here is where I begin to go beyond simply the limitations or ‘obvious’ points made in the prompt and consider its wider implications. One strategy I used to help plan and write these paragraphs in Year 12 was to ask myself ‘Why is this a topic? What is the author/director trying to tell me as a member of the audience?’ It usually helps to closely consider the author’s purpose , thus ensuring you achieve a coherent and comprehensive analysis.

(11) Here, I am using part of the quote in the prompt to serve as evidence and back up my point regarding Priam’s combination of both his public and private identities. See How To Embed Quotes in Your Essay Like a Boss to learn how to seamlessly include quotes in your writing. 

(12) It is here where I have used the quote from the prompt to influence my reasoning and my overall argument.

(13) Now I am moving on to explain the significance of the quote in the prompt.

Ultimately, both The Queen and Ransom explore the various tensions that can occur throughout the public and private lives of leaders, and their need to grapple with and understand such a concept in order to perform their duties most effectively. Whilst being constrained by one’s public persona may create emotional distance between an individual and those around them, in revealing an element of vulnerability, both texts illustrate that leaders risk losing respect and authority within public society. However, Frears and Malouf suggest that despite the difficult balance between one’s public and private lives, in order to lead most effectively, esteemed individuals should not allow each respective realm to create tension and unease, but rather harness elements of both their intimate and public personas in order to create a modern, effective and relatable leadership style (14) .

Annotations (14) My final sentence aims to focus on the ‘bigger picture’. Think of this as your ‘mic drop moment’ – you want to finish your essay with an overall statement that touches upon the author’s expressed or implied point of view. 5 Tips for a Mic-Drop Worth Essay Conclusion will help you nail your conclusion.

Throughout this essay, I have implemented the CONVERGENT and DIVERGENT strategy to help me discuss insightful points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out How To Write A Killer Comparative .

If you found this helpful and you’d like to dive deeper into this text pairing, see A Killer Comparative Guide: Ransom & The Queen. In this guide you'll learn unique points of comparison, we'll teach you how to think like a 45+ study scorer through advanced discussion on topics like literary and cinematic techniques, and we give you 5 A+ sample essay fully annotated!

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A Big, Bold List of Creative Writing Activities

by Melissa Donovan | Jan 4, 2024 | Creative Writing | 24 comments

Try some of these creative writing activities.

Are you looking for writing motivation, inspiration, or ideas that will give your latest project an extra boost?

Below you’ll find a massive list of creative writing activities. Some of these activities will keep you writing when you’re in need of ideas and inspiration. Others will improve your writing skills and techniques through practice. Some will give you experience with forms and genres you haven’t tried. And others will help you promote your writing once it’s published.

Pick any activity and use it as a creative outlet. Bring a few activities to your writing group or do one with your kids. Use these creative writing activities in any way you want.

Start a Journal

Journaling is an excellent way to maintain a steady writing practice, and there are lots of different journals you can write: gratitude journals, dream journals, media journals, poetry journals, and idea journals, to name a few.

Image Prompts

Flip through some images on Instagram or Pinterest and see what sparks an idea. Don’t place limitations on your writing—just let the words flow.

Character Letters

Writing letters in your characters’ voices can help you get inside their heads and understand them better so you can write them with more depth and realism. Create an ongoing correspondence to explore character relationships and group dynamics within your cast.

Write Your Bio

Write a series of short bios for your social media accounts and a longer one for your author website. Don’t forget to make a bio for your press kit and another to include in your books.

Rhyme and Meter Exercises

Set your inner musician free by composing lines and couplets in metrical patterns with rhymes. Establish the parameters before you start writing, or just let the words flow and note the meter and rhyme afterward.

Memory Prompts

Grab an old photo album or flip through the photos on your phone—or use recall to bring forth memories that you can write about. Use this as an exercise in writing description or crafting a narrative about something you experienced or witnessed—ideal if you’re interested in writing a memoir.

Writing Exercises

Writing exercises keep your skills sharp and your creativity flowing even when inspiration is fleeting. They are excellent for keeping up your writing practice between projects. Pick up a book of creative writing exercises so you’ll have plenty to choose from.

What-if List

Create a repository of ideas by writing a list of what-if questions that could spark characters, plots, and settings for your future works of fiction or provide ideas you can explore in poetry and nonfiction writing projects.

Newsletters

A mailing list is one of the best ways for an author to connect with a readership. Start planning yours now. You can fill your newsletter with behind-the-scenes material from your books or excerpts from your work in progress. Or write a poem or piece of flash fiction for your newsletter.

Character Diary

The best characters feel like real people, which means the writer has fully gotten into their heads and hearts. One way to do that is to keep a diary in your character’s voice, which will help you establish their innermost thoughts and feelings. And who knows? Maybe a character diary will turn into a novel written in first person!

Your Future Self

Jump at least ten years into the future and write a letter from your current self to your future self, write a letter from your future self to your current self, or write a diary entry as your future self.

Try Writing for Comics

Comics are often partnerships between artists and writers. Give the writing side of comics a try. If you don’t want to draw, just make notes about what the illustrations will depict. Focus on character, plot, and dialogue. Flip through a few comics if you need examples to guide you.

Dream Vacation

Write a few pages describing your dream vacation. Where will you go? How long will you stay? What will you do there? If you’ve already experienced a dream vacation, write about that instead.

Blurb Your Favorite Books

A book blurb is a short statement endorsing a book, often written by another author. Choose a few of your favorite titles and write blurbs for them.

Focus on dialogue by writing a script. It could be a script for a play, a TV series, or a movie, or it can simply be an exercise in practicing or exploring dialogue.

Imagined World History

Create a fictional history for a fantastical or sci-fi story world. What were the origins of the civilization? What are their customs and traditions? Their laws and beliefs?

Write a Recipe

Start with an introduction that makes the reader’s mouth water, and then deliver the recipe, complete with an ingredient list and cooking instructions.

Propose an Adaptation of Your Favorite Book

Do you have a favorite book that’s never been made into a film or television series? Put together a two-page pitch convincing studio executives that this story needs to be seen on a screen.

Write a Letter You’ll Never Send

Write a letter to someone who’s gone, someone who’s upset you, or someone you admire from afar.

Find Poetry

Found poetry is when we use words and phrases from source material to create a poem. This is most often seen as a page of printed text with various words and phrases circled, or all text blacked out except the portions that make up the found poem.

Write a Speech

Write an award acceptance speech; a campaign speech, or a graduation or wedding speech.

Make an Outline

Create an outline for a large-scope project, such as a book or series of books.

This is Like That

Practice writing similes and metaphors. Similes are when one thing is like another (your smile is like sunshine) and metaphors are when one thing is another (your smile is sunshine).

Make a Chapbook

If you’ve written a lot of short pieces, like essays, poems, and short stories, collect them into a chapbook. Bring it to an open mic and take along copies you can sell or give away, or offer it on your blog, website, or social media as a free or premium download.

Create a Motivation Journal

Fill it with things that make you want to write — positive affirmations, favorite lines from poems, quotes of wisdom, and useful reminders. Crack it open whenever you catch yourself procrastinating when you should be writing.

Give Fan Fiction a Whirl

Write a few scenes in your favorite story world. Create new characters or use existing characters. Just remember — you don’t own the intellectual property, so you can’t commercially publish it.

Write a Critique

A critique should start by highlighting the strengths in a piece of writing, and then it should gently but constructively offer feedback that is meant to show the author how to make improvements. You can critique any work, but it would be ideal if you can find a writer friend to swap critiques with.

Write Log Lines for Your Favorite Stories

A log line is a sentence or two that summarizes a story and entices readers. If you’re working on a project, write a log line about it. Log lines are excellent for crystallizing your vision, and they’re also useful for pitching and selling written works.

Start a Legacy Book

A legacy book is a collection of writings and other materials (letters, photos, ephemera, etc.) that can be passed down as a family heirloom. Write about your family history and document significant or memorable family events.

Speculate the Future

What do you think the world will look like in twenty-five years? Fifty? A hundred? A thousand? Write an essay or short story, or create a world-building document for a futuristic civilization.

Write a Film Treatment

Written like a short story in present tense, a film treatment is an overview of an entire film; it’s usually written before the first draft and used for pitching film ideas throughout the industry.

Write a Blog Post

If you write nonfiction, this should be easy; just write a post about one of your usual topics. If you’re a poet or a fiction writer, write about the craft, the industry, or use subject matter from your written works.

Practice Description

Writing description is an important skill. Create a one-page description for a story setting, or describe a location you’ve visited, or write a description of a real person or a fictional character.

Turn Memories Into Magic

Memories can provide a wealth of ideas for any type of writing, from poetry to fiction and a variety of essays. Choose an early memory and write it as a story, essay, or poem.

Social media is ideal for people who can write snappy, witty, and entertaining or engaging vignettes. Social media is an excellent tool for writers to find readers and connect with one another, so mastering a couple of these social platforms is a good idea if you hope to build a career as a writer.

Rewrite What You Don’t Like

Dig through your old, discarded writings and find a piece that had some potential. Then rewrite it.

Analyze a Written Work

Choose a piece of writing (it can be a book, an article, an essay — anything) and then write an analysis of at least 2,000 words (or about four pages).

Read and Resemble

Read a handful of poems by a single poet and then attempt writing a poem in that poet’s voice. This is not an exercise in copying; it’s an exercising in studying the voice of a writer. If you’re feeling ambitious, try it with works of fiction and write a scene in an author’s voice.

Write a Review

Choose a book that you’ve read recently and write a detailed review of it. What worked? What didn’t work? What did you like? What didn’t you like? Remember, a review should help a book find its readers. Who is this book for, if not for you?

Get Busy with These Creative Writing Activities!

What are some of your favorite creative writing activities? Have you done any of the activities on this list? Which ones would you want to try? Can you think of any writing activities to add to this list? Share your thoughts by leaving a comment, and keep writing!

24 Comments

Thank you for all these wonderful ideas. After a very long hiatus from the writing world (mostly because of health) I am feeling a bit rusty. Using some of these ideas will certainly prime the pump! I really enjoy your blog and appreciate the basics of grammar, etc. I find that I have slipped into some old habits just in my everyday writing and your tips help me get back on track.

Thanks, Ann. I’m always touched by comments like yours. It keeps me going when people let me know this blog is helpful or inspiring. So thank you for taking the time. Best of luck and keep writing!

The character journal is a great idea!!!

The problem with the character journal is that it could be time consuming, but I love it as a way to get to know a character, and more specifically, to get inside a character’s head.

All of these ideas are wonderful. I’m especially attracted to the last two suggestions. Both of those activities are fun for me and certainly bound to be helpful concerning my writing skills.

When I must wait in the car (with a sleeping grandchild, for instance) I’m only happy if I can see folks as they come and go.

We play word games on a regular basis and have found it strengthens the writing skills of even those of us who do not call ourselves wordsmiths.

Keep up the excellent work.

Thanks so much for your kind words, Yvonnne. I’m looking forward to the day when the little ones in my family (niece and nephew) are old enough to play word and letter games.

Hi Melissa, Thanks for these wonderful ideas. I ‘m taking a couple of days off from writing my memoir, and will try them out.’Writing as one of my characters’ and ‘sitting in some heavily populated place for observations’ are intriguing.

Those are my two favorites as well. Good luck, Margaret, and enjoy your hiatus. I hope it refreshes you so you can return to your memoir.

Love the character journal idea! To keep my vocab going I choose pages out of the dictionary/thesaurus to keep my brain working. It also does wonders for my muse. 🙂 Thanks for sharing this list.

I write a lot of scenes and backstory for my characters, which are never included in the book. Exploring the characters outside of the narrative has proven to be very helpful in better understanding them.

Hi, Melissa!

Well, I’ve been absent for quite a long while. But I have been busy. A spec piece submitted to my local daily newspaper landed me a column. (Who couldda guessed?) I also write theater reviews for them; write what you know has never been more true.

Consequently, I find that my creative writing has slowed quite a bit. The sequel to my debut needs, maybe, two more chapters yet there it sits, though a production company asked for it. Even reading the preceding few chapters doesn’t help me get into the character’s heads in order to finish the thing.

Got any ideas?

Congrats on landing a column, Paul. That’s awesome. I’m not sure why you’ve been unable to finish your sequel, so I can’t offer any specific suggestions, but you can start by fguring out why you’re not finishing it (no time, lost interest, etc.), and then you can probably rectify the problem.

Wonderful! Thanks for sharing these great ideas.

You’re welcome. Thanks for commenting!

It’s so easy to get stuck in a rut. Every writer needs to step away.

I live near the University of Oregon. Every now and than I take a walk through campus. I try to time it during a busy school day. I wish I could bottle the youthful energy that is floating in the wind.

If any of you live near a school try it.

Thank you for the list. It helps a lot.

Yes, breaks are great refreshers for a creative mind. You’re lucky to live near a beautiful place for walks.

I don’t speek english so, sorry if i write wrong, but i need to tell you that your blog is amazing. Your write it’s soo good and make me wanna write. I have 15 years old and i love write, maybe I become a writter when I grew up, and I don’t know how to make my ideias go for the paper but your blog has helped me. Thank you!!

Hi Isabella. Thanks for sharing your passion for writing. I’m glad you’re enjoying this blog. Keep writing!

Thank you for your useful ideas! You have inspired me to try out new formats. I’m not a professional writer, it’s more my hobby. But still, I want to improve myself by writing texts and short stories.

You’re welcome. I’m glad this inspired you, and I’m thrilled that you’re working toward improvement. That’s wonderful!

Hi Melissa! I just wanted you to know that I recently bought some of your books and I absolutely love them and carry them around with me everywhere. Keep up the amazing work! Best wishes, Sandra Harris.

Wow, you just made my day, Sandra. That’s one of the nicest things anyone has said about my books. I’m so glad you like them. Keep writing!

Thank you for those amaing ideas. I’m not exactly stuck, as I know where my latest book is going, but I’m a bit lacking in motivation right now. Some of your suggestions might just get my juices flowing again.

Hi Vivienne. You’re welcome. I’m glad you found some motivation here. Keep writing!

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How to Teach Creative Writing | 7 Steps to Get Students Wordsmithing

“I don’t have any ideas!”

“I can’t think of anything!”

While we see creative writing as a world of limitless imagination, our students often see an overwhelming desert of “no idea.”

But when you teach creative writing effectively, you’ll notice that  every  student is brimming over with ideas that just have to get out.

So what does teaching creative writing effectively look like?

We’ve outlined a  seven-step method  that will  scaffold your students through each phase of the creative process  from idea generation through to final edits.

7. Create inspiring and original prompts

Use the following formats to generate prompts that get students inspired:

• personal memories (“Write about a person who taught you an important lesson”)
• imaginative scenarios
• prompts based on a familiar mentor text (e.g. “Write an alternative ending to your favorite book”). These are especially useful for giving struggling students an easy starting point.
• lead-in sentences (“I looked in the mirror and I couldn’t believe my eyes. Somehow overnight I…”).
• fascinating or thought-provoking images with a directive (“Who do you think lives in this mountain cabin? Tell their story”).

Don’t have the time or stuck for ideas? Check out our list of 100 student writing prompts

6. unpack the prompts together.

Explicitly teach your students how to dig deeper into the prompt for engaging and original ideas.

Probing questions are an effective strategy for digging into a prompt. Take this one for example:

“I looked in the mirror and I couldn’t believe my eyes. Somehow overnight I…”

Ask “What questions need answering here?” The first thing students will want to know is:

What happened overnight?

No doubt they’ll be able to come up with plenty of zany answers to that question, but there’s another one they could ask to make things much more interesting:

Who might “I” be?

In this way, you subtly push students to go beyond the obvious and into more original and thoughtful territory. It’s even more useful with a deep prompt:

“Write a story where the main character starts to question something they’ve always believed.”

Here students could ask:

• What sorts of beliefs do people take for granted?
• What might make us question those beliefs?
• What happens when we question something we’ve always thought is true?
• How do we feel when we discover that something isn’t true?

Try splitting students into groups, having each group come up with probing questions for a prompt, and then discussing potential “answers” to these questions as a class.

The most important lesson at this point should be that good ideas take time to generate. So don’t rush this step!

5. Warm-up for writing

A quick warm-up activity will:

• allow students to see what their discussed ideas look like on paper
• help fix the “I don’t know how to start” problem
• warm up writing muscles quite literally (especially important for young learners who are still developing handwriting and fine motor skills).

Freewriting  is a particularly effective warm-up. Give students 5–10 minutes to “dump” all their ideas for a prompt onto the page for without worrying about structure, spelling, or grammar.

After about five minutes you’ll notice them starting to get into the groove, and when you call time, they’ll have a better idea of what captures their interest.

Did you know? The Story Factory in Reading Eggs allows your students to write and publish their own storybooks using an easy step-by-step guide.

4. Start planning

Now it’s time for students to piece all these raw ideas together and generate a plan. This will synthesize disjointed ideas and give them a roadmap for the writing process.

Note:  at this stage your strong writers might be more than ready to get started on a creative piece. If so, let them go for it – use planning for students who are still puzzling things out.

Here are four ideas for planning:

Graphic organisers

A graphic organiser will allow your students to plan out the overall structure of their writing. They’re also particularly useful in “chunking” the writing process, so students don’t see it as one big wall of text.

Storyboards and illustrations

These will engage your artistically-minded students and give greater depth to settings and characters. Just make sure that drawing doesn’t overshadow the writing process.

Voice recordings

If you have students who are hesitant to commit words to paper, tell them to think out loud and record it on their device. Often they’ll be surprised at how well their spoken words translate to the page.

Write a blurb

This takes a bit more explicit teaching, but it gets students to concisely summarize all their main ideas (without giving away spoilers). Look at some blurbs on the back of published books before getting them to write their own. Afterward they could test it out on a friend – based on the blurb, would they borrow it from the library?

3. Produce rough drafts

Warmed up and with a plan at the ready, your students are now ready to start wordsmithing. But before they start on a draft, remind them of what a draft is supposed to be:

• a work in progress.

Remind them that  if they wait for the perfect words to come, they’ll end up with blank pages .

Instead, it’s time to take some writing risks and get messy. Encourage this by:

• demonstrating the writing process to students yourself
• taking the focus off spelling and grammar (during the drafting stage)
• providing meaningful and in-depth feedback (using words, not ticks!).

Reading Eggs also gives you access to an ever-expanding collection of over 3,500 online books!

2. share drafts for peer feedback.

Don’t saddle yourself with 30 drafts for marking. Peer assessment is a better (and less exhausting) way to ensure everyone receives the feedback they need.

Why? Because for something as personal as creative writing, feedback often translates better when it’s in the familiar and friendly language that only a peer can produce. Looking at each other’s work will also give students more ideas about how they can improve their own.

Scaffold peer feedback to ensure it’s constructive. The following methods work well:

Student rubrics

A simple rubric allows students to deliver more in-depth feedback than “It was pretty good.” The criteria will depend on what you are ultimately looking for, but students could assess each other’s:

• use of language.

Whatever you opt for, just make sure the language you use in the rubric is student-friendly.

Two positives and a focus area

Have students identify two things their peer did well, and one area that they could focus on further, then turn this into written feedback. Model the process for creating specific comments so you get something more constructive than “It was pretty good.” It helps to use stems such as:

I really liked this character because…

I found this idea interesting because it made me think…

I was a bit confused by…

I wonder why you… Maybe you could… instead.

1. The editing stage

Now that students have a draft and feedback, here’s where we teachers often tell them to “go over it” or “give it some final touches.”

But our students don’t always know how to edit.

Scaffold the process with questions that encourage students to think critically about their writing, such as:

• Are there any parts that would be confusing if I wasn’t there to explain them?
• Are there any parts that seem irrelevant to the rest?
• Which parts am I most uncertain about?
• Does the whole thing flow together, or are there parts that seem out of place?
• Are there places where I could have used a better word?
• Are there any grammatical or spelling errors I notice?

Key to this process is getting students to  read their creative writing from start to finish .

Important note:  if your students are using a word processor, show them where the spell-check is and how to use it. Sounds obvious, but in the age of autocorrect, many students simply don’t know.

A final word on teaching creative writing

Remember that the best writers write regularly.

Incorporate them into your lessons as often as possible, and soon enough, you’ll have just as much fun  marking  your students’ creative writing as they do producing it.

Need more help supporting your students’ writing?

Read up on  how to get reluctant writers writing , strategies for  supporting struggling secondary writers , or check out our huge list of writing prompts for kids .

Watch your students get excited about writing and publishing their own storybooks in the Story Factory

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Beginner Writing Routine – 5 Effective Tips

Aspiring writers often dream of crafting captivating stories, impactful articles, or eloquent poems. However, it’s not uncommon to do more dreaming than writing. Finding the time, battling writer’s block, and overcoming the initial inertia are just a few challenges that stand in the way. The key to success is a sustainable beginner writing routine.

For beginner writers especially, getting into a routine can be daunting. It’s important to remember that no writing routine is one size fits all, and finding something sustainable that works with your life is the only way to stick to it. And that’s what today’s article will address.

We’ll dive deep into the world of  beginner writing routines to give you the tools needed to start writing and then keep at it. We’ll explore five practical tips to help you establish a consistent practice, conquer writer’s block, and cultivate your writing skills. So, without further ado, let’s get started.

Table Of Contents

Beginner writing routine – step-by-step.

If you want to build a writing routine as a beginner, there are a few steps. Some of them are specifically related to being a beginner and a writer. However, many of them are true for habit building in general. According to the National Library of Medicine study on habit formation , here are the steps to making something truly a habit.

• Decide on a goal that you would like to achieve.
• Choose a simple action to get you towards your goal, which you can do daily.
• Plan when and where you will take your chosen action. Be consistent: Choose a time and place that you will encounter every day of the week.
• Every time you encounter that time and place, do the action.
• It will get easier with time, and within ten weeks, you should find yourself doing it automatically without even thinking about it.
• Congratulations, you’ve made a healthy habit!

With that out of the way, let’s look at these steps for developing a sustainable writing routine.

1. Start Small And Be Consistent

Let’s get right into what you want to know. How much should you write in a day? I recommend starting with  15-30 minutes of writing per day . This manageable goal allows you to build the habit of writing consistently while ensuring focused and productive sessions.

Consistency is more important than volume. Small, daily steps lead to significant progress over time. Let me explain why this short window and consistency are great for beginner writers.

The Power Of Consistent Writing

The benefits of consistent writing go far beyond simply finishing a manuscript or cranking out short stories. Regular writing practice hones your skills in a way that sporadic bursts of creativity cannot. It’s like building muscle memory for your writing. The more you write, the more comfortable and confident you become with putting what is in your head down.

You May Also Like: 12 Common Beginner Writing Mistakes You Must Avoid

Furthermore, consistent writing fosters creativity. By regularly engaging with the writing process, you prime your mind to generate ideas, explore different styles, and refine your voice. This consistent exercise strengthens your creative muscles and fuels your imagination.

Finally, consistency builds  motivation to write . When you see tangible progress – completed pages, growing word counts – it becomes a powerful motivator to keep going. Every word you write becomes a stepping stone on your writing journey, propelling you forward with renewed enthusiasm.

2. Set Realistic Writing Goals

Setting realistic writing goals is crucial to achieving constant writing. Setting the bar too high can lead to discouragement and ultimately derail your newfound routine. And specific word counts can be very daunting when you aren’t in a good flow.

Instead, we’ll focus on manageable time goals for you to stick to regardless of factors. As mentioned above, we’ll be doing about 30 minutes per day. Why specifically 30 minutes?

Consistency is more important than volume in building a sustainable writing habit. Studies on habit formation, like the above-mentioned, suggest that repetition is crucial for building a lasting habit.

Aiming for a shorter, achievable writing session every day is more likely to stick than aiming for a more extended session that feels overwhelming. Furthermore, our ability to focus diminishes over time. Therefore, shorter,  focused writing sessions can help maintain concentration, prevent burnout, and ensure high-quality writing.

That said, if you hit the 30-minute mark, feel great, have extra time, and the words are flowing, by all means, continue. On the contrary, if you’re pressed for time or are really struggling, you may consider doing as little as 15 minutes but don’t go any lower than that, even if it’s not coming easy.

You can check out my article on How To Get Ideas For Your Writing if that’s something you struggle with.

3. Schedule Your Writing Time

One of a writer’s biggest challenges is finding the time to write. Between work, family, and other commitments, carving out dedicated writing time can feel impossible. The fact of the matter is you’ve got to prioritize writing and make some time.

Schedule your writing sessions in your day and treat them with the same respect as any other important commitment. This will help you prioritize your writing time and ensure other things don’t squeeze it out.

It can help to look for hidden pockets of time. Take a close look at your daily routine. Are there any periods you can dedicate to writing? Perhaps early mornings before the day kicks in, your lunch break at work, or even a quiet hour before bed.

If no free time jumps out, you’ll have to make some. Unfortunately, this will mean forgoing something else, whether it’s a bit of TV time, scrolling on social media, spending less time on other hobbies, etc. If writing is important to you, you’ve got to get that 15 to 30 minutes in.

4. Be Disciplined

Here, I want to introduce you to a concept I wish I had known earlier in my life: Discipline beats motivation . Regardless of who you are, there will be days when you don’t want to write, don’t have ideas, or are busy. In these times, you must dig deep and meet your goal even when the conditions are less than perfect.

When motivation wanes, discipline acts as a bridge to ensure completion. Completing the task itself, even without high initial motivation, triggers a sense of accomplishment and reinforces the habit. Celebrating small wins, not just the final outcome, leads to an intrinsic sense of accomplishment that further strengthens the habit loop.

5. Overcome Distractions While Writing

The digital age presents a constant barrage of distractions, making it difficult to focus on the task. As a beginner, if we aim for a relatively short, highly productive bout of writing, we must have our heads in the game for that 30 minutes. To do this, we’ll need to avoid becoming distracted and wasting our time.

Devoted Work Space

My first tip in this department is to designate a specific area for writing. It doesn’t have to be a fancy spot, but having a devoted setup helps signal to your brain that it’s time to work.

This spot doesn’t have to be used solely for writing. Instead, pick somewhere comfortable (for your computer, typewriter, notebook, etc., and seating), with good lighting, and away from distractions and clutter.

Once you find a place that works for you, stick to it. When you use a particular space and setup (even if it’s just the kitchen table), your brain will associate the area and set up with writing and help put you into that zone.

Silence The Digital Noise

These days, there is perhaps no more significant potential distraction than our phones, specifically social media. This is not the time for a conversation on the pros and cons of social media in general, but there is certainly a time and place for it, and when you’re supposed to be writing, it is not it.

I recommend temporarily turning off notifications on your phone and computer. If you can manage, I recommend leaving your phone in a separate room while writing because it’s easy to pick up out of habit. As for your desktop, you can even use browser extensions like StayFocusd or LeechBlock to block specific websites.

Write With Intention

We’ve established that we’ll write for about 30 minutes a day. Within each session, we should be very intentional with our time. For example, “at the computer writing for 30 minutes” is pretty vague. Instead, write with the intention to make meaningful progress and produce high-quality work for 30 minutes.

This shifts the goal from “write” to “progress, improve, work toward larger goals, and do a good job.” This intention will help you make the most of the time you spend on your craft.

Other Tips For A Strong Beginner Writing Routine

Following the tips above, you’ll have your writing routine set. You’ll know how long you’ll write, when and where you’ll do it, and commit to sticking to it. That said, here are a few other things to consider regarding your routine.

Here are some ideas to keep the fire burning and make sure you track your progress.

• Focus on the joy of writing:  Remember why you started writing in the first place. Reconnect with the inherent pleasure of crafting stories, expressing yourself, and exploring your creativity.
• Focus on Progress, Not Perfection:  Don’t get discouraged by writer’s block or imperfect drafts. Celebrate progress, no matter how small, to keep yourself moving forward.
• Set personal challenges:  Challenge yourself to try new writing prompts, experiment with different genres, or participate in writing contests. These challenges can add excitement and purpose to your writing routine.
• Connect with other writers:  Join online writing communities , attend local writing workshops, or find a writing buddy. Sharing your work and experiences with others can be a powerful source of motivation and inspiration.
• Word count trackers:  Use LivingWriter to monitor your daily or weekly word count goals. Seeing the numbers climb can be a great motivator.
• Writing logs:  Maintain a writing log where you track your sessions, word counts, and any ideas or challenges you encounter. This log can be a valuable resource for reflection and monitoring your progress over time.

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How to Be Consistently Creative

Being creative on a consistent basis is one of the biggest challenges of living the life of an artist.

It's difficult to be fully present in your daily life — doing the laundry, brushing your teeth, cooking and cleaning — and also reach the most deeply creative places inside of you and create something from nothing.

After all, we can't schedule inspiration like a doctor's appointment. It's a little like trying to capture lightning in a bottle.

So how do you balance real life with the life of a creative writer? How do you continue creating when you don't feel all that creative?

Let's dig into it.

In this article, you'll learn:

• The Real Relationship Between Writer & Muse
• The Truth of the Writer-Hermit Stereotype

Absorbing Art for Inspiration

• The Power of Writing Prompts
• The Role of Perfectionism in Your Writing Practice

Don't Wait for Your Muse

Let's go ahead and debunk a major myth right now: Inspiration may strike like lightning, but that doesn't mean you should wait around for that lightning before sitting down to write.

In fact, we argue that creativity is  not about waiting around for a divine spark. We think it's the exact opposite.

Busting out 500 words when your fingers are still pruned from doing the dishes? That's true creativity. It's easy to be creative when you get that revelation from on high. But the true artists are the ones who can finish their taxes and immediately start writing about dragons.

Discover the origins of the muse myth and what the likes of Faulkner and E.B. White have to say about it.

Live a Little

No, we're not being glib. There exists in the literary world a strange and pervasive myth that to be a true writer, you have to be a loner or a hermit.

Thanks, Wordsworth.

Well, guess what? Not only was Wordsworth not actually a hermit, locking yourself away from the world may actually be bad for your creativity. ( Seriously. Learn all about it here. )

In other words: In order to write, you have to live a little!

Faulkner advocated for avid reading as a foundation for writing, comparing it to a carpenter learning from a master. Stephen King stressed that reading equips writers with the tools they need to become a writer.

And we're taking it a step further to suggest feeding your brain with all different kinds of art — from books and short stories, to visual media and music — and unique experiences, as well.

Check out Julia Cameron's concept for "artist dates" to begin a fantastic practice of enchanting and romancing your own brain. 

Writing Prompts

While writing prompts are often seen as tools for beginners, we're here to tell you they're valuable for writers of all levels — including seasoned professionals.

When you're trying to be creative consistently, sometimes you have to sit down and write when it's the last thing you want to do. Writing prompts offer an easy jumping off point to help overcome writer's block and good old plain procrastination.

The best part? When you're just using prompts to get going and not trying to create something polished, you'll find your creativity is unleashed like never before.

Learn how to utilize writing prompts to fuel your most difficult creative writing sessions.

Overcoming Perfectionism

First drafts are inherently imperfect. You'll hear us saying that again and again. (And not just us! Author Anne Lamott coined the famous term "shitty first draft.")

Why do we repeat this so often? Because our brains are hardwired to avoid failure and seek external validation, and the result is a creativity-limiting, progress-crushing approach to writing.

This quest for flawlessness is killing your creativity. Instead, writers must  embrace a growth mindset , set realistic goals, and separate the drafting from the editing process.

Learn to kick perfectionism to the curb for good.

Recommended articles

More recommended articles for you.

It's true. Perfectionism IS killing your creativity. First drafts will never be perfect; this is not a remark to demoralize writers but a sincere reminder of actuality.

So let's explore the concept of perfectionism — only accepting something free of all flaws — and learn how overcoming such a view of your work could be the most significant step you take on your writing journey.

"Read, read, read," William Faulkner proclaimed. "Read everything — trash, classics, good and bad, and see how they do it, just like the carpenter who works as an apprentice and studies the master. Read! You'll absorb it. Then write."

And, in our opinion, this exploration shouldn't be limited to literature.

Let’s explore this technique of creating inspiration for yourself no matter   what the   muses may be thinking .

The myth of the hermit is deep within every creative individual; as a writer, the notion is particularly enticing — disappear from view, only to emerge months later with a great novel or short story.

But, contrary to popular belief, the legend of the brilliant hermit is likely just that — a legend, an idea, rather than a reality.

Free Creative Brief Template to Start Your Next Project

A Creative Brief is a concise document that outlines the essential elements of a marketing or creative project, including objectives, target audience, messaging, and timeline. Using a Creative Brief template ensures consistency and clarity in project planning, enabling teams to align their vision and goals from the outset.

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A creative brief is a concise document that serves as a reference point for the stakeholders (project managers, and clients) in creative industries, such as advertising, marketing, graphic design, and media production. It also functions as an effective source of communication and ensures successful project completion.

A creative brief template is a formal document that acts as a roadmap for the stakeholders involved in a project. It guides them throughout a project. It has sections for writing the project overview, objectives, deliverables, budget, timeline, and overall project scope. Its functionality is the same as a scope of work template but it is comparatively brief and concise.

• Creative Brief Template

• How to Use This Template

This template has been designed taking a wide range of creative agencies into consideration and structured to provide a comprehensive yet to-the-point layout. Although it covers most of the data fields that a standard creative brief should have, it is completely editable, so anyone can adjust it as per the requirements. Here is how the template is structured and best practices to utilize it effectively.

Client and company details

By the start of the creative brief template, writing the client and company details helps in the identification, accountability, and knowing the context of a creative project. Here, you can write the project name, client name, brand name, and product particulars. On the other side, you can write the name of your company, phone number, email, and mailing address.

Project name and company background

Within this section, you can write the name of the project for clarity, identification, communication, and reference purposes. While, writing a brief background of the company assists in understanding the context, brand identity, and building trust and confidence. You can provide a brief description of the company’s history, mission, values, and current market position. 

Project overview

Writing a brief overview of a creative project can assist in aligning all the stakeholders. It also helps in the decision-making process for a project. Here, you can briefly write an overview of creative project, including its scope and vision.

Project objectives

What is expected by the completion of a creative project? What are its primary goals (top-priority goals), and short and long-term goals? These goals can be specified in this section of the template. The goals of a graphic design project may be designing a brand identity, creating promotional materials, and designing a user interface. 

And for an advertising project, the goals can be creating a creative advertising campaign, designing a series of print or digital ads, and generating buzz and brand awareness. It provides a direction to the project and helps in measuring the success, decision-making, and resource allocation. 

Target audience

Identifying the target audience is crucial as it enhances the relevance, effectiveness, adaptation, and measurement of a creative project. You can write the characteristics of a target audience, such as their demographic data, (age, gender, ethnicity, income, education, occupation, location, and more) psychographic, (focus on psychological and emotional aspects), and Behavioral characteristics for a creative project.

Competitors

Without proper analysis of competitors in the market, it is not possible to understand the trends, identify gaps and opportunities, and know the audience preferences. Therefore, a thorough competitor analysis is necessary for a creative project. It can be done by various methods, such as identifying competitors, gathering information, SWOT (Strengths, Weaknesses, Opportunities, and Threats) analysis, and strategic planning.

Key message

Now comes the key message which is a brief, engaging statement or idea that communicates the purpose, or main takeaways to the target audience. It can be different for various types of project phases. For example, in the stage of product launch, it can be “experience the innovation like never before with this amazing new product,” and for the brand awareness campaign, it can be “empower yourself with (product name) and make a lasting impact.” You can craft your key messages in context to your company’s status and position. 

Key consumer benefit

What are the primary benefits that the target consumer will get once the creative project is completed? You can set this by identifying the pain points of your target audience. It can be innovation and creativity, convenience and ease of use, quality and performance, value for money, problem-solving, or anything else as per the needs and demands of clients. 

Once the target audience has been decided and finalized for a creative project, then the emotional tone and attitude can be specified that the creative project should evoke in the target audience. Examples of these attitudes can be energetic and upbeat, nostalgic, inspiring, adventurous, compassionate, and more depending on the needs of the client. 

Project timeline

As all the previously discussed sections are defined and specified then you can write down the timeline of your creative projects. It assists in managing expectations, improves workflow, boosts communication and collaboration, and increases client satisfaction. Here, you can write the schedules, milestones, and other important dates related to your creative project. 

Project deliverables

The expected outcomes or deliverables of a creative project can be listed within this specific section. It aids in defining the scope of creative work. Writing deliverables can also help enhance accountability, scope management, and manage client expectations. For example, the deliverables for a graphic design project can be logo design, branding elements, marketing collateral, packaging design, and social media graphics. 

Similarly, for a video production project, the deliverables can be promotional videos, corporate videos, explainer videos, or training videos. 

Without financial clarity effective resource allocation is not possible. Therefore, effective planning and management regarding the budget of a creative project is important. Within this section of a creative brief, you can write the estimated cost for a project. 

Call to action

Once thorough planning has been done, then you can decide what actions you want the customer or audience to take as a result of the project. It further adds a layer of practicality to the creative project and assists you in deriving the desired results from it. 

Distribution

As all the deliverables of the creative project are decided, and then comes the time for the distribution of the final deliveries. In this section, you can decide how and where the final deliverables will be distributed and published. The distribution mediums may be online platforms, such as websites, social media, or email newsletters. While, the offline mediums can be print media, outdoor advertising, events, or retail stores. Here, the targeting strategies can be decided and plans for media can also be specified. 

• Best Practices to Use This Template

Below are the best practices to effectively utilize this Creative Brief template, ensuring your project is well-organized and clearly communicated to all team members.

This creative brief template is easily customizable, you can personalize it per your needs and specific project requirements.

Make sure to provide the background information about the project, it helps provide a context for the creative team. It also assists them in comprehending the brand identity, values and then creating content.

You should communicate and define the objectives of your creative project to teammates and clients clearly and in simple language. It helps them understand the purpose of their work and align their endeavors accordingly.

Try to create a collaborative work environment, an environment where the team members can easily share their ideas, and can provide feedback freely.

For a creative project, you should outline the scope and boundaries of work for each member of your team. It helps set clear expectations and builds an environment of accountability.

Provide as much guidance and direction as necessary but make sure to leave some space for creative interpretation. The team should be able to understand and explore various concepts and approaches to a single thing.

Effective communication is mandatory for the success of a creative project, so make sure to properly define the communication channels to the team members and clients.

• Closing Thoughts

This creative brief template is a versatile document as it can be used both online and offline. It is available in multiple file formats such as ODT, DotX, DocX, and Google Docs. It is print-optimized and you can easily get it printed. It also allows you to integrate your brand identity by attaching your logo to it. Overall, it is your easy solution for creative project management.

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More From Forbes

25 writing tips for business owners and content marketers: part 5.

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Here we go, content creators! It's time to learn a few ways to finesse and get more from your ... [+] content.

Welcome back, content creators and wordsmiths. Ready to take your writing from good to great? In this fifth and final installment of my writing tips series, I’ll discuss advanced techniques that separate the pros from the amateurs.

If you missed any of the first four parts, you can find them here:

• Part 1 —includes tips on varying sentence length, using active voice, and tapping the power of specificity.
• Part 2 —talks about simplifying complex topics, using analogies, injecting emotion, creating compelling headlines, and using the power of social proof.
• Part 3 explores the visual side of content creation, from formatting for skimmability to strategically using whitespace, fonts, and colors.
• Part 4 —covers the art of empathetic writing, showing instead of telling, and creating a shared narrative with your reader.

As you work through this final installment, consider your content a rough diamond. You've mined and shaped it, but now it's time for the finishing touches to make it truly shine. That's what these tips are all about—the polish that turns your words into brilliant content.

In this article, discover:

• Why self-editing is your secret weapon (and how to wield it like a pro).
• The surprising power of criticism (yes, you read that right).
• The tools and partnerships that can elevate your writing quality.
• How to make your content work harder through clever repurposing.
• The art of keeping your best pieces fresh and relevant, year after year.

Let's dive in.

Tip 21: Self-editing—your secret weapon

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The more you edit yourself, the better a writer you'll become.

Isn’t “self-editing” just reading a draft several times? Yes… but there’s more. Think of self-editing as a content personal trainer. It whips your words into shape, trimming the fat and building muscle where it counts. The work is not always comfortable, but the results? They're worth every moment you spend scrutinizing your work.

Here's what self-editing does for your content:

• Clarifies your message—is your main point shining through or hiding behind fluff?
• Strengthens your language—are your verbs doing heavy lifting or napping on the job?
• Improves your flow—does your content run smoothly from point to point or stumble over awkward transitions?
• Trims the fat—can you say more with less? In writing, less is often more.

My best advice is not to rush to publish the next time you finish a draft. Take a break, whether for hours or days, then return with fresh eyes and give your work the edit your brilliant ideas deserve.

Here are a few ways to self-edit:

• Read the content aloud—you’ll hear awkward transitions and areas that don’t make sense.
• Read the content backwards—this is a pro proofreader’s tip for when 100% accuracy is a must.
• Create a reverse outline—use your finished draft to create an outline to see the structure of your work and find areas that need help.

Tip 22: Embrace constructive feedback

Not all criticism is helpful. But you have to invite it and listen to it to begin to discern.

Have you ever hit 'publish,' beaming with pride, only to receive... criticism? Ouch. Your first instinct might be to defend your work or dismiss the feedback. But criticism could be your greatest ally in content creation.

Think of constructive feedback as a GPS for your writing. It helps you avoid traffic jams, discover more scenic routes, and reach your destination more pleasantly and efficiently. When you open yourself to input from others, you can tap into fresh perspectives and ideas.

Embracing feedback can help you:

• Identify blind spots—like angles you hadn't considered and areas not as clear as you thought.
• Spark new ideas—a reader's question could lead to your next great piece of content.
• Strengthen your skills—constructive criticism is a chance to improve your writing.

Here's a practical tip: The next time you receive feedback, resist the urge to respond right away. Instead, take a deep breath, sleep on it if you can, and then approach the feedback with curiosity.

Ask yourself:

• Is the feedback coming from a place of genuine helpfulness, or is it just negativity?
• Is it in line with your goals and values, or does it pull you in a different direction?
• Can you use it to improve your work, or is it just a matter of personal preference?

The goal isn't to please everyone—it's to create the best content you can. And sometimes, a fresh perspective is just what you need to take your writing from good to great.

Tip 23: Use writing tools, apps, and partners

It's hard to make excuses about typos with so many tools, apps, and partners all around.

Every writer needs tools and support. Bring your skills and ideas to the table and use the right tools and partners to help you create something remarkable.

Let's start with the tools. Writing apps like Grammarly and Hemingway help you create clear, readable content. Grammarly has free and paid versions; I use the paid version every day. It helps me catch grammar and spelling errors and suggests style improvements. It's a great first-line defense against the little mistakes that undermine your message.

Hemingway is all about improving your writing's readability. It highlights complex sentences, passive voice, and other readability issues, pushing you to make your writing as clear and punchy as possible.

Partners are another key ingredient for great content. Although writing is often a solitary pursuit, the best content happens through collaboration and external input. That's where editing and content coaching come in.

When you work with an editor or writing coach like me, you get a second set of eyes on your work, plus a fresh, well-trained mind that can spot opportunities for improvement, suggest new approaches, and help you develop your unique writing voice. It's like having a personal trainer for your writing skills—someone to push, guide, and celebrate your progress.

Of course, not every piece needs the full editorial treatment. But that extra level of professional polish can make all the difference for your most important work—your cornerstone content, thought leadership pieces, and the messages you really want to land.

And partnership doesn't have to mean a long-term commitment. Even a one-time edit or coaching session can make a difference. The key is finding the level of support that fits your budget and goals.

Tip 24: Repurpose your content for maximum mileage

Turn one piece of content into many in the same way that an atom splits.

Content repurposing, or content atomization, is the art of turning one piece of content into several to reach new audiences. It's about working smarter, not harder, and getting the most juice out of every piece you create.

Imagine, for example, that you've written a stellar blog post. You've researched the topic, created a compelling narrative, and packed the post with insights. That's great! But why stop there? With a little creative thinking, that one blog post could become:

• A series of social media posts, each highlighting a key takeaway.
• An infographic that visually represents your main points.
• A video script for a YouTube tutorial or explainer.
• A podcast episode or audio version for on-the-go listening.
• A chapter in an ebook or a section of a whitepaper.

Each new format allows you to reach new people, cater to different learning styles, and reinforce your message across multiple touchpoints. And because you're starting from a solid foundation, repurposing will be much quicker and easier than creating something from scratch.

The benefits of repurposing go beyond efficiency. It can also help you:

• Boost SEO—more content means more opportunities to target keywords, earn backlinks, and improve your search engine rankings.
• Reinforce your message—repetition is key to learning and retention. When you present ideas in multiple ways, you help your audience internalize and remember key points.
• Show off your versatility—repurposing helps you communicate across media and adapt to different contexts, positioning you as a multifaceted, adaptable content creator.

Of course, repurposing doesn't mean simply copying and pasting your content into a new format. You have to tailor each piece to the medium and audience, which might mean:

• Adjusting the length and pacing to suit the format.
• Modifying the language and tone to match the platform.
• Adding or removing elements to fit the context.
• Updating examples or references to keep the content fresh and relevant.

The key is to view your original content as a starting point, not an endpoint. With each repurposing, you can refine, expand, and enhance your ideas.

Tip 25: Refresh your content regularly for lasting impact

Refresh your best content regularly to get more mileage from it.

Content refreshing is the practice of periodically revisiting and updating your content to keep it accurate, engaging, and optimized for search engines and readers. It keeps your best content your best, no matter how much time passes.

Consider your cornerstone content—the pieces that define your brand, showcase your expertise, and attract the most traffic. You want to keep those pieces in prime condition. Experts recommend refreshing this type of content at least every six months. But what does that refreshing process look like?

It could mean:

• Adding a new video or multimedia element to improve the reader’s experience.
• Updating statistics, examples, or case studies to reflect the latest data and trends.
• Revising the call-to-action or download offer to match current marketing goals.
• Fixing links that don’t work, outdated references, or broken buttons.
• Optimizing the title, headers, and meta descriptions for SEO.

Regular updates signal to search engines and readers that your content is current, credible, and worthy of attention. They keep your piece in the spotlight, attracting new readers and keeping the interest of returning ones.

Regular updates can also help you:

• Improve your search rankings—search engines favor fresh, relevant content. Updating regularly increases your chances of ranking higher in search results.
• Boost engagement—new elements, updated information, and refreshed CTAs give readers new reasons to engage, whether it's their first time or fifth.
• Extend the content lifespan—refreshing helps your best pieces stay relevant and valuable for longer so you can get the most return on your content investment.
• Identify new opportunities—in updating, you might discover new angles to explore, gaps to fill, or reader needs to address. Each refresh is a chance to make your content even better.

Of course, not every piece needs a full overhaul every six months. The frequency and depth of your refreshes will depend on factors like:

• The nature of your industry (fast-moving fields might require more frequent updates).
• The type of content (news-based pieces might need more regular attention than evergreen how-tos).
• The piece's performance (high-traffic, high-converting content should be a refreshing priority).

Don't let your best pieces gather digital dust. Give them the regular refresh they need to shine.

What’s next? The journey to content mastery continues

Keep learning, keep growing, and keep on working toward content mastery!

Congratulations. You—and I—just made it through this five-part series on writing tips for business owners and content marketers! From the fundamentals of great writing to advanced techniques for optimization and repurposing, you now have a solid toolkit for creating content that informs, engages, and inspires.

But as you likely know, the journey to content mastery is ongoing. There's always more to learn, new strategies to try, and other ways to refine your craft. The most successful content creators embrace this continual learning and growth.

I invite you to follow me on Forbes to continue your journey. As a regular contributor here, I'm constantly sharing new insights, tips, and strategies for content creation and marketing. By following me, you'll get practical, actionable advice to help you keep leveling up your content.

I also invite you to sign up for my Beyond Copy newsletter for even more in-depth guidance. I share my most detailed tutorials, behind-the-scenes insights, and exclusive resources here. It's your VIP pass to ongoing content education and inspiration.

And remember, you don't have to go on this content journey alone. Whether you need a skilled writer to create compelling pieces, an eagle-eyed editor to refine your work, a strategic consultant to guide your content planning, or a coach to develop your skills, I can help .

Thank you for joining me on this journey. It's been a pleasure sharing these tips and techniques with you. Now, go forth and create content that matters, content that moves, content that makes a difference.

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