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• Academic Writing Checklists | Free & Interactive

Academic Writing Checklists | Free & Interactive

Published on September 18, 2017 by Koen Driessen . Revised on September 14, 2022.

These interactive checklists help you improve your essay , research paper , thesis , or dissertation .

Table of contents

College essay topic checklist, college application checklist, college admissions essay checklist.

• Is my source credible?
• Academic writing
• Essay introduction
• Research paper
• Statement of purpose
• Plagiarism prevention
• Dissertation
• Introduction
• Research results
• Recommendations
• Formal email contact

Frequently asked questions about Scribbr checklists

The article this checklist belongs to can be found here: Choosing Your College Essay Topic | Ideas & Examples

My topic is focused on me, not on someone else.

My topic shares something different from the rest of my application.

My topic is specific and original (not many students could write a similar essay).

My topic reflects positively on my character and behavior.

If I chose to write about a traumatic or challenging experience, my essay will focus on how I overcame it or gained insight.

If I chose a common topic, my essay will have a surprising story arc, interesting insight, and/or an advanced writing style.

Good topic!

It looks like your topic is a good choice. It's specific, it avoids clichés, and it reflects positively on you.

The article this checklist belongs to can be found here: How to Apply for College | Timeline, Templates & Checklist

Receive feedback on language, structure, and formatting

Professional editors proofread and edit your paper by focusing on:

• Academic style
• Vague sentences
• Style consistency

See an example

I’ve researched schools and made my college list.

I’ve done on-campus and/or virtual visits to prospective schools.

I’ve chosen application plan deadlines for each school.

I’ve organized deadlines and requirements in a college application tracker.

I’ve filed my FAFSA.

I’ve submitted scholarship applications.

I’ve taken my standardized tests.

I’ve written my college application essays .

I’ve created accounts on application portals.

I’ve filled out my personal information, extracurriculars, and awards.

I’ve requested my test scores be sent to the correct colleges.

I’ve requested my transcripts be sent to the correct colleges.

I’ve requested recommendation letters.

I’ve paid application fees or applied for application waivers.

I’ve checked that my application has all the necessary documents and information.

Congratulations!

It looks like your application is ready to submit. Good luck with getting accepted!

I’ve organized my essay prompts and created an essay writing schedule.

I’ve done a comprehensive brainstorm for essay topics.

I’ve selected a topic that’s meaningful to me and reveals something different from the rest of my application.

I’ve created an outline to guide my structure.

I’ve crafted an introduction containing vivid imagery or an intriguing hook that grabs the reader’s attention.

I’ve written my essay in a way that shows instead of telling.

I’ve shown positive traits and values in my essay.

I’ve demonstrated self-reflection and insight in my essay.

I’ve used appropriate style and tone .

I’ve concluded with an insight or a creative ending.

I’ve revised my essay , checking my overall message, flow, clarity, and grammar.

I’ve respected the word count , remaining within 10% of the upper word limit.

It looks like your essay ticks all the boxes. A second pair of eyes can help you take it to the next level – Scribbr's essay coaches can help.

The article this checklist belongs to can be found here: What Are Credible Sources & How to Spot Them | Examples

Checklist: Is my source credible?

My source is relevant to my research topic.

My source is recent enough to contain up-to-date information on my topic.

There are no glaring grammatical or orthographic errors.

The author is an expert in their field.

The information provided is accurate to the best of my knowledge. I have checked that it is supported by evidence and/or verifiable elsewhere.

My source cites or links to other sources that appear relevant and trustworthy.

There is a way to contact the author or publisher of my source.

The purpose of my source is to educate or inform, not to sell a product or push a particular opinion.

My source is unbiased, and offers multiple perspectives fairly.

My source avoids vague or grandiose claims, and writing that is too emotive or subjective.

[For academic journals]: My source is peer-reviewed and published in a reputable and established journal.

[For web sources]: The layout of my source is professional and recently updated. Backlinks to other sources are up-to-date and not broken.

[For web sources]: My source’s URL suggests the domain is trustworthy, e.g. a .edu address.

Your sources are likely to be credible!

The article this checklist belongs to can be found here: Checklist: Academic writing

Prevent plagiarism. Run a free check.

Checklist: academic writing.

I avoid informal terms and contractions .

I avoid second-person pronouns (“you”).

I avoid emotive or exaggerated language.

I avoid redundant words and phrases.

I avoid unnecessary jargon and define terms where needed.

I present information as precisely and accurately as possible.

I use appropriate transitions to show the connections between my ideas.

My text is logically organized using paragraphs .

Each paragraph is focused on a single idea, expressed in a clear topic sentence .

Every part of the text relates to my central thesis or research question .

I support my claims with evidence.

I use the appropriate verb tenses in each section.

I consistently use either UK or US English .

I format numbers consistently.

I cite my sources using a consistent citation style .

Your text follows the most important rules of academic style. Make sure it's perfect with the help of a Scribbr editor!

The article this checklist belongs to can be found here: Checklist for academic essays | Is your essay ready to submit?

Checklist: Essay

My essay follows the requirements of the assignment (topic and length ).

My introduction sparks the reader’s interest and provides any necessary background information on the topic.

My introduction contains a thesis statement that states the focus and position of the essay.

I use paragraphs to structure the essay.

I use topic sentences to introduce each paragraph.

Each paragraph has a single focus and a clear connection to the thesis statement.

I make clear transitions between paragraphs and ideas.

My conclusion doesn’t just repeat my points, but draws connections between arguments.

I don’t introduce new arguments or evidence in the conclusion.

I have given an in-text citation for every quote or piece of information I got from another source.

I have included a reference page at the end of my essay, listing full details of all my sources.

My citations and references are correctly formatted according to the required citation style .

My essay has an interesting and informative title.

I have followed all formatting guidelines (e.g. font, page numbers, line spacing).

Your essay meets all the most important requirements. Our editors can give it a final check to help you submit with confidence.

The article this checklist belongs to can be found here: How to write an essay introduction | 4 steps & examples

Checklist: Essay introduction

My first sentence is engaging and relevant.

I have introduced the topic with necessary background information.

I have defined any important terms.

My thesis statement clearly presents my main point or argument.

Everything in the introduction is relevant to the main body of the essay.

You have a strong introduction - now make sure the rest of your essay is just as good.

The article this checklist belongs to can be found here: Checklist: Writing a Great Research Paper

Checklist: Research paper

I have followed all instructions in the assignment sheet.

My introduction presents my topic in an engaging way and provides necessary background information.

My introduction presents a clear, focused research problem and/or thesis statement .

My paper is logically organized using paragraphs and (if relevant) section headings .

Each paragraph is clearly focused on one central idea, expressed in a clear topic sentence .

Each paragraph is relevant to my research problem or thesis statement.

I have used appropriate transitions  to clarify the connections between sections, paragraphs, and sentences.

My conclusion provides a concise answer to the research question or emphasizes how the thesis has been supported.

My conclusion shows how my research has contributed to knowledge or understanding of my topic.

My conclusion does not present any new points or information essential to my argument.

I have provided an in-text citation every time I refer to ideas or information from a source.

I have included a reference list at the end of my paper, consistently formatted according to a specific citation style .

I have thoroughly revised my paper and addressed any feedback from my professor or supervisor.

I have followed all formatting guidelines (page numbers, headers, spacing, etc.).

You've written a great paper. Make sure it's perfect with the help of a Scribbr editor!

The article this checklist belongs to can be found here: How to Write a Statement of Purpose | Example

Checklist: Statement of purpose

My statement of purpose clearly responds to the prompt.

I have introduced my academic, professional and/or personal background.

I have described any relevant experience and shown my development over time.

I have highlighted key achievements that demonstrate my talents.

There is a clear connection between my previous experience and my future plans.

I have explained how the program will help me achieve my goals.

I have mentioned specific aspects of the program, department and institution that appeal to me.

Every paragraph focuses on one central idea.

The paragraphs are organized in a logical order and tell a clear, coherent story.

You're on the way to a successful application. To maximize your chances of getting accepted, a Scribbr editor can help you improve your language, style, and structure.

The article this checklist belongs to can be found here: How to Avoid Plagiarism | Tips on Citing Sources

Checklist: Plagiarism prevention

When using someone else’s exact words, I have properly formatted them as a quote .

When using someone else’s ideas, I have properly paraphrased , expressing the idea completely in my own words.

I have included an in-text citation every time I use words, ideas, or information from a source.

Every source I cited is included in my reference list or bibliography .

I have consistently followed the rules of my required citation style .

I have not committed self-plagiarism by reusing any part of a previous paper.

I have used a reliable plagiarism checker as a final check.

Your document should be free from plagiarism!

The article this checklist belongs to can be found here: Checklist: Writing a dissertation

Checklist: Dissertation

My title page includes all information required by my university.

I have included acknowledgements thanking those who helped me.

My abstract provides a concise summary of the dissertation, giving the reader a clear idea of my key results or arguments.

I have created a table of contents to help the reader navigate my dissertation. It includes all chapter titles, but excludes the title page, acknowledgements, and abstract.

My introduction leads into my topic in an engaging way and shows the relevance of my research.

My introduction clearly defines the focus of my research, stating my research questions and research objectives .

My introduction includes an overview of the dissertation’s structure (reading guide).

I have conducted a literature review in which I (1) critically engage with sources, evaluating the strengths and weaknesses of existing research, (2) discuss patterns, themes, and debates in the literature, and (3) address a gap or show how my research contributes to existing research.

I have clearly outlined the theoretical framework of my research, explaining the theories and models that support my approach.

I have thoroughly described my methodology , explaining how I collected data and analyzed data.

I have concisely and objectively reported all relevant results .

I have (1) evaluated and interpreted the meaning of the results and (2) acknowledged any important limitations of the results in my discussion .

I have clearly stated the answer to my main research question in the conclusion .

I have clearly explained the implications of my conclusion, emphasizing what new insight my research has contributed.

I have provided relevant recommendations for further research or practice.

If relevant, I have included appendices with supplemental information.

I have listed every source in a reference list at the end of my dissertation.

I have consistently followed the rules of my chosen citation style .

I have followed all formatting guidelines provided by my university.

The end is in sight—your dissertation is nearly ready to submit! Make sure it's perfectly polished with the help of a Scribbr editor.

The article this checklist belongs to can be found here: How to Write an Abstract | Steps & Examples

Checklist: Abstract

The word count is within the required length, or a maximum of one page.

The abstract appears after the title page and acknowledgements and before the table of contents .

I have clearly stated my research problem and objectives.

I have briefly described my methodology .

I have summarized the most important results .

I have stated my main conclusions .

I have mentioned any important limitations and recommendations.

The abstract can be understood by someone without prior knowledge of the topic.

You've written a great abstract! Use the other checklists to continue improving your thesis or dissertation.

The article this checklist belongs to can be found here: Tables in your dissertation

Checklist: Tables

Each table has a number.

Each table has a clear, descriptive title.

All tables are consistently formatted according to my style guide or department’s requirements.

The content of each table is clearly understandable in its own right.

I have referred to each table in the main text.

I have correctly cited the source of any tables reproduced or adapted from other authors.

Your tables look great! Use the other checklists to improve your thesis or dissertation.

The article this checklist belongs to can be found here: How to Write a Thesis or Dissertation Introduction

Checklist: Introduction

I have introduced my research topic in an engaging way.

I have provided necessary context to help the reader understand my topic.

I have clearly specified the focus of my research.

I have shown the relevance and importance of the dissertation topic .

I have clearly stated the problem or question that my research addresses.

I have outlined the specific objectives of the research .

I have provided an overview of the dissertation’s structure .

You've written a strong introduction for your thesis or dissertation. Use the other checklists to continue improving your dissertation.

The article this checklist belongs to can be found here: How to Write a Results Section | Tips & Examples

Checklist: Research results

I have completed my data collection and analyzed the results.

I have included all results that are relevant to my research questions.

I have concisely and objectively reported each result, including relevant descriptive statistics and inferential statistics .

I have stated whether each hypothesis was supported or refuted.

I have used tables and figures to illustrate my results where appropriate.

All tables and figures are correctly labelled and referred to in the text.

There is no subjective interpretation or speculation on the meaning of the results.

You've finished writing up your results! Use the other checklists to further improve your thesis.

Checklist: Discussion

I have concisely summarized the most important findings.

I have discussed and interpreted the results in relation to my research questions.

I have cited relevant literature to show how my results fit in.

I have clearly explained the significance of my results.

If relevant, I have considered alternative explanations of the results.

I have stated the practical and/or theoretical implications of my results.

I have acknowledged and evaluated the limitations of my research.

I have made relevant recommendations for further research or action.

You've written a great discussion section. Use the other checklists to further improve your thesis or dissertation.

Checklist: Recommendations

The client can implement the recommendations/measures in the short term.

The recommendations clearly indicate what should be done and by whom.

Each recommendation contains active verbs.

All recommendations are formulated in the same style.

Each recommendation is presented individually and briefly justified.

There are at least three and no more than seven recommendations.

The recommendations are backed by evidence that demonstrates how they will solve the problem.

Even if the recommendation itself is new, the rest of the information is not.

Your recommendations look great! Use the other checklists to further improve your thesis.

The article this checklist belongs to can be found here: How to Write a Thesis or Dissertation Conclusion

Checklist: Conclusion

I have clearly and concisely answered the main research question .

I have summarized my overall argument or key takeaways.

I have mentioned any important limitations of the research.

I have given relevant recommendations .

I have clearly explained what my research has contributed to my field.

I have  not introduced any new data or arguments.

You've written a great conclusion! Use the other checklists to further improve your dissertation.

The article this checklist belongs to can be found here: Research Paper Appendix | Example & Templates

Checklist: Appendix

All appendices contain information that is relevant, but not essential, to the main text.

Each appendix starts on a new page.

I have given each appendix a number and clear title.

I have assigned any specific sub-components (e.g., tables and figures) their own numbers and titles.

My appendices are easy to follow and clearly formatted.

I have referred to each appendix at least once in the main text.

Your appendices look great! Use the other checklists to further improve your thesis.

The article this checklist belongs to can be found here: Email contact with your dissertation supervisor

Checklist: Formal email contact

Use an appropriate salutation. Example:  Dear Dr. X,

Explain the purpose of your email. Example: I am writing in follow-up to our meeting on Monday.

Be brief and clear about exactly what you want to say or ask. Example:  I have made the changes that we agreed on. Could you please check and confirm them?

Express your appreciation in advance. Example:  Thanks in advance for your help.

Use an appropriate closing. Example: Sincerely,

Your email looks appropriately formal.

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Ten 11+ & 13+ Creative Writing Tips For Excellent Exam Stories

When my students get the hang of these techniques, it makes an enormous difference to their creative writing – but it takes practice.

M y advice for 11 plus stories in this article applies just as well to 8 plus, 13 plus or GCSE … in fact, although I have written with 11 plus creative writing in mind, my suggestions should be relevant at any level.

I’ve been teaching these things to young people for many years, and I hope you also find them useful. Please write a comment if you do!

The creative writing materials offered by 11 Plus Lifeline teach students to use all the techniques explained on this page.

Every writing paper has full example answers, as well as detailed step-by-step discussions, marking guidelines and story-planning advice. Papers are structured to help students develop high-level skills – and just as importantly, to enjoy themselves!

Click on the infographic to view a zoomable version in a new tab:

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1 – before you write, daydream.

If you can see your story’s world in your head, you will be able to describe it powerfully.

If you can’t, your descriptions risk being superficial and your writing uninteresting.

After a little daydream, your next step is to turn it into a simple plan:

THE STORY PLANNING PROCESS

1) the main event.

The first thing to write in your plan is the main event in your story (see point 2 , below). Keep this simple for now.

2) Your Main Character

Next, jot down a few notes about your main character (see point 3 ). What is interesting about them? Try to imagine them sitting in the place next to you. See them clearly in your mind. Who are they, really?

3) Getting There

Now note down some ideas for how you will get to the main event. Make this simple too: don’t write more than a couple of lines.

4) … And Getting Out Of There!

Finally, write a few thoughts about what will happen after the event: why does it matter, and – above all else – how does it affect your characters?

The reason I suggest this order of planning is that when you only have a short time to write, there are two important things which will hold your story together: the main event (what it is about ) and your central character (who gives us a reason to care ).

Everything else should be very simple, allowing you to focus on describing beautifully.

In fact, you can probably guess what the next of my 11 plus tips is …

2 – Keep things simple! In an 11 plus exam story, choose  one main plot event & bring it to life.

If there are too many things happening, your descriptive skills may get lost.

What’s more, once there are lots of dramatic events in a story, many students struggle to write about all of them properly.

Look at this example:

As they walked through the forest a tree fell and nearly crushed them. That was close , thought Claudia. Then they sat down to scrutinise the map.

It’s good to describe the small details of life – and especially with an interesting verb like “scrutinise”.

But if you forget to fully describe big events, such as a tree almost killing your characters, the effect is very peculiar. It implies that a near-death experience is no more interesting than reading a map!

Either give dramatic events their due importance, by describing them powerfully and giving a clear sense of your characters’ reactions, or steer clear of them altogether.

This is often a problem in exam stories with too much action, or with too many plot events in general.

It’s best to structure your story around one main event, which isn’t too extreme. Spend the rest of your time building up to it and showing its after-effects.

3 – Focus on one character

Just as it’s best to focus your writing around one main event, it makes sense to have one core character.

You probably won’t have time to make more than one person interesting and believable in a thirty minute writing exam. If you try, you’re at risk of coming unstuck.

(If you feel really confident, you might manage to develop two characters: a brother and sister, for example. But in the exam itself, ask yourself: Is it worth the risk? )

Make your main character really interesting, and only refer to others in passing.

4 – Put a little dialogue in … but don’t write a play script!

“Because writing dialogue is easier than thinking,” he said.

“That makes sense,” I said, “because otherwise I can’t explain why we’ve been chatting pointlessly for two full pages.”

Dialogue is excellent in an exam piece, and you should aim to include some in every story. However, there are risks, demonstrated by the example above!

Don’t let your story turn into a play script.

Use a little dialogue in 11+ creative writing, but focus on your descriptions of the setting, characters and events.

When you do write conversations, don’t stop describing. Avoid repeating “I said”, “she said”, “Mum answered”, and so on.

Instead, add little details which help the reader to imagine the scene as the characters talk.

Describe how people move around between saying things, the expressions on their faces, and so on:

“Because writing dialogue is easier than thinking,” he replied, a hint of a smile twitching like a worm at the edge of his mouth.

A quick note about paragraphing:

Examiners are likely to expect that a new speaker begins on a new line, if somebody else has already spoken in the paragraph.

This doesn’t happen in every book you’ll read, but it’s a convention – a normal way of doing things – which you are supposed to know about.

Look at this way of writing the example at the top, and think about where a sentence should begin a new line :

“Why are we still talking?” I said. “Because writing dialogue is easier than thinking,” he said. “That makes sense,” I said, “because otherwise I can’t explain why we’ve already been talking for two full pages.”

Now check the original again, to see whether you were right!

And now for the advertising break. Time to run away and make a cup of tea …

RSL Creative Writing is the children’s writing course from RSL Educational, written by Robert Lomax.

It’s perfect for Key Stages 2 and 3 and for 11+ exam preparation, at home or in the classroom. It’s also ideal for anybody aged 9 or above who enjoys writing and wants to do it better.

Click on the covers to learn more and view sample pages from the books:

RSL Creative Writing: Book 1

Rsl creative writing: book 2, rsl creative writing: book 3, the rsl creative writing collection (£40.47), 5 – short stories don’t need an introduction.

Robert was 33. He lived in a small flat with his cat and his wife. One day, he decided to go for a walk to the shops. The shops weren’t very far away: it took about ten minutes to get there. It was a cloudy day. It was the middle of February and it was a bit cold but not cold enough for a scarf. The road was in need of some repairs. He was wearing a blue jumper and black shoes and some fairly old jeans.

You don’t need to introduce your story as though it is a 300 page novel!

The reader doesn’t have to know everything about the main character, and especially not at the start. This way you waste a paragraph, when you might only have time for four or five in your whole story.

Anything that really matters about your characters can be mentioned along the way. In creative writing for 11 plus exams, everything else can be left out.

Get into the main business of your story from the very first line.

6 – Show, don’t tell … Whether you’re writing an 11 plus story, or whether you’re a famous novelist!

In real life, we can’t see what is in other people’s minds.

We have to work it out from what they do – and sometimes from what they say, although this can be very misleading!

For this reason, other people’s creative writing is often most interesting when we have to work out what characters are thinking and feeling.

This makes the characters seem like real people whose thoughts we can’t immediately know.

It also helps to get us – the readers – involved in the story by making us do some thinking for ourselves!

You might initially want to write this:

Simon looked up. He was angry.

But this is much more interesting to read:

As Simon looked up I could see his jaw muscles flexing.

Have a go at re-writing the following paragraph to make it more interesting . You can change things around as much as you like.

I admit: this is the sort of thing which you will sometimes read in a book. It isn’t necessarily  always bad writing, in itself.

However, it is a missed opportunity to bring a character to life. In a time-limited 11-plus exam story, you need to take advantage of such moments.

The rule is:

Where possible,  show me  what a character is feeling … don’t  tell me .

Have a look at my way of re-writing the paragraph above:

All Anna’s thoughts have gone.

Instead, there are some strong clues which steer you towards a particular idea about what she thinks and how she feels: but you still have to decide for yourself.

This forces you to imagine Anna clearly in your own mind.

How does my answer compare to your approach?

7 – Use a range of senses throughout your story

This is good writing. The trees may be “green” (which is a bit dull), but they are “swaying”, which is an effective detail and more than makes up for it.

The simile in the second sentence (“like wisps of cigar smoke”) is vivid and well planned.

The sandwich bag is “crumpled”, and “bag of bacon” is a nice moment of alliteration to emphasise this robust, commonplace item of food.

But imagine a story which continues in the same way, all the way through.

Everything is visual: a sight image.

For the reader, it is like being in a world without the ability to hear, smell, touch or taste.

Furthermore, the narrator seems to be looking around constantly, noticing everything. Is this normal behaviour?

It’s an unrealistic way of seeing the world, and after a while it becomes exhausting to read.

For a student, there are two simple but very useful lessons:

1) Always think about the five senses (sight, hearing, touch, taste, smell).

2) Sometimes avoid the most obvious sense when describing a thing (see point 8 below).

These tips are easy to apply in your creative writing for 11+, but they make a huge difference.

What’s more, unlike a clumsy simile (see point 9 ), a sensory description rarely ends up  harming  your writing. It can be effective or ineffective, but that’s another matter!

Take the example above:

“The trees were green and swaying”  could become:  “The trunks were groaning, and overhead I heard the dull rustle of a thousand fresh leaves slapping against one another.”

There’s nothing startlingly original here, but because it is a slightly less obvious way of describing trees, it creates a much more powerful atmosphere.

If you want a metaphor as well, try turning  “dull rustle”  into  “distant applause” , which makes the leaves seem like a mass of enthusiastic people.

Similarly,  “I looked at the bag of bacon sandwiches crumpled on the seat next to me”  takes on more life like this:

I smelt something like old sick; then I remembered the bag of bacon sandwiches crumpled on the seat next to me.

Notice how easily similes (“like old sick”) and metaphors happen, almost by themselves, when you focus on describing with a range of senses .

This is one of my most important 11 plus writing tips.

8 – Sometimes describe things using a less obvious sense

Using a range of senses, as I discussed in point 7 , is really, really important.

But how can you come up with surprising, powerful descriptions – descriptions to make the marker stop ticking your work for a second, raise their eyebrows and smile?

Imagine that you are just about to write the following sentence:

It was a cold morning.

But you stop yourself, think for a second, and write this:

I could hear the crackle of thawing ice on car windscreens.

This is much more interesting. Rather than using the sense of touch (a “cold” feeling), you are using a sound: “the crackle of thawing ice”.

There’s a good chance that the reader will think:  “Yes! I never considered it before, but you really do hear a sound when ice thaws quickly.”

This version also tells you much more about the weather:

The reader can work out that the night has been exceptionally cold, but also that the temperature is now rising quickly.

The thought process to produce descriptions like this is much simpler than it seems:

1) Think of the sense which is most obvious to describe the thing you are writing about.

3) Think of the second most obvious sense.

4) Ban that too!

5) From the three remaining senses, pick the one which is most useful.

6) Ask yourself how the thing would sound, feel, smell or taste – whichever three of these you have left (you’ve almost certainly banned sight!).

7) Write about it.

9 – Use similes and metaphors carefully in your creative writing

Similes and metaphors are useful (and can be impressive), but they have to make things clearer for the reader, not create confusion.

“She won the sprint like a racing car” asks more questions than it answers.

Was she noisy? Was she travelling at 150 miles per hour?

On the other hand, “She ducked her head and slipped across the line as cleanly as a racing car” helps me to picture the event exactly as intended.

Here’s another simile for speed, which I’ve seen a great many times (you’d hardly believe how many) in 11-plus stories:

Donald wrote like a cheetah.

Does this mean that Donald wrote savagely and meaninglessly, like a wild animal with a pencil jammed between its claws ?

Or perhaps that he wrote largely about the themes of hunting and sleeping ?

My guess is that Donald wrote quickly , but I’m not sure … because if that’s all you meant, WHY DIDN’T YOU JUST SAY IT?

This sort of thing is not really the fault of a young writer, who after all is (hopefully!) doing their best.

It is the fault of those dastardly teachers who advise children to include, for example, “at least one metaphor and two similes” in each story.

The result of this, for most children, is a succession of poorly chosen descriptive tricks, which add nothing.

Indeed, we’ve seen how these things can end up making a story comical for all the wrong reasons!

The right approach to creative writing doesn’t start with the need to include a simile: it starts with the need to describe effectively .

To me, this means allowing the reader to imagine the situation fully, and helping them care what happens.

Let’s play around with the image of Donald writing “like a cheetah”.

What happens if we just get rid of the simile?

Donald wrote quickly.

OK, but it doesn’t tell us much: did he write quickly because he wanted to finish his story before  Newsnight , or because he was really excited by his work?

Let’s say that it was the first reason: he wanted to get his work out of the way. Perhaps he was feeling annoyed, given that it might interrupt his favourite TV show.

When somebody is writing rapidly while annoyed, what might this look like?

I imagine Donald’s arm wiggling as the pen moves — especially the elbow. The movement is fast and constant because he is worried about getting the work finished, and because in his irritation he doesn’t much care about its quality.

So I ask myself: What moves to and fro constantly, performing a task in an unimaginative way?

And the first thing I think of is a machine in a factory:

Donald hunched over the page, his arm jerking to and fro with the quick, regular movements of a factory robot.

This sentence by itself would go some way to making your story the best in the exam room.

I hope I’ve persuaded you that with a well-organised thought process, a good simile isn’t too difficult to write!

Because children have been taught to work in this way, a story will often contain the required two similes, a metaphor, a personification, even an interesting alliteration …

… but everything in between is lifeless.

What students need is a different sort of checklist, to help them make the rest of their writing interesting .

I hope this article will give you some ideas!

10 – Stephanie was writing a beautiful story in the 11-plus exam hall. Or was she …?

Suspense is good if it’s appropriate to the story, but don’t jack-knife it in clumsily!

“It was a calm, sunny day. Or was it?” doesn’t really make me curious.

It makes me think that you’re trying to pester me into being excited, rather than persuading me to feel that way through your excellent writing.

If you write in a way that builds suspense by making me interested in the characters and events in the story – while keeping some important information hidden from me, just out of sight – this will speak for itself.

However, not every piece of creative writing needs it!

If you found these story writing tips useful or if you have a question, please leave a comment below! I’d love to have your feedback. (Tick the “Receive email updates” box to receive an email when I reply.)

For the most comprehensive range of resources to help with preparation for the 11+ exam,  you might like to try 11 Plus Lifeline (with a money-back guarantee in the first month). Every practice paper has full example solutions, with a detailed discussion and explanation for every question – like being taught by an excellent private tutor. There’s lots of material to help develop creative, high-scoring exam stories!

According to Tutorful, it’s “ the gold standard for independent and grammar school 11-plus preparation ”.

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Watch your first free 11-plus video straight away. Videos 2 & 3 will reach you by email within a few days.

At the same time, you’ll receive 121 Pages of award-winning RSL practice material, with step-by-step solutions – for free!

I'll also send you some useful information about RSL Educational resources and more advice for exam preparation. You’ll be able to unsubscribe from my emails any time you like.

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89 Comments

If you have any questions, feel free to ask me here. I’ll do my best to help you out!

Hi, I’m preparing my son for 11+. His story ideas are good but he needs to add more details/depth. How can I encourage that? Thanks

That’s a very difficult question to answer, because there is so much that I could say! Many of my suggestions are in the article above. The sample at http://digioh.com/em/27284/164929/84za5s4g4u may offer more ideas. If this is useful, then 11 Plus Lifeline offers many further resources.

What’s the syllabus of creative writing for 11plus. I understand there is no definitive one, it varies with target school as well, but still I’d like to know the min types of writing children should be knowing end of year 6 e.g. story writing, descriptive writing, poetry writing, persuasive writing, diary, reconnect, fiction, non fiction writing, script writing, book/film review, blog writing etc. Really confused with the list of categories and subcategories under each. I just need a good structure with every details. Please help with a detailed table of contents.

Hi Jay. I’m afraid I don’t have such a list – because there isn’t one. Schools can set anything that they like! However, I think getting children used to responding to a range of formats is more important than covering everything. The most common formats are probably: 1) A story based on a title or topic 2) A continuation of a passage (usually the passage already used as a comprehension text) 3) A story based on a picture

You provide excellent tips that we can use to guide our children. Done in a very simple but effective way. Even more – as times are hard and money is tight your generosity shows you truly do wish to help children and not just make money out of them. Thank you

Thank you Alison. I’m glad you found the article useful. Robert

Thank you ever so much for your very useful tips. Would you have some advice (or a sample essay) on writing a descriptive essay based on a given image?

Hi Aparna, There is some relevant content in 11 Plus Lifeline. For more along these lines, keep an eye on the website in the autumn …

Hi Robert, I found the article above very helpful. My daughter is in year 5 and we have just started our 11 plus journey. She seems to be struggling air with creative writing. She has such great ideas and an amazing imaginative mind, however she struggles to express this on paper as compared to her peers also studying for the 11 plus. How can I help her become a better writer?

Speaking as she writes might help: perhaps she will write more fluently if she just thinks of it as a way to record her verbal ideas.

My RSL Creative Writing books might help her to develop her ideas.

What is a good range for the word count for a “continue the story” creative writing task at 10+? I see suggestions of 4-5 paragraphs, but paragraphs vary hugely in length. My son is only writing around 150 words, and I fear this is taking “quality not quantity” to the extreme!

It really depends! Sometimes you’ll be given an 8-10 line answer space, in which case that would be appropriate. On the other hand, if you have 30-40 minutes, you should be pitching for 1 to 1.5 pages. Robert

Thank you so much! Very informative

I’m glad to help!

how much your fees for creative writing, and how many lesson? please let me know [email protected]

Hello Hemang. I’m afraid I don’t work as a tutor these days. However, you might be interested in my creative writing books at https://www.rsleducational.co.uk/rsl-creative-writing . These will take your child through their skills step by step, much as I would if I was teaching them. Good luck! Robert

Hi Sir! Sir, you suggestions are greatly useful. Sir, can you assist me on how to incorporate Strong Verbs in my writings as I do not know many and I struggle on account of it ?

There’s no easy answer, but the best starting point is to look for specific ways of describing things. For instance, instead of “he talked”, you might say “he muttered”, for example. You’ll learn more verbs if you look out for them as you read things, and perhaps note interesting ones down in a book. Good luck!

Dear Robert Hope you are doing well , my son is in year 5 and he is going to set for 11 plus exam for very highly competitive grammar schools , he need help for is creative writing . I advice that you are the best , I’m seeking help from you ,please . Yours sincerely Saha Mcewan

Hello. Have a look at 11 Plus Lifeline , perhaps, and my RSL Creative Writing books. I do intend to release some new things for creative writing in the future: watch this space!

Hi Robert. These are great tips. My question is how to come with effective descriptions that vary. When I do descriptive writing, I describe with only the five senses and often run out of ideas. Also, how can we write in a way that will make a clear image in the readers mind. Thanks for the time

Hi Yatharth! My video at https://youtu.be/LKnvrad6jpw is all about this, so why not have a look at that? If that’s useful, look at https://www.rsleducational.co.uk/product/rsl-creative-writing-1

I completely agree with your article, and as a teacher who prepares children for GCSE and the 11 tests, I employ a lot of the ‘strategies’ you mention. What children need ultimately is time to read, digest and above all enjoy stories and poems and then to talk about what they’ve read and in some ( or maybe a lot of cases) relate the themes and ideas etc in what they have read to their own lives. This I feel, can give a greater sense of ‘reality’ to what they can eventually write; and then we as teachers (and parents) can model how to write ‘good’ creative stories (and include all the SPAG) which can go a long way to ensuring children actually begin to feel that they themselves can be imaginative and write great stories.

Thank you for taking the time to comment, Molly. I very much agree with you.

What children need ultimately is time to read, digest and above all enjoy stories and poems and then to talk about what they’ve read and in some ( or maybe a lot of cases) relate the themes and ideas etc in what they have read to their own lives.

The only thing I’d add to this is that it works both ways: reading informs writing, but the very best way to develop critical reading skills is to become more sophisticated as a writer!

Hi Robert,l am a Creative Writing teacher for 8+ Do you think 6+ can be taught Creative Writing that will yield excellent result? I asked this question from my experience of teaching Creative Writing,I observe that more 6+ struggle with understanding and implementing Creative Writing stages than 8+ Also,I teach Creative Writing easily because I believe I have the skills to teach it but how can I come up with a special syllabus to teach my colleagues how to teach Creative Writing in the class that will be result oriented.

Hello Soremi.

I would not think too much about results, if by that you mean percentage scores, when children are 6 or so and developing their writing. I would focus on their enjoyment and on encouraging them to explore their imagination, creating interestingly described characters and environments. It’s a different situation in 11+ exams, where children must demonstrate certain skills and perform well in comparison with their peers.

However, it is very important to encourage the development of accurate and clear English from an early stage. Creative writing is a good opportunity to uncover and address problems.

I found this very useful and straightforward, and also very funny… The tips will take me flying in my writing!

Thanks Lily-Grace. The work you sent for me to look at this week was very impressive: you’re already flying!

Thanks Robert this description is very helpful

I’m very glad it’s useful. Thanks for commenting!

Hola me gustaria hacer unas infografias mas dinamicas

Thank you for the topic

It’s a pleasure. I hope the advice helps.

I thought that this was a brilliant summary. Thank you very much. Engaging and thoughtful. Very much appreciated.

I’m delighted to hear it. Thank you!

I found your creative writing tips very insightful, a real shame for us it was right at the end of our 11+/13+ preparation.

Thank you Sara. I hope they made some difference, even at a late stage.

Very useful tips! I like the way you have broken down the advice into bite-sized chunks! Thanks Robert

I’m glad you found them helpful! Thanks for commenting.

Great tips, thanks Robert. Do you have tips on non fictional writing as well? E.g. how a child can do a stellar job when asked to write a suggestion letter to the council. My child struggles with writing on everyday things that she deems uninteresting like describing everday things but is flying when writing on imaginary topics. Thanks in advance.

Hi Tolu. I have some resources for less creative subject matter in 11 Plus Lifeline .

I think the best way to add interest to potentially unexciting things, like letters, is with examples. “I think you should do more to reduce bullying, because it discourages children from studying” is not interesting. “Last week, a boy trudged towards me across the playground, clenching and unclenching his fists, with the dead-eyed look of meaningless aggression that I’ve come to know so well. This is happening too often in our school!” is much more impressive.

Thanks for these tips . Would you suggest any topics for DS to practice .

There are a great many writing topics with fully explained example answers in 11 Plus Lifeline . I might add a blog post with some suggested topics in the coming months. Robert

These SPECTACULAR tips helped me a lot when I was planning and writing a story. I think that these AMAZING tips will help me a lot when I am doing the exam. THANKS Robert!!!!

Thanks Raon! I hope you’ll share the link. Good luck in your exam. Robert

Thanks for the tips to improve the writing skill for the content writers and the students.

Thank you Nihal – I’m glad my advice is useful.

What can I Say?

My son is about to take the 11 + and part of the material is creative writing,

Can you recommend any good material please?

The key is reading and I don’t think he reads as much as he should do

Please advise

Hi Fazal. I would of course recommend my own creative writing material in 11 Plus Lifeline . There’s a free sample here .

Reading is certainly important, but it won’t do any magic without good writing practice alongside it.

If your son isn’t keen on reading, trying to push him to read more may not work. However, you can help to improve the quality of the reading he does do, by discussing it whenever possible in a way that encourages him to think about it in more depth. You can also introduce new vocabulary into your conversations, and so on.

Also, the reading list here may help him to find books that he does want to read!

Hi, my son 11, is really struggling with creative writing, the main problem being he can’t think of anything to write about. he’s a clever boy but more into science and computers. He thinks he can’t do it and I’m worried he’s going to freeze in the exam. how can i get him to access his imagination and not panic. Thanks

Practice is certainly the main thing. If he can start to “access his imagination” (a nice phrase) without exam pressure, he is more likely to be able to do so in the test.

When you say that he can’t think of anything to write about, you’re describing a problem that I can relate to. However, it should not be a big concern at 11+, for the simple reason that the best stories tend to be about very little! If he can construct a simple plot, focused on one event – even something very ordinary and apparently dull – then he has what he needs. From that point, all his effort should be focused on describing well, so that the story creates atmosphere and has a believable main character.

The real problem at 11+ is when children have too many creative ideas. They construct complex, overwhelming plots, about which it is impossible to write well – or even plausibly – in the time available.

Hi Robert Have you got any tips for the CSSE style quick 10 mins Continuous Writing tasks please. These have included instructions, descriptions and this year the exam paper included a picture to write about- what’s happening- story /description?

Many thanks for your help.

This is very difficult to answer in a brief comment. I do have some specially designed resources for these CSSE writing tasks in 11 Plus Lifeline , if that is of interest.

If writing creatively, keep the plot to an absolute minimum. Imagine that you are describing a ten second scene from a movie – not writing the plot for a whole film. Focus on effective use of the senses, in particular – very much as I outline in this article. Don’t waste any space introducing your writing.

If describing a picture, the same applies. Focus on details from it, and try to find a logical structure. For example, a character might move around the image, finding things; or you might imagine the scene changing over a period of time.

For instructions, try to visualise the activity as precisely as you can, then use words to convey your thoughts exactly. This will lead to good vocabulary. Rather than saying “Screw the lightbulb into the socket”, say something like this: “Steadying the socket with your spare hand, twist the bulb gently in a clockwise direction until you encounter resistance.” This doesn’t come from trying to be fancy: it comes from very clearly imagining the action before I write.

There is a great deal more to be said, but I hope these pointers are useful.

Great tips and advice here. I have 4 boys, all at different levels of education. This has helped me to help them. Thanks!

That makes me very happy. Good luck to your sons!

Anybody who found this useful might like to read more of my creative advice at https://www.rsleducational.co.uk/creative-writing-less-is-more .

This article is very helpful. Thank you.

Thanks for taking the time to say so!

I found this very helpful, thank you

Hello Good Afternoon and thank you very much for my help. I am a young child preparing the eleven plus. I don’t necessarily have any questions i just don’t have any questions. Good luck on your educative journey.

Good luck to you, Lukas! Well done for taking the initiative and researching your exams.

I am a 8 years old child and I am doing your 11+ RSL comprehension, do you have any tips that might help me improve my writing? Thank you for your help!

Hi Kate! I’d like to help, but I’m not sure how to. You’ve written this under an article about improving your writing, and you’re working on a book that also helps with this. I don’t know what tips to add here. If you could be more specific, perhaps I’ll be able to say something. Good luck with your work! Robert

Hi Robert! I really like your tips and they did improve my daughter’s writing! Thank you so much!

I’m so glad! Well done to her.

Hi Richard, Does cursive or printed handwriting affect the writing score a 11+ level? Thanks in advance.

No, it shouldn’t make any difference. All that matters is that the writing should be easy to read, and that the student can write reasonably quickly.

Hi there, I am doing 13+, My tutor says that I should not use metaphors or similes, but I think I should. Do you have any advice for me on descriptive writing? And can you explain what a metaphor is?

I think you are probably misinterpreting your tutor. A good simile or metaphor, in the right place, is a good thing, but I would guess that your tutor is concerned that you are over-using these things and that this is distracting you from simply writing well. An alternative is that you haven’t quite understood how to use them effectively. A misjudged simile can look odd: using no simile (or metaphor) is better than using a bad one!

For a good explanation of what a metaphor is, see https://www.grammarly.com/blog/metaphor/ .

Hi, I’m currently helping a student prepare for entrance exams, and I just wondered if you could help me with a question. He was struggling with the timed element of creative writing and wanted to know if he DID run out of time, what would a marker prefer? To just leave the piece unfinished, or to quickly make an ending for the story, even if it meant it was quite an abrupt ending that didn’t necessarily do the story justice?

I think it depends on the marker. I’d prefer an unfinished piece to one with something actively bad in it, like a bad ending. However, can they leave an unfinished ending that nonetheless has something final about it: for instance, zoom out and describe the trees swaying in the distance, or the waves, so that there’s a sense of the world rolling on, despite the events in the story? If this is done well, it might even appear that they intended to finish this way.

great work, keep it up.

Amazing website! The content is wonderful. Highly informative indeed.

That’s brilliant to hear. Thank you!

Do you have to pay to get your work marked?

Yes, that’s right. Most people do it via an 11 Plus Lifeline Platinum subscription .

My daughter is not good at creative writing and I am apprehensive as she writes her pre-tests on 11th November . How do I help her with the following formats?

1) A story based on a title or topic 2) A continuation of a passage (usually the passage already used as a comprehension text) 3) A story based on a picture

Hello! I cover all these things in my RSL Creative Writing books – see https://www.rsleducational.co.uk/rsl-creative-writing You will also find creative writing videos covering these things at https://go.easy11plus.org/VIDEOLIST Good luck! Robert

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• Grades 6-12
• School Leaders

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5 Peer Editing Strategies That Actually Work For Student Writers

When you ask your students to do peer review of their writing, do they stare at you with puzzled expressions?[…] Continue Reading

When you ask your students to do peer review of their writing, do they stare at you with puzzled expressions? Here are five specific, hands-on approaches to peer conferencing that your students can really sink their teeth into.

Revising and editing a peer’s writing helps students learn to work as a team. It also gives them a fresh perspective on the proofreading process that will help them become more aware as they write and edit their own work. So, how can you make the peer review and editing process engaging, meaningful and fun for students? Here are five ways to get your students excited about peer review that actually work!

Highlighter Markers: 3 Colors Yellow – Mark the first word of each sentence. Questions to think about: Is there variety? Does the writer use transitional words? Are there any sentence fragments or run-ons? Pink – Highlight each adjective. Think about: Is the writing descriptive? Are the adjectives strong and specific? Blue – Highlight each verb. Think about: Are there too many “to be” verbs? Are the verb choices strong?

Students begin by highlighting specifics. Then, remind them to look at the big picture. After highlighting, they can make comparisons and add suggestions about what the student needs to add, adjust or remove. Proofreading will come later. First, they are helping a peer with sentence fluency and word choice—both descriptive language and “showing without telling.”

Teach students about the revision sandwich: compliment, suggest, correct. Remind students that when reviewing someone’s work, always start out by saying what they like about their work. Next, they make a suggestion and converse with their partner. Students ask questions. Then, they make corrections. By working together, they both learn from each other.

Click here for a PDF of the Writing Wheel Checklist.

Revising (The big picture) A dd words and sentences (be descriptive, capture all ideas). R emove words and sentences (be concise). M ove words and sentences (sentence fluency, organization). S ubstitute words and sentences (word choice, voice).

Editing (Conventions) C apitalization U sage (Verbs and nouns—does it make sense?) P unctuation S pelling

To help students with their understanding, say you use your arms and hand to hold your ear to help them remember that when you revise, you want the writing to sound better. If you punch a hole in a cup and look through it, you are using your eyes. This will help them remember that when you edit, you want your writing to look better. Students could even create a telescope made out of a paper cup and call it their Revisoscope! Check out Busy Bee Kids Crafts to see how to construct one. Once students know the difference between revising and editing and have the acronyms memorized, they can jot them down on a Post-it note when checking a peer’s writing. The acronyms will remind students of what to look for and how writing can be improved to make it look and sound better!

Print out Be the Editor task cards for students to use when revising and editing at each station. Students use Zaner-Bloser’s task cards to help them discuss and check one another’s writing! The task cards provide the children with prompts, making editing/revising easier. By concentrating on one writing trait at a time at each station, students will not feel overwhelmed. Along with the task cards, put out highlighters, sticky notes, colored pencils and other writing utensils to keep students interested.

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Questions That Set a Purpose for Reading

The last time you read, you had a purpose, even if you didn’t realize it. Maybe you were reading to Continue Reading

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Writing Center: Checklist For Creative Writing

• How to Set Up an Appointment Online
• Documentation Styles
• Parts of Speech
• Types of Clauses
• Punctuation
• Spelling & Mechanics
• Usage & Styles
• Resources for ESL Students
• How to Set up an APA Paper
• How to Set up an MLA Paper
• Adapt to Academic Learning
• Audience Awareness
• Learn Touch Typing
• Getting Started
• Thesis Statement
• The First Draft
• Proofreading
• Writing Introductions
• Writing Conclusions
• Chicago / Turabian Style
• CSE / CBE Style
• Avoiding Plagiarism
• Cross-Cultural Understanding
• Writing Resources
• Research Paper - General Guidelines
• Annotated Bibliographies
• History Papers
• Science Papers
• Experimental Research Papers
• Exegetical Papers
• FAQs About Creative Writing
• Tips For Creative Writing
• Exercises To Develop Creative Writing Skills

Checklist For Creative Writing

• Additional Resources For Creative Writing
• FAQs About Creating PowerPoints
• Tips For Creating PowerPoints
• Exercises to Improve PowerPoint Skills
• Checklist For PowerPoints
• Structure For GRE Essay
• Additional Resources For PowerPoints
• Additional Resources For GRE Essay Writing
• FAQs About Multimodal Assignments
• Tips For Creating Multimodal Assignments
• Checklist For Multimodal Assignments
• Additional Resources For Multimodal Assignments
• GRE Essay Writing FAQ
• Tips for GRE Essay Writing
• Sample GRE Essay Prompts
• Checklist For GRE Essays
• Cover Letter
• Personal Statements
• Resources for Tutors
• Chapter 2: Theoretical Perspectives on Learning a Second Language
• Chapter 4: Reading an ESL Writer's Text
• Chapter 5: Avoiding Appropriation
• Chapter 6: 'Earth Aches by Midnight': Helping ESL Writers Clarify Their Intended Meaning
• Chapter 7: Looking at the Whole Text
• Chapter 8: Meeting in the Middle: Bridging the Construction of Meaning with Generation 1.5 Learners
• Chapter 9: A(n)/The/Ø Article About Articles
• Chapter 10: Editing Line by Line
• Chapter 14: Writing Activities for ESL Writers
• Resources for Faculty
• Writing Center Newsletter
• Writing Center Survey
• Begins with an engaging opening sentence and opening paragraph
• Concludes with an impactful ending that makes the audience appreciative of the writing 
• The ending is plausible and fits in with the rest of the story
• Uses strong, descriptive language throughout the entire piece
• Contains a variety of verbs, adjectives, adverbs, and nouns to add to descriptive language 
• Sentence structure is varied and helps create different moods
• Follows a logical order and a logical sequence of events
• Provides cues and transitions to the reader when there are changes in the timeframe
• Includes enough detail that the audience knows the looks, thoughts, and personalities of the characters
• Utilizes dialogue when necessary to add more depth to the characters 
• Feelings of characters are evident in the writing 
• The story is well-paced and developed
• Contains a clear, consistent point of view throughout the entire piece
• Does not contain too many details or descriptions that make the writing less effective
• Contains enough detail for the audience to understand the story, the plot, the setting, and the characters
• Utilizes literary devices that enhance the writing
• Suspense and tension are built and carried throughout the piece
• The setting is described in enough detail for the audience to know what the setting is like
• Mentions the five senses to add to the descriptions 
• Uses the same verb tense consistently through the writing 
• Free of grammar, spelling, and punctuation errors
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• Next: Additional Resources For Creative Writing >>
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• URL: https://mc.libguides.com/writingcenter

Peer Review

About this Strategy Guide

This strategy guide explains how you can employ peer review in your classroom, guiding students as they offer each other constructive feedback to improve their writing and communication skills.

Research Basis

Strategy in practice, related resources.

Peer review refers to the many ways in which students can share their creative work with peers for constructive feedback and then use this feedback to revise and improve their work. For the writing process, revision is as important as drafting, but students often feel they cannot let go of their original words. By keeping an audience in mind and participating in focused peer review interactions, students can offer productive feedback, accept constructive criticism, and master revision. This is true of other creative projects, such as class presentations, podcasts, or blogs. Online tools can also help to broaden the concept of “peers.” Real literacy happens in a community of people who can make meaningful connections. Peer review facilitates the type of social interaction and collaboration that is vital for student learning.

Peer review can be used for different class projects in a variety of ways:

• Teach students to use these three steps to give peer feedback: Compliments, Suggestions, and Corrections (see the Peer Edit with Perfection! Handout ). Explain that starting with something positive makes the other person feel encouraged. You can also use Peer Edit With Perfection Tutorial to walk through the feedback process with your students.
• Provide students with sentence starter templates, such as, “My favorite part was _________ because __________,” to guide students in offering different types of feedback. After they start with something positive, have students point out areas that could be improved in terms of content, style, voice, and clarity by using another sentence starter (“A suggestion I can offer for improvement is ___________.”). The peer editor can mark spelling and grammar errors directly on the piece of writing.
• Teach students what constructive feedback means (providing feedback about areas that need improvement without criticizing the person). Feedback should be done in an analytical, kind way. Model this for students and ask them to try it. Show examples of vague feedback (“This should be more interesting.”) and clear feedback (“A description of the main character would help me to imagine him/her better.”), and have students point out which kind of feedback is most useful. The Peer Editing Guide offers general advice on how to listen to and receive feedback, as well as how to give it.
• For younger students, explain that you need helpers, so you will show them how to be writing teachers for each other. Model peer review by reading a student’s piece aloud, then have him/her leave the room while you discuss with the rest of the class what questions you will ask to elicit more detail. Have the student return, and ask those questions. Model active listening by repeating what the student says in different words. For very young students, encourage them to share personal stories with the class through drawings before gradually writing their stories.
• Create a chart and display it in the classroom so students can see the important steps of peer editing. For example, the steps might include: 1. Read the piece, 2. Say what you like about it, 3. Ask what the main idea is, 4. Listen, 5. Say “Add that, please” when you hear a good detail. For pre-writers, “Add that, please” might mean adding a detail to a picture. Make the chart gradually longer for subsequent sessions, and invite students to add dialogue to it based on what worked for them.
• Incorporate ways in which students will review each other’s work when you plan projects. Take note of which students work well together during peer review sessions for future pairings. Consider having two peer review sessions for the same project to encourage more thought and several rounds of revision.
• Have students review and comment on each other’s work online using Nicenet , a class blog, or class website.
• Have students write a class book, then take turns bringing it home to read. Encourage them to discuss the writing process with their parents or guardians and explain how they offered constructive feedback to help their peers.

Using peer review strategies, your students can learn to reflect on their own work, self-edit, listen to their peers, and assist others with constructive feedback. By guiding peer editing, you will ensure that your students’ work reflects thoughtful revision.

• Lesson Plans
• Strategy Guides

Using a collaborative story written by students, the teacher leads a shared-revising activity to help students consider content when revising, with students participating in the marking of text revisions.

After analyzing Family Pictures/Cuadros de Familia by Carmen Lomas Garza, students create a class book with artwork and information about their ancestry, traditions, and recipes, followed by a potluck lunch.

Students are encouraged to understand a book that the teacher reads aloud to create a new ending for it using the writing process.

While drafting a literary analysis essay (or another type of argument) of their own, students work in pairs to investigate advice for writing conclusions and to analyze conclusions of sample essays. They then draft two conclusions for their essay, select one, and reflect on what they have learned through the process.

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Scoring Top Marks: 11 Plus Creative Writing Checklist

• Introduction

Creative writing can crop up on 11 plus exams often. But sometimes students can get confused about what the 11 plus exam is expecting of them. They have tons of questions. How do you start a creative writing piece? How do I get the marks? How long does this have to be?

Luckily, we have a guide here to something that can solve all this confusion and get students full marks on their 11 plus creative writing exam – checklists.  

Table of Contents

Why checklists?

The piacademy checklist system, students enjoy getting technical, it helps reluctant writers, here are the main issues:.

Checklists are used for many academic tasks, and creative writing is a common one. Are they really effective? Absolutely! 

This article from PiAcademy will explore why checklists are used and how to use writing checklists to improve student writing in the classroom and in the 11 plus creative writing exam .

Check this Out: Top 5 Creative Writing Tips to Score Full Marks

When children have the opportunity to address their own mistakes within the writing process, it makes their learning more meaningful. They can fix mistakes as they go and develop their writing skills that much faster. Think of famous authors like Roald Dahl or Judy Blume. 

Good writers use checklists, revise, and edit over and over again to get it just right.

A creative writing checklist is an effective tool to use because…

• It guides students to develop the skills needed when writing.
• It shows reluctant writers a simple way to include the necessary elements.
• It provides a reference to use throughout the writing process.
• It helps students stay focused on each step of the process.
• It gives students tools for review and peer-editing.
• It ensures students include key elements of that particular type of writing.
• It encourages students to establish organization throughout their paper.
• It reminds students to “check over” their paper for effective revising strategies and proper editing rules.
• It holds students accountable by providing expectations.
• It keeps students on task.
• It ultimately helps significantly improve students’ writing.
• It can help communicate the criteria of an effective paper to parents.

Don’t just take our word for it! Research from prominent universities backs it up:

“Kathleen Dudden Rowlands recommends using checklists to support student learning and performance. Well-designed checklists identify steps students can take to complete complex tasks which scaffold students’ metacognitive development and fosters the confidence and independence needed for internalising these steps for future tasks.”

When it comes to these ‘tasks’, creative writing for the 11 plus exam is no different. It might seem intimidating because of the number of marks. But the people marking the exams are using checklists too! They have their own criteria they have to follow to give out the marks.  All of PiAcademy’s 11 plus creative writing resources are built around this system, and here’s how it helps you get the marks.

So how does the system actually work? How does it help your child get higher marks on the 11 plus exam?

It Helps with Planning 

The starting point for our checklist system is based on a topic students overlook – planning. 

It’s a major reason why children take the 11 plus exam drop marks for no reason. No one wants to read a story that doesn’t make sense. So why would the examiner? They are going to read hundreds of these exams, remember. If they’re reading something that’s nonsense, it won’t go well for the student. 

Planning is an important part of the fiction writing process. Many professional writers use a plan as the basis for a first draft, which they will later edit several times before the work is complete.

Planning and proofreading should bookend your creative writing process. In the planning phase you prepare your ideas and narrative structure. As you proofread you check how well your writing is working. During each phase you might focus on vocabulary and effective forms of expression. The PiAcademy checklist is all about the student knowing exactly what is going to happen in the beginning, middle and end of the story. It even explains what your story should be doing at each stage in clear terms, so your child will never be missing a story structure ever again.

Ever enjoyed reading a grammar textbook cover to cover? Me neither. And with the checklist system, your child will never have to overthink how they build their sentences ever again. 

Something all 11 plus examiners are looking for is the technical ability, and creative writing is no different. But it can get overwhelming. Just showing students examples isn’t enough. They need to know they can use it in their own writing. 

For example, using a variety of sentences can help you to create pace and tension in your writing. Students must experiment with different sentence lengths and types to build atmosphere, mood and suspense. 

However, getting over this hurdle is easy when they prioritise different parts of the PiAcademy checklist. 

The checklist has a clear breakdown of all the different sentence types, with examples, so students aren’t left trying to do too much at once. Plus, the language used is simple enough for students to understand. 

Too many mark schemes use terms that confuse students rather than help them. A creative writing checklist on the other hand is designed for students to constantly reference.

Teaching creative writing for the 11+ creative writing exams can be incredibly difficult. I’ve discussed some of the issues previously, but the most frustrating thing I think is when students suggest they aren’t creative and so justify themselves not doing any writing. 

The inevitable disruptive behaviours then can become a nightmare to manage. Checklists introduce a pragmatic approach, with success, in getting students to produce quality responses in specific time frames.

• Students who withdraw from the writing process undoubtedly lack the confidence to write, which is because they lack the tools to do so. 
• There are numerous commentators who implore parents to provide consistent opportunities for students to write, thereby building their confidence in the process and concurrently developing a love of writing. 
• Chris Curtis‘ notable 200-word challenge is a prime example, where students are encouraged to write from a prompt but crucially without the fear of it being marked within an inch of its life, avoiding any self-consciousness and allowing a freedom of thinking. 

With a checklist like the one from PiAcademy , you don’t need to worry about reluctant writing, it's designed to get students into the task as soon as possible.

For example, if you have a child who is more geared towards mathematics or science than English, checklists can be a real help. They link to the mechanical part of the brain that likes to do things by steps or in a process.  

When each aspect of the mark scheme is broken down into plain language, many 11+ tutors have found that this helps with confidence over time. When a reluctant writer can focus on one section at a time, it cuts down on confusion and leads to higher marks. 

It helps great students, too. 

When we see students needing more than one experience of the modelling process, it reminds us that it’s not easy to write a successful story, and it takes lots of practice, even for the very best students. 

An inexperienced tutor would be guilty of rushing the process and have students writing independently too quickly, especially when 11 plus exams loom.

It’s easy for many parents to say, ‘just try your best, and get full marks’. But even the very best students need that help and support to get them over the line. Maybe there’s just one element of the mark scheme, like higher-level vocabulary , they need to meet. 

Having the checklist in front of them provides a scaffold to embed the final few parts of the mark scheme they need to get the very highest marks. 

Having examples of things like figurative language there to spur them on, can lead to increased creativity.

In some ways, this can be one of the trickiest parts of the exam to prepare for. There are not a great deal of high-quality resources available for parents, and the time pressures can really get to some students. 

Pupils will however find that developing a full description bank of characters, emotions, action, the natural world and the built environment etc will help them to deliver effective and creative descriptions on the day.

That’s why PiAcademy’s creative writing courses are so valuable – they have hints, plans, checklists, and structures in place to help students build up their confidence: 

• Specifically designed to prepare for independent and grammar school exams
• Great practice to improve your child’s imagination, writing skills, and performance in the exam 
• 23 Creative Writings - Designed by oxford graduate tutors

No matter which of these topics you want to make a start on, take a look at what PiAcademy has to offer.

The checklist ensures you cover essential elements for scoring full marks in 11+ Creative Writing.

It provides a structured approach to crafting compelling narratives.

Yes, it's designed to enhance Creative Writing for various 11+ exams.

Yes, you can conveniently access it online.

While it's a valuable tool, performance depends on overall writing skills.

Utilize the checklist as a guide to ensure you include critical elements in your Creative Writing, increasing your chances of success.

• Using PiAcademy for 8 months, Simply Amazing website. I have a lot of experience with other 11 + resources and found it hard to find any more difficult Math papers appropriate for the more independent academic schools. These exam papers are amazing, and very easy to follow with the thorough solutions. highly recommended for every parent. Sharon King , 11+ Parent Great, My daughter is taking her 11+ next month so we are using these papers to revise over the summer holidays. These topicwise questions are well set out and is a great practice for my daughter. These papers are a perfect way to help your kid to be as prepared as they possibly can for the 11+ exam. Amber , 11+ Parent
• Excellent, This website is perfect, initially i wasted three months just thinking whether to subscribe or not, After subscribing i found out that it was worth it. I recommended to almost all my friends and their kids are also busy now in practicing for 11+ El Loro , 11+ Parent Practice makes perfect!, PiAcademy have come out with a super range of new 11+ practice papers, designed to stretch, challenge and test your child for forthcoming entry examinations. The topicwise questions include numbers problems, algebra, geometry, probability, permutation and combinations, measurement...etc lana green , 11+ Parent
• Great exam papers. These test papers are amazing, they are a lot more up-to date than some of the 11+ stuff I have bought earlier for my daughter. gerry , 11+ Parent Using PiAcademy for 8 months, Simply Amazing website. I have a lot of experience with other 11 + resources and found it hard to find any more difficult Math papers appropriate for the more independent academic schools. These exam papers are amazing, and very easy to follow with the thorough solutions. highly recommended for every parent. Sharon King , 11+ Parent
• Using PiAcademy for 8 months, Simply Amazing website. I have a lot of experience with other 11 + resources and found it hard to find any more difficult Math papers appropriate for the more independent academic schools. These exam papers are amazing, and very easy to follow with the thorough solutions. highly recommended for every parent. Sharon King , 11+ Parent
• Great, My daughter is taking her 11+ next month so we are using these papers to revise over the summer holidays. These topicwise questions are well set out and is a great practice for my daughter. These papers are a perfect way to help your kid to be as prepared as they possibly can for the 11+ exam. Amber , 11+ Parent
• Excellent, This website is perfect, initially i wasted three months just thinking whether to subscribe or not, After subscribing i found out that it was worth it. I recommended to almost all my friends and their kids are also busy now in practicing for 11+ El Loro , 11+ Parent
• Practice makes perfect!, PiAcademy have come out with a super range of new 11+ practice papers, designed to stretch, challenge and test your child for forthcoming entry examinations. The topicwise questions include numbers problems, algebra, geometry, probability, permutation and combinations, measurement...etc lana green , 11+ Parent
• Great exam papers. These test papers are amazing, they are a lot more up-to date than some of the 11+ stuff I have bought earlier for my daughter. gerry , 11+ Parent

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Writer's Bounty

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Cheat Sheet for Grading Creative Writing

A cheat sheet for grading creative writing can be a useful tool for teachers and instructors who are looking for a quick and easy way to assess the quality of their students’ writing. By providing a set of guidelines and criteria to follow, a cheat sheet can help instructors quickly and consistently evaluate the creativity, organization, and overall effectiveness of a piece of writing. This then allows them to provide constructive feedback and support to their students as they work to improve their skills.

Why is Grading Creative Writing so Difficult?

Grading creative writing can be challenging for instructors. It’s often very personal and subjective, which makes it hard to assess using traditional grading systems. Plus, creative writing can be complex. It can involve a lot of emotions, which can be difficult to capture in writing. Additionally, the field is constantly changing, making it hard for instructors to stay on top of new styles and techniques. Overall, grading creative writing requires a careful and sensitive approach.

Cheat Sheet for Grading

Here are six quick and easy tips to keep in mind when grading your students’ creative writing.

Tip 1: Focus on the Overall Structure and Organization

• Does it have a clear beginning, middle, and end?
• Does the plot flow smoothly from one event to the next?
• Does it pull you along, or do you lose track of what’s happening?

Tip 2: Pay Attention to the Characters.

• Are they well-developed and believable?
• Do they have distinct personalities and motivations?
• Does the protagonist have any flaws or are they perfect?
• Does the antagonist have any redeeming qualities?

Tip 3: Look for Strong Descriptions and Sensory Details.

• Does the writer use vivid language to bring the scene to life?
• Does the writer use more senses in descriptions than just sight?
• Do the setting descriptions help set up a mood for the writing?

Tip 4: Consider the Use of Dialogue.

• Does it sound natural and add to the story?
• Does it give insight into the personality traits of the characters?
• Is it written correctly, following punctuation and paragraphing norms?

Tip 5: Evaluate the Writer’s Style and Voice.

• Does the writing have a unique and engaging tone?
• Could you tell which student wrote the piece just by reading it?

Tip 6: Look for Creativity and Originality

• Does the writer have fresh ideas?
• Is there anything unique about this writing from that of other students?

Final Thoughts and Freebie

Overall, the key is to provide constructive feedback that will help the writer improve and grow. It’s important to remember that creative writing is a form of self-expression, and everyone has their own unique voice and style. As a grader, your job is to help the writer hone their craft and develop their skills.

If you have any advice for grading creative writing, please put it in the comments below. Also, here is a free checklist to help you have a grade for each student’s creative work. It’s available in both an editable PowerPoint and a quick print PDF.

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11+ creative writing guide with 50 example topics and prompts

by Hayley | Nov 17, 2022 | Exams , Writing | 0 comments

The 11+ exam is a school entrance exam taken in the academic year that a child in the UK turns eleven.

These exams are highly competitive, with multiple students battling for each school place awarded.

The 11 plus exam isn’t ‘one thing’, it varies in its structure and composition across the country. A creative writing task is included in nearly all of the 11 plus exams, and parents are often confused about what’s being tested.

Don’t be fooled into thinking that the plot of your child’s writing task is important. It is not.

The real aim of the 11+ creative writing task is to showcase your child’s writing skills and techniques.

And that’s why preparation is so important.

This guide begins by answering all the FAQs that parents have about the 11+ creative writing task.

At the end of the article I give my best tips & strategies for preparing your child for the 11+ creative writing task , along with 50 fiction and non-fiction creative writing prompts from past papers you can use to help your child prepare. You’ll also want to check out my 11+ reading list , because great readers turn into great writers.

Do all 11+ exams include a writing task?

Not every 11+ exam includes a short story component, but many do. Usually 3 to 5 different prompts are given for the child to choose between and they are not always ‘creative’ (fiction) pieces. One or more non-fiction options might be given for children who prefer writing non-fiction to fiction.

Timings and marking vary from test to test. For example, the Kent 11+ Test gives students 10 minutes for planning followed by 30 minutes for writing. The Medway 11+ Test gives 60 minutes for writing with ‘space allowed’ on the answer booklet for planning.

Tasks vary too. In the Kent Test a handful of stimuli are given, whereas 11+ students in Essex are asked to produce two individually set paragraphs. The Consortium of Selective Schools in Essex (CCSE) includes 2 creative writing paragraphs inside a 60-minute English exam.

Throughout the UK each 11+ exam has a different set of timings and papers based around the same themes. Before launching into any exam preparation it is essential to know the content and timing of your child’s particular writing task.

However varied and different these writing tasks might seem, there is one key element that binds them.

The mark scheme.

Although we can lean on previous examples to assess how likely a short story or a non-fiction tasks will be set, it would be naïve to rely completely on the content of past papers. Contemporary 11+ exams are designed to be ‘tutor-proof’ – meaning that the exam boards like to be unpredictable.

In my online writing club for kids , we teach a different task each week (following a spiral learning structure based on 10 set tasks). One task per week is perfected as the student moves through the programme of content, and one-to-one expert feedback ensures progression. This equips our writing club members to ‘write effectively for a range of purposes’ as stated in the English schools’ teacher assessment framework.

This approach ensures that students approaching a highly competitive entrance exam will be confident of the mark scheme (and able to meet its demands) for any task set.

Will my child have a choice of prompts to write from or do they have to respond to a single prompt, without a choice?

This varies. In the Kent Test there are usually 5 options given. The purpose is to gather a writing sample from each child in case of a headteacher appeal. A range of options should allow every child to showcase what they can do.

In Essex, two prescriptive paragraphs are set as part of an hour-long English paper that includes comprehension and vocabulary work. In Essex, there is no option to choose the subject matter.

The Medway Test just offers a single prompt for a whole hour of writing. Sometimes it is a creative piece. Recently it was a marketing leaflet.

The framework for teaching writing in English schools demands that in order to ‘exceed expectations’ or better, achieve ‘greater depth’, students need to be confident writing for a multitude of different purposes.

In what circumstances is a child’s creative writing task assessed?

In Essex (east of the UK) the two prescriptive writing tasks are found inside the English exam paper. They are integral to the exam and are assessed as part of this.

In Medway (east Kent in the South East) the writing task is marked and given a raw score. This is then adjusted for age and double counted. Thus, the paper is crucial to a pass.

In the west of the county of Kent there is a different system. The Kent Test has a writing task that is only marked in appeal cases. If a child dips below the passmark their school is allowed to put together a ‘headteacher’s appeal’. At this point – before the score is communicated to the parent (and probably under cover of darkness) the writing sample is pulled out of a drawer and assessed.

I’ve been running 11+ tutor clubs for years. Usually about 1% of my students passed at headteacher’s appeal.

Since starting the writing club, however, the number of students passing at appeal has gone up considerably. In recent years it’s been more like 5% of students passing on the strength of their writing sample.

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

In England, the government has set out a framework for marking creative writing. There are specific ‘pupil can’ statements to assess whether a student is ‘working towards the expected standard,’ ‘working at the expected standard’ or ‘working at greater depth’.

Members of the headteacher panel assessing the writing task are given a considerable number of samples to assess at one time. These expert teachers have a clear understanding of the framework for marking, but will not be considering or discussing every detail of the writing sample as you might expect.

Schools are provided with a report after the samples have been assessed. This is very brief indeed. Often it will simply say ‘lack of precise vocabulary’ or ‘confused paragraphing.’

So there is no mark scheme as such. They won’t be totting up your child’s score to see if they have reached a given target. They are on the panel because of their experience, and they have a short time to make an instant judgement.

Does handwriting matter?

Handwriting is assessed in primary schools. Thus it is an element of the assessment framework the panel uses as a basis for their decision.

If the exam is very soon, then don’t worry if your child is not producing immaculate, cursive handwriting. The focus should simply be on making it well-formed and legible. Every element of the assessment framework does not need to be met and legible writing will allow the panel to read the content with ease.

Improve presentation quickly by offering a smooth rollerball pen instead of a pencil. Focus on fixing individual letters and praising your child for any hint of effort. The two samples below are from the same boy a few months apart. Small changes have transformed the look and feel:

Sample 1: First piece of work when joining the writing club

Sample 2: This is the same boy’s improved presentation and content

How long should the short story be.

First, it is not a short story as such—it is a writing sample. Your child needs to showcase their skills but there are no extra marks for finishing (or marks deducted for a half-finished piece).

For a half hour task, you should prepare your child to produce up to 4 paragraphs of beautifully crafted work. Correct spelling and proper English grammar is just the beginning. Each paragraph should have a different purpose to showcase the breadth and depth of their ability. A longer – 60 minute – task might have 5 paragraphs but rushing is to be discouraged. Considered and interesting paragraphs are so valuable, a shorter piece would be scored more highly than a rushed and dull longer piece.

I speak from experience. A while ago now I was a marker for Key Stage 2 English SATs Papers (taken in Year 6 at 11 years old). Hundreds of scripts were deposited on my doorstep each morning by DHL. There was so much work for me to get through that I came to dread long, rambling creative pieces. Some children can write pages and pages of repetitive nothingness. Ever since then, I have looked for crafted quality and am wary of children judging their own success by the number of lines competed.

Take a look at the piece of writing below. It’s an excellent example of a well-crafted piece.

Each paragraph is short, but the writer is skilful.

He used rich and precisely chosen vocabulary, he’s broken the text into natural paragraphs, and in the second paragraph he is beginning to vary his sentence openings. There is a sense of control to the sentences – the sentence structure varies with shorter and longer examples to manage tension. It is exciting to read, with a clear awareness of his audience. Punctuation is accurate and appropriate.

11+ creative writing example story

How important is it to revise for a creative writing task.

It is important.

Every student should go into their 11+ writing task with a clear paragraph plan secured. As each paragraph has a separate purpose – to showcase a specific skill – the plan should reflect this. Built into the plan is a means of flexing it, to alter the order of the paragraphs if the task demands it. There’s no point having a Beginning – Middle – End approach, as there’s nothing useful there to guide the student to the mark scheme.

Beyond this, my own students have created 3 – 5 stories that fit the same tight plan. However, the setting, mood and action are all completely different. This way a bank of rich vocabulary has already been explored and a technique or two of their own that fits the piece beautifully. These can be drawn upon on the day to boost confidence and give a greater sense of depth and consideration to their timed sample.

Preparation, rather than revision in its classic form, is the best approach. Over time, even weeks or months before the exam itself, contrasting stories are written, improved upon, typed up and then tweaked further as better ideas come to mind. Each of these meets the demands of the mark scheme (paragraphing, varied sentence openings, rich vocabulary choices, considered imagery, punctuation to enhance meaning, development of mood etc).

To ensure your child can write confidently at and above the level expected of them, drop them into my weekly weekly online writing club for the 11+ age group . The club marking will transform their writing, and quickly.

What is the relationship between the English paper and the creative writing task?

Writing is usually marked separately from any comprehension or grammar exercises in your child’s particular 11+ exam. Each exam board (by area/school) adapts the arrangement to suit their needs. Some have a separate writing test, others build it in as an element of their English paper (usually alongside a comprehension, punctuation and spelling exercise).

Although there is no creative writing task in the ISEB Common Pre-test, those who are not offered an immediate place at their chosen English public school are often invited back to complete a writing task at a later date. Our ISEB Common Pre-test students join the writing club in the months before the exam, first to tidy up the detail and second to extend the content.

What if my child has a specific learning difficulty (dyslexia, ADD/ADHD, ASD)?

Most exam boards pride themselves on their inclusivity. They will expect you to have a formal report from a qualified professional at the point of registration for the test. This needs to be in place and the recommendations will be considered by a panel. If your child needs extra arrangements on the day they may be offered (it isn’t always the case). More importantly, if they drop below a pass on one or more papers you will have a strong case for appeal.

Children with a specific learning difficulty often struggle with low confidence in their work and low self-esteem. The preparations set out above, and a kids writing club membership will allow them to go into the exam feeling positive and empowered. If they don’t achieve a pass at first, the writing sample will add weight to their appeal.

Tips and strategies for writing a high-scoring creative writing paper

• Read widely for pleasure. Read aloud to your child if they are reluctant.
• Create a strong paragraph plan where each paragraph has a distinct purpose.
• Using the list of example questions below, discuss how each could be written in the form of your paragraph plan.
• Write 3-5 stories with contrasting settings and action – each one must follow your paragraph plan. Try to include examples of literary devices and figurative language (metaphor, simile) but avoid clichés.
• Tidy up your presentation. Write with a good rollerball pen on A4 lined paper with a printed margin. Cross out with a single horizontal line and banish doodling or scribbles.
• Join the writing club for a 20-minute Zoom task per week with no finishing off or homework. An expert English teacher will mark the work personally on video every Friday and your child’s writing will be quickly transformed.

Pressed for time? Here’s a paragraph plan to follow.

At Griffin Teaching we have an online writing club for students preparing for the 11 plus creative writing task . We’ve seen first-hand what a difference just one or two months of weekly practice can make.

That said, we know that a lot of people reading this page are up against a hard deadline with an 11+ exam date fast approaching.

If that’s you (or your child), what you need is a paragraph plan.

Here’s one tried-and-true paragraph plan that we teach in our clubs. Use this as you work your way through some of the example prompts below.

11+ creative writing paragraph plan

Paragraph 1—description.

Imagine standing in the location and describe what is above the main character, what is below their feet, what is to their left and right, and what is in the distance. Try to integrate frontend adverbials into this paragraph (frontend adverbials are words or phrases used at the beginning of a sentence to describe what follows—e.g. When the fog lifted, he saw… )

Paragraph 2—Conversation

Create two characters who have different roles (e.g. site manager and student, dog walker and lost man) and write a short dialogue between them. Use what we call the “sandwich layout,” where the first person says something and you describe what they are doing while they are saying it. Add in further descriptions (perhaps of the person’s clothing or expression) before starting a new line where the second character gives a simple answer and you provide details about what the second character is doing as they speak.

Paragraph 3—Change the mood

Write three to four sentences that change the mood of the writing sample from light to gloomy or foreboding. You could write about a change in the weather or a change in the lighting of the scene. Another approach is to mention how a character reacts to the change in mood, for example by pulling their coat collar up to their ears.

Paragraph 4—Shock your reader

A classic approach is to have your character die unexpectedly in the final sentence. Or maybe the ceiling falls?

11+ creative writing questions from real papers—fictional prompts

• The day the storm came
• The day the weather changed
• The snowstorm
• The rainy day
• A sunny day out
• A foggy (or misty) day
• A day trip to remember
• The first day
• The day everything changed
• The mountain
• The hillside
• The old house
• The balloon
• The old man
• The accident
• The unfamiliar sound
• A weekend away
• Moving house
• A family celebration
• An event you remember from when you were young
• An animal attack
• The school playground at night
• The lift pinged and the door opened. I could not believe what was inside…
• “Run!” he shouted as he thundered across the sand…
• It was getting late as I dug in my pocket for the key to the door. “Hurry up!” she shouted from inside.
• I know our back garden very well, but I was surprised how different it looked at midnight…
• The red button on the wall has a sign on it saying, ‘DO NOT TOUCH.’ My little sister leant forward and hit it hard with her hand. What happened next?
• Digging down into the soft earth, the spade hit something metal…
• Write a story which features the stopping of time.
• Write a story which features an unusual method of transport.
• The cry in the woods
• Write a story which features an escape

11+ creative writing questions from real papers—non-fiction prompts

• Write a thank you letter for a present you didn’t want.
• You are about to interview someone for a job. Write a list of questions you would like to ask the applicant.
• Write a letter to complain about the uniform at your school.
• Write a leaflet to advertise your home town.
• Write a thank you letter for a holiday you didn’t enjoy.
• Write a letter of complaint to the vet after an unfortunate incident in the waiting room.
• Write a set of instructions explaining how to make toast.
• Describe the room you are in.
• Describe a person who is important to you.
• Describe your pet or an animal you know well.

Say hello to our free narrative writing checklists

FREE NARRATIVE WRITING CHECKLISTS

Teach your students to independently check their own narrative/story writing with these beautiful narrative writing checklist PDFs and rubrics. 

There are three age variations in the bundle Junior (Ages 5 – 7), Middle (7 – 11) and Senior (11 – 15). Each bundle contains both a student checklist for independent assessment and a student/teacher rubric for conferencing. Check the preview for a visual example. 

Each age group has been stylised and written to appeal to different age groups.

With six to a page, you can easily print these out and distribute to students and reuse them over and over. 

DOWNLOAD YOUR FREE NARRATIVE CHECKLISTS HERE

The version you are looking at is the free PDF version. If you are looking for the premium editable version, you can find it at

EDITABLE NARRATIVE CHECKLIST AND RUBRICS

Give your students the tools they need to write great stories.

Kevin has worked in education for over two decades. He has a Masters degree in Educational Technologies and runs two companies providing educational content to schools, students and teachers.

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Creative Writing Unit for High School Students

My creative writing unit for high school students allows for adaptations and for fun! With plenty of creative writing activities, you’ll have flexibility. 

If you are looking for a creative writing unit, I have ideas for you. When I taught middle school, I sprinkled such activities throughout the school year. As a high school teacher, though, I taught an entire creative writing course. With no textbook and very little established activities, I largely worked from a blank slate.

Which. . . turned out well. I love teaching creative writing!

ELA Specific Classes

Older students often can choose electives for their ELA classes, and Creative Writing is a popular class. I’ve condensed my ideas into one post, so I organized the ideas by creative nonfiction and fiction writing and added pictures to organize this information for you.

EDIT: This post about my creative writing unit for high school writers has exploded and is about three times as long as a normal blog post. If you’d like to skip around to get inspiration for teaching creative writing, you can use the pictures and headings as guidance.

ANOTHER NOTE: I attempted to outline the days I spend on each topic, but several factors went into my estimates. First, each class differs in what they enjoy and what they dislike. If a class dislikes a specific topic, we will wrap it up and move on. If a class has fun with an assignment or needs more time to work, the days might vary.

What are the key elements of a creative writing unit?

Key elements of a creative writing unit include introducing different writing genres, teaching basic writing techniques, encouraging imagination and creativity, providing writing prompts and exercises, offering constructive feedback and revision opportunities, and fostering a supportive writing community.

How can we organize such activities?

Starting with creative nonfiction has worked for my classes, small pieces like paragraphs. I believe the success is because young writers can write what they know about. Then we can switch to fiction for the second quarter. Again, the days spent on each assignment varies, and I honestly do not stress about creative nonfiction being nine weeks and fiction being nine weeks.

All of the material listed below is in my newly updated Creative Writing Bundle . The pieces are sold separately, but that creative writing unit includes bonus material and a discount.

Ok, settle in! Here are my ideas about teaching creative writing with high school students.

First Week of School for a Creative Writing Unit

The first day of school , we complete activities that build awareness into the classroom environment about “creativity.” Do not shy away from setting a foundation of support and understanding as you engage with young writers. During my first creative writing classes, I neglected to spend time establishing expectations and community. The following semester, the time invested early paid off with engaged students later.

Those first days, we also discuss:

• Published vs. private writing. I tell writers they may share whatever they like with me and the class. As a community of writers, we will share with each other. Most of our writing will be public, but some will be private.
• A community of writers. Writing and sharing ideas requires maturity and acceptance. Not everyone will agree is largely my motto (about negotiables, not human rights), and I stress with students that they may read and provide feedback with topics in which they do not agree.
• Routines. Writers write. That sentence might sound silly, but some people believe that humans are born with a skill to write or they are not. Writing well takes practice. The practice can be short and unconnected to a larger product. I typically begin each week with a quick writing prompt , and we share our responses, which of course, builds that community of writers.

Whatever you are teaching—a creative writing unit or a creative writing class—spend some time establishing your expectations and goals with your students. Laying a foundation is never a waste of time! In fact, I believe so much in the power of the first week of a creative writing class that I have a blog post devoted to the concept.

Time: 2-3 days

First weeks: creative nonfiction

Creative nonfiction seems to be the genre of our time. Memoirs, essays, and hermit-crab essays flood bookstores and journals.

When students read captions on social media, profiles of their favorite artists, or long Threads, they are reading creative nonfiction. Not only should students be able to dissect this form of writing, but they should also be able to write in our society’s preferred genre.

Below, I’ve outlined creative nonfiction activities that work with teenagers.

Nonfiction Narrative Writing

Writing narratives (and meeting those standards) are trickier with older students. As a teacher, I struggle: Students will often tell me deep, meaningful, and personal parts of their lives, and I am supposed to grade those writings!

When students write a narrative , I address this situation immediately. Share with writers that their narrative ideas are strong (I believe that to be the truth!), and that in no way are we grading their ideas. Rather, we want their excellent narratives to be communicated in the best light; therefore, we will provide guidance about the structures of narrative writing.

The topic for a nonfiction narrative varies. Often, students write about themselves as learners or as community members. Framing students in a positive way allows them to explore their strengths in life and to build confidence as writers.

Time: 7-9 days

Object Essay

An object essay might sound like a “blah” type of assignment, but the simplicity allows students to push past their normal experiences. An object essay is simple, so they can experiment with their writing.

What object? I have assigned this essay several ways. For instance, I have brought in a very plain object (like a rock) and had students explain it. I like this approach because students can work together to discover the best descriptions.

Another way, my preferred way, is to allow students to choose the object. Students write about a coffee cup, water bottle, car keys, or bus pass. When students choose, the essays are richer with meaning.

Neither approach disappoints me, though! With a plain object, students must stretch themselves to be creative. Judge what your class needs and get students writing!

Time: 3-4 days

How-to Paper

No, not a “how to make a peanut butter and jelly sandwich” paper. A fun and meaningful how-to paper can encourage classes as they see themselves as experts.

What I like about a how-to paper is students get to be the expert in their paper. Finding a used vehicle to buy? Shopping for a formal event? Saving money? Cleaning a closet? Selling at consignment stores? Each writer has an area in which they shine, and a how-to paper allows them to share their knowledge with others. They write about “behind the scenes” or little known secrets.

Of all the creative writing activities, I assign the how-to paper early. It builds confidence in young writers.

Time: 5 days

Sell this Apple

Why an apple? When I wanted students to creatively sell something, I searched for something they could all have in common but sell in different ways. I wanted classes to have one object but to witness the multiple approaches for advertising. Apples (which I could also afford to bring to class) fit nicely.

What do students sell when they “sell an apple”?

• Dips for apples.
• Apples for preschool snacks.
• Charcuterie apple boards.
• Apple crisp.
• Red and green apple rainbows.

Basically, students can create a marketing plan for multiple age groups and other demographics. For instance, they can write a blog post about safety in cutting pieces for young children (and complete some research in the process). They can then “promote” a local apple orchard or fruit stand.

Another advertisement is an apple pie recipe for a Thanksgiving brochure for a supermarket.

When I gave students something simple, like an apple, they ran with the idea. Then, we can share our ideas for selling apples.

A profile is difficult to write, so this assignment is normally my last assignment of the quarter. Before we switch to writing fiction, we apply all our concepts learned to writing a profile.

Profiles are more than summaries of the person. Writers must take an angle and articulate the person’s traits utilizing Showing vs. Telling. Of all creative writing assignments, the profile, might be the most difficult. I place it in the middle of the semester so that writers understand our goals in class but are not tired from the end of the semester.

Time: 10-12 days

Final weeks: fiction

Fantasy, historical fiction, mystery, romance: Students consume a variety of fiction via books, movies, and shows. Fictional creative writing activities invite young writers into worlds they already consume.

Below, I’ve outlined some that work with teenagers.

Alternative Point-of-View

Grab some googly eyes or some construction paper and send students loose. (A few guidelines help. Should students remove the googly eyes from the principal’s office door?) Have them adhere the eyes to an inanimate object to make a “being” who learns a lesson. They should snap a picture and write a quick story about the learned lesson.

What type of lesson? Perhaps an apple with a bruise learns that it still has value and is loved with blemishes. Maybe a fire extinguisher realizes that its purpose is important even if it isn’t fancy.

Honestly, the creativity with the googly eyes adhered to inanimate objects is so simple, but it always is my favorite event of the semester. I officially call it the “ alternative point-of-view ” activity, but “googly eyes” is how my writers remember it.

Time: 2 days

Create a Superhero with a Template

A superhero does not need to wear a cape or fancy shoes. Rather, in this creative writing activity, students build a superhero from a normal individual. When I created the activity, I envisioned students writing about a librarian or volunteer, but students often write about a grandparent (adorable).

Since students enjoy graphic novels, I wanted students to experience making a graphic novel. The colorful sheets allow students to add their ideas and words to pages that fit their messages.

After students create a comic book, they will also write a brief marketing campaign for a target audience. Learning about who would buy their graphic novel typically leads them to parents and librarians which should lead students to discover the importance of reading. The advertising campaign additionally serves as a reflective component for the initial activity.

Product Review

Product reviews and question/answer sections are a genre all their own. SO! Have students write reviews and questions/answers for goofy products . Students will find a product and write several reviews and questions/answers.

This quick activity lends itself to extension activities. Once, a teacher emailed me and said her school bought some of the goofy products for a sort of “sharing” day with the school. Since students have access to pictures of the item, you can make a “catalog” for the class out of a Canva presentation and share it with them and your colleagues.

Here are a few examples:

• Banana slicer .
• Horse head .
• Wolf shirt.

Aside from the alternative point-of-view activity, the product reviews remain my personal favorite part of a creative writing unit. Writers find random products and write goofy workups that they share with the class.

Time: 3 days

Character Creation

Creating a well-rounded and interesting character requires prep work. The brainstorming part of the writing process, the pre-writing? We spend lots of time in that area as we create fleshed out characters.

I like to start with a multiple-choice activity. We begin my imagining the main character. Next, students take a “quiz” as the character. How does the character eat? What sort of movies does the character enjoy? hate? After the multiple-choice activity, they can derive what those pieces explain about their characters. Finally, they can begin to brainstorm how those pieces will develop in their story.

Flash Fiction

Flash fiction is a simple, short story. Writers might cheer when they hear I expect a 300-word story, but often, they discover it is a challenging assignment from class. A large part of a creative writing unit is giving students a variety of lengths so they can practice their skills under different circumstances.

Historical Fiction

Historical fiction is a popular genre, and classes are familiar with many popular historical fiction books. I find it helpful to have several books displayed to inspire students. Additionally, I read from the books to demonstrate dialogue, pacing, theme, and more.

Since my historical fiction activity takes at least two weeks to accomplish, we work on that tough standard for narrative writing. To that end, these activities target the hardest components:

• Pacing within a narrative.
• Developing a theme .
• Building imagery .
• Creating external conflicts in a story.
• Establishing a setting .

First, I used pictures to inspire students, to get them brainstorming. Second, I created those activities to solve a problem that all writers (no matter the age!) have: Telling vs. Showing. I found that my writers would add dialogue that was heavy on explanation, too “world building” for their narrative. The story sounded forced, so I took a step back with them and introduced mini-activities for practicing those skills.

Third, the above creative writing activities can EASILY be assignments independently for short and fun assignments. I teach them with historical fiction because that activity is at the end of the semester when my expectations are higher, and because students enjoy writing historical fiction so they are invested.

But! You can easily add them to another narrative activity.

Time: 10-12 days 

A clean tabloid! Tabloids are largely replaced by online social sharing creators, so they are fun to review with students. Students might not be familiar with tabloids at the grocery store checkout, but they are familiar with catchy headlines. They will be completely ready to write a tabloid !

To ensure a clean tabloid, I ask students to write about a children’s show, something scandalous happening from a cartoon. The results are hysterical.

Time: 4 days

Children’s Book

I have two introductory activities for the children’s book. One, students answer questions about a mentor text (another children’s book). Two, students evaluate the language of a specific book to start them in their brainstorming.

My students write their children’s book as a final activity in class as it requires all the elements of creative writing. When a school requires me to give a final exam, students write a reflection piece on their children’s books. If you are looking for a finale for your creative writing unit, a children’s book is a satisfying ending as students have a memorable piece.

Time 10-12 weeks

Final note on creative writing activities and bundle

I intended for this post to inspire you and give you ideas for teaching either a creative writing unit or a creative writing class in ELA. My first time through teaching creative writing, I worried that my lessons would flop and that students would not find their groove with me. I found success, but with modifications, I formed a cohesive semester.

The first time through, I did not frontload information and expectations. (Spending time at the start of class is my biggest message! Please establish groundwork with students!) I also did not provide concrete enough guidelines so students understood the differences between the assignments. After a few semesters, I developed my creative writing unit . With a variety of activities and an appropriate amount of structure, I found success, and I hope you do too.

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100 Creative Writing Prompts for High School Students

Creative writing is an essential skill for high school students, as it fosters imagination, enhances writing proficiency, and encourages critical thinking.

Below are 100 creative writing prompts designed specifically for high school students, covering a range of themes and topics to spark your creativity and help you develop your unique voice.

You can also download these from the link just below and at the end of the article

What are Creative Writing Prompts?

They serve as a starting point for writing, helping writers to overcome writer’s block, generate new ideas, and explore different genres and styles.

They are widely used in educational settings , workshops, and personal writing practices to encourage regular writing habits and enhance writing skills.

Examples of Creative Writing Prompts:

How to use creative writing prompts.

Using creative writing prompts effectively involves a few simple steps to get the most out of them:

Tips for Using Prompts:

Benefits of creative writing prompts:.

We also have Creative  writing prompt s  for middle and grade school students here on the site as well.

We have split these into topics to make them more digestible.

Creative Writing Prompts: Personal Reflections

Creative writing prompts: social issues, creative writing prompts: fantasy and science fiction, creative writing prompts: relationships and emotions, creative writing prompts: career and future, creative writing prompts: historical and alternative history, creative writing prompts: science and technology, creative writing prompts: mystery and thriller, creative writing prompts: emotional and personal growth, creative writing prompts: diverse cultures and perspectives.

Creative writing prompts are a fantastic way to ignite your imagination and develop your writing skills.

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KS3 & 4 Student Creative Writing Checklist

Subject: English

Age range: 11-14

Resource type: Worksheet/Activity

Last updated

22 February 2018

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Writing checklists

A collection of student or teacher checklists for writing, including one each for:

• general writing tasks
• newspaper articles
• descriptive writing
• story writing.

Students self or peer assess a piece of writing to identify their strengths and areas for improvement.

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How to Give Constructive Feedback to Creative Writing

December 14, 2020 //  by  Lindsay Ann //   1 Comment

Sharing is caring!

Do you wonder how to give constructive feedback on creative writing and poetry pieces created by student writers who have put their heart and soul into them? 

I think all teachers struggle with this question to some extent. It is because we care. 

This can lead to indecisive response to student work. We waste valuable time when we lack a plan for response and worry about the emotional reaction to our feedback.

In this post, I’m all about sharing practical strategies that will teach you how to best give constructive feedback. 

I want you to feel as comfortable responding to creative writing assignments as analysis based writing or argumentative writing assignments so that you can help student writers grow without deflating their fragile egos.

Setting the Stage for Writing Feedback

I think that it’s important to remember the feeling associated with having someone else read our work.

When I was a student, it was always a mixture of anticipation and dread . Would my instructor like what I had written? Would my grade reflect the time and effort I had put into the assignment? 

A couple of things before we discuss how to give constructive feedback…

👉 I think that it’s important to be clear with students upfront about the skills you’re looking for in a creative writing assignment. Frontload with exemplars and use creative writing exercises to practice skills. Then, when it comes time for students to write, they will know what they are expected to do as writers. 

👉 At the same time, it’s important to focus on feedback during the writing process . This allows our response to be as readers rather than as evaluators. 

👉 Finally, I think that it makes a BIG difference when you model your own creative process for students. The more I can show students that writing is messy and imperfect, that I go through the same process as them, the more my classroom dynamic shifts from teacher-centered to student-centered and collaborative. If you’re wondering how to give constructive feedback to students, ask them to give feedback to you first.

Constructive Feedback for Students

When it comes to student feedback, less is more. I’ve blogged about this before, but I’ll say it again (and again) (and…again).

Most students don’t care about our carefully-worded paragraphs. They want to be seen and heard , but they also want to be able to understand what they can do to improve. 

This means that feedback should be direct, specific, and actionable .  This means that we need to respond as readers , not evaluators.  This means that we will leave a manageable amount of feedback to build a student’s momentum.

Strategies for How to Give Constructive Feedback

➡️ Only mark the lines you love the most. Highlight them, underline them, put a star in the margin. Choose a couple of these lines to comment on. What did you notice? What did you like/realize/want to know?

➡️ Focus on the skills taught in class. So, if you taught characterization and concrete details, give feedback specifically on those elements. Ask students to revisit resources/screencasts/examples, etc. to review these skills.

➡️ Focus on moments of clarity and confusion. Where did you, as a reader, make a connection or realize something important? Where were you confused? 

➡️ Yin Yang Feedback

• Find something specific that you liked/enjoyed (and explain why/how ). Maybe it’s a bit of figurative language or a vivid image. Pair this with a suggestion for where the writer can continue to work on this same skill. Essentially, this is like saying, “See, here, you did this thing that I liked and enjoyed…can you do more of that over here?” Or, “As a reader, it seemed to me like your intent was x, y, or z when you wrote _________. I’m wondering if you can make this clearer when _________.
• What is the highest level of skill mastery you can observe? Find an example of success and talk about why/how it was successful. What is the most important skill that still needs to be developed? Find a place where the student can begin working on this skill.
• Where were you most engaged/interested in the story. Leave a quick note about what captured your attention. Where were you least engaged/interested? This type of teacher feedback encourages revision.

➡️ Be curious. Read through the draft and ask questions… only questions . This is a kind of constructive feedback students love to hate (because it makes them think ). I ask my students to respond and revise. This strategy rocks because it establishes feedback as a two-way conversation rather than a one-way lecture. 

➡️ Have students direct your feedback by asking you questions about their work. Alternatively, you can ask students to reflect on how/where they have demonstrated the skills you’ve taught in class (or the goals they’ve set for themselves). Then, you simply read through and respond to their comments, sharing your thoughts and suggestions.

➡️ Use a writer’s workshop model in which you conference with students about their work. You can train students to lead in these conversations if you choose the 1:1 model. Alternatively, you can form writing circles in which you provide students examples of constructive feedback before asking students to take turns reading their work out loud and solicit feedback from group members. You can float between writing groups, joining the conversations as needed.

Final Thoughts

I hope that I’ve helped you learn more about how to give constructive feedback to creative writers. 

As we become purposeful in our responses to students, the benefit is that we streamline our own systems and processes which allows us to feel better about the feedback we are giving and also the amount of time it takes to provide this feedback!

About Lindsay Ann

Lindsay has been teaching high school English in the burbs of Chicago for 19 years. She is passionate about helping English teachers find balance in their lives and teaching practice through practical feedback strategies and student-led learning strategies. She also geeks out about literary analysis, inquiry-based learning, and classroom technology integration. When Lindsay is not teaching, she enjoys playing with her two kids, running, and getting lost in a good book.

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Creative Writing

The Department of English offers creative writing instruction in multiple formats and offers several degrees and qualifications.

Undergraduate

At the undergraduate level, students who are enrolled in a B.A. program at UT Austin can pursue the Creative Writing Certificate .

For graduate students, there are two degree options in creative writing:

• the New Writers Project MFA in Fiction and Poetry , and
• the Michener Center MFA in Writing .

We invite you to visit the center's pages for information on their programs.

English with Creative Writing BA (Hons)

Undergraduate degree

Discover what it's like to study the BA (hons) English degree at City, University of London.

Key information

This programme allows you to take a range of innovative creative writing modules – including screenwriting and writing for gaming - to complement the study of English writing throughout the world. You will graduate with a wide range of creative and applied professional skills.

• 3 years full-time
• 4 years with placement or study abroad year

Institution

City, University of London

Northampton Square

Entry requirements

Below is a list of countries with information on each about which qualifications we accept. If your country is not listed please email [email protected] .

Contextual offers

We apply a contextual admissions process for UK undergraduate applicants who have been in care, attend a low performing school, live in an area where few students go to university, or are the first generation of their family to enter Higher Education.

Those who are eligible may receive a conditional offer with reduced entry requirements, typically up to two grades lower for A-levels and one grade (or eight tariff points) for BTEC or mixed qualifications.

Mixed qualifications

Typically the only scenario where we make conditional offers expressed as UCAS tariff points is when an applicant presents mixed qualifications, most typically a combination of A Levels and a BTEC qualification.

In this instance, we may make a tariff point offer to present the applicant with more flexibility on equivalencies. In this case, please be aware that we may still ask for a specific score across certain qualifications and subjects. E.g. 'This offer is conditional on you achieving 128 tariff points. This must include A Level Mathematics at grade B.'

Subject exclusions

We do not accept General Studies and Critical Thinking. These subjects will not be included in any conditional offer we make.

Extended Project Qualification (EPQ)

We welcome applications from students who are completing relevant EPQ Projects. Whilst we recognise the value of these projects in preparing students for independent learning at university, the EPQ is unlikely to form part of any conditional offer we make.

The EPQ will also not lower the specifics of any conditional offer we choose to make. We will consider the EPQ as part of the holistic assessment of the application and it could be used to form part of our final decision at Confirmation stage.

We recognise that there will be differences of opportunity varying by school and college. As not all students will have the opportunity to sit AS Level exams, it is unlikely we will include AS Level grades in any offer we choose to make. Where students have completed an AS Level subject, we will consider this as part of the holistic assessment of the application and it could be used to form part of our final decision at Confirmation stage.

University preparation programmes

If you do not qualify for direct entry, you may wish to take a foundation programme first. These programmes are designed to prepare students for entry to City's undergraduate courses.

Access to Higher Education

We welcome Access course applications from 'mature' students. These applicants will be considered on the basis of their own merits. Please be aware that Access students are often asked for further information to supplement their application, this is normally in the form of a questionnaire.

A typical offer for an Access applicant would be:

• Access to HE course with 60 credits overall to include 45 credits at Level 3 with 24 Level 3 credits at Distinction and 21 Level 3 credits at Merit.
• The Access qualification should be supplemented by at least a grade 6 (B) in Mathematics and grade 4 (C) in English Language at GCSE.

The Zimbabwe GCE A Level is considered on a grade for grade basis with GCE A Levels.

Visa requirements

International Students coming to study in the UK may need to apply for a visa or entry clearance to come to the UK to study. The way that you apply may vary depending on the length of your course. There are different rules for:

• Students on courses of more than six months
• Students on courses of less than six months

For more information see our main Visa page .

The School Certificate / General Certificate of Education.

Students must successfully complete a recognised foundation course.

Tot Nghiep Pho Thong Trung Hoc (Upper Secondary School Graduation Certificate) students must successfully complete a recognised foundation course.

Uzbekistan Certificate of Secondary Education.

Certificate of Complete General Secondary Education.

Advanced Certificate in Education (UACE) is considered on a grade for grade basis with GCE A Levels.

Advanced Placements.

Please refer to the UK entry requirements for this course, check for any prerequisites such as compulsory or preferred subject areas, and use the following as an indication of the US equivalent required.

The equivalents provided are intended as a guide only and individual applications are assessed on a case-by-case basis.

The following A-level equivalences to Advanced Placements will typically be applied:

• A-level AAA = Advanced Placements 555
• A-level AAB = Advanced Placements 554
• A-level ABB = Advanced Placements 544
• A-level BBB = Advanced Placements 444
• A-level BBC = Advanced Placements 443
• A-level BCC = Advanced Placements 433.

Thanawaya (General Secondary Education Certificate Examination)- students must successfully complete a recognised foundation course.

Secondary certificate.

Mathayom Suksa 6 (Senior High School Leaving Certificate) students must successfully complete a recognised foundation course.

Certificate of Secondary Education (CSE)

Senior High School Leaving Certificate students must successfully complete a recognised foundation course.

Junior College Diploma

The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Switzerland

Federal Maturity Certificate/Maturitatzeugnis/Cantonal Maturity Certificate. The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

International Students from within the European Economic Area (EEA) may need to apply for a Student visa or entry clearance to come to the UK to study if they do not have EU Settlement Status.

• Students on courses of less than six months.

Avgångsbetyg / Slutbetyg från Gymnasieskola. The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Sri Lankan General Certificate of Education (Advanced Level).

Considered equivalent to UK A-levels on a like for like basis.

Título de Bachillerato (LOGSE)

Please refer to the UK entry requirements for this course, check for any prerequisites such as compulsory or preferred subject areas, and use the following as an indication of the Polish equivalent required.

The following A-level equivalences to Título de Bachillerato (LOGSE) will typically be applied:

• A-level AAA = 8
• A-level AAB = 7.8
• A-level ABB = 7.6
• A-level BBB = 7.4
• A-level BBC = 7.2
• A-level BCC = 7.

Please contact Admissions to confirm the requirements for your course of interest.

South Korea

Korean High School Diploma students must successfully complete a recognised foundation course.

South Africa

The National Senior Certificate will be accepted for direct entry to certain undergraduate courses normally

Maturitetno spričevalo (Matura Certificate). The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Vysvedčenie o maturitnej skúške (Secondary School Leaving Certificate). The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Singapore-Cambridge GCE A-levels considered equivalent to UK A-levels on a like-for-like basis.

Polytechnic Diploma students considered for year 1 or year 2 entry on a case-by-case basis depending on subjects taken and CGPA.

Please contact Admissions to confirm your eligibility and the requirements for your course of interest.

Secondary School Leaving Diploma/Matura. The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Saudi Arabia

Thanawaya (General Secondary Education Certificate) - students must successfully complete a recognised foundation course.

The Rwanda Advanced Certificate of Education (A-level)

The Attestat o Srednam Obrazov

Diplomă de Bacalaureat. The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Diploma/Certificado Nível Secundário de Educação. The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the rquirements for your course of interest.

Swiadectwo Dojrzałości / Matura.

The following A-level equivalences to Swiadectwo Dojrzałości / Matura will typically be applied:

• A-level AAA = Swiadectwo Dojrzałości / Matura 80% average from 3 extended subjects
• A-level AAB = Swiadectwo Dojrzałości / Matura 78% average from 3 extended subjects
• A-level ABB = Swiadectwo Dojrzałości / Matura 76% average from 3 extended subjects
• A-level BBB = Swiadectwo Dojrzałości / Matura 74% average from 3 extended subjects
• A-level BBC = Swiadectwo Dojrzałości / Matura 72% average from 3 extended subjects
• A-level BCC = Swiadectwo Dojrzałości / Matura 70% average from 3 extended subjects.

Higher Secondary Certificate (HSC).

Thanawaya (General Education Diploma) - students must successfully complete a recognised foundation course.

Vitnemål fra den Videregående Skole (VVO). The exact requirements MAY differ between courses.

Please refer to the UK entry requirements for this course, check for any prerequisites such as compulsory or preferred subject areas, and use the following as an indication of the Norwegian equivalent required.

The following A-level equivalences to Vitnemal will typically be applied:

• A-level AAA = 5
• A-level AAB = 4.5
• A-level ABB = 4.5
• A-level BBB = 4
• A-level BBC = 4
• A-level BCC = 3.5

Senior School Certificate/West African Senior School Certificate

Netherlands

Voorbereidend Wetenschappelijk Onderwijs (VWO). The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

The Moroccan Diplôme du Baccalauréat/Attestation du Baccalauréat

Titulo Académico de Bachiller / Diploma de Bachiller / Bachillerato General - students must successfully complete a recognised foundation course.

The CIE A Level sat in Mauritius is considered on a grade for grade basis with GCE A Levels sat in the UK.

Advanced Matriculation and Matriculation Certificate Examination are comparable to A Levels with the same grading system as UK A levels.

STPM / UEC.

Please refer to the UK entry requirements for this course, check for any prerequisites such as compulsory or preferred subject areas, and use the following as an indication of the Malaysian equivalent required.

The following A-level equivalences to STPM will typically be applied:

• A-level AAA = STPM AAA
• A-level AAB = STPM AAB
• A-level ABB = STPM ABB
• A-level BBB = STPM BBB
• A-level BBC = STPM BBC
• A-level BCC = STPM BCC.

The following A-level equivalences to UEC will typically be applied:

• A-level AAA = UEC AAAAAA
• A-level AAB = UEC AAAABB
• A-level ABB = UEC AABBBB
• A-level BBB = UEC BBBBBB
• A-level BBC = UEC BBBBCC
• A-level BCC = UEC BBCCCC.

Diplôme de Fin d'Etudes Secondaires. The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Brandos Atestatas (Certificate of Maturity). The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Lebanese Baccalaureate - students must successfully complete a recognised foundation course.

Atestats par visparejo videjo izglitibu (Certificate of General Secondary Education). The exact requirements from the above qualification differ between courses.

Kenya Certificate of Secondary Education (KCSE)

Certificate of Completed Secondary Education.

Thanawaya (Certificate of General Secondary Education) - students must successfully complete a recognised foundation course.

Kotogakko Sotsugyo Shomeisho (Upper Secondary School Leaving Certificate) students must successfully complete a recognised foundation course.

Senmonshi (vocational degree), Jun-Gakushi (associate degree) and Tanki Daigaku Shuryo Shoshois (Junior College Certificate of Graduation) considered for direct entry on a case-by-case basis. Please contact Admissions to confirm the requirements for your course of interest.

Diploma di Esame di Stato.

Please refer to the UK entry requirements for this course, check for any prerequisites such as compulsory or preferred subject areas, and use the following as an indication of the Italian equivalent required.

The following A-level equivalences to Diploma di Esame di Stato will typically be applied:

• A-level AAA = Diploma di Esame di Stato 85%
• A-level AAB = Diploma di Esame di Stato 84%
• A-level ABB = Diploma di Esame di Stato 80%
• A-level BBB = Diploma di Esame di Stato 78%
• A-level BBC = Diploma di Esame di Stato 76%
• A-level BCC = Diploma di Esame di Stato 74%.

Irish Leaving Certificate. The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Surat Tanda Tamat Belajar Sekolah Menengah Umum Tingkat Atas (Senior Secondary School Certificate of Completion) students must successfully complete a recognised foundation course.

Diploma III & IV students considered for year 1 entry on a case-by-case basis. Please contact Admissions to confirm the requirements for your course of interest.

Please refer to the UK entry requirements for this course, check for any prerequisites such as compulsory or preferred subject areas, and use the following as an indication of the Indian equivalent required.

The following A-level equivalences to HSC XII will typically be applied:

• A-level AAA = CBSE & ICSE Exam Board HSC XII 80%
• A-level AAB = CBSE & ICSE Exam Board HSC XII 78%
• A-level ABB = CBSE & ICSE Exam Board HSC XII 76%
• A-level BBB = CBSE & ICSE Exam Board HSC XII 74%
• A-level BBC = CBSE & ICSE Exam Board HSC XII 72%
• A-level BCC = CBSE & ICSE Exam Board HSC XII 70%

Stúdentspróf. The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Érettségi. The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Hong Kong Diploma of Secondary Education.

Please refer to the UK entry requirements for this course, check for any prerequisites such as compulsory or preferred subject areas, and use the following as an indication of the Hong Kong equivalent required.

The following A-level equivalences to HKDSE will typically be applied:

• A-level AAA = HKSDE 555 (excluding Liberal Studies and Chinese)
• A-level AAB = HKSDE 555 (excluding Liberal Studies and Chinese)
• A-level ABB = HKSDE 554 (excluding Liberal Studies and Chinese)
• A-level BBB = HKSDE 554 (excluding Liberal Studies and Chinese)
• A-level BBC = HKSDE 544 (excluding Liberal Studies and Chinese)
• A-level BCC = HKSDE 544 (excluding Liberal Studies and Chinese).

Greek Apolytirion. Please note that exact requirements may differ between courses.

Please refer to the UK entry requirements for this course, check for any prerequisites such as compulsory or preferred subject areas, and use the following as an indication of the Greek equivalent required.

The following A-level equivalences to Greek Apolytirion will typically be applied:

• A-level AAA = 18/20 plus; 18/20 in two PanHellenics
• A-level AAB = 18/20 plus; 17/20 in two PanHellenics

German Abitur.

Please refer to the UK entry requirements for this course, check for any prerequisites such as compulsory or preferred subject areas, and use the following as an indication of the German equivalent required.

The following A-level equivalences to Abitur will typically be applied:

• A-level AAA = Abitur 1.8
• A-level AAB = Abitur 2.0
• A-level ABB = Abitur 2.2
• A-level BBB = Abitur 2.4
• A-level BBC = Abitur 2.6
• A-level BCC = Abitur 2.8.

French Baccalaureate.

Please refer to the UK entry requirements for this course, check for any prerequisites such as compulsory or preferred subject areas, and use the following as an indication of the French equivalent required.

The following A-level equivalences to French Baccalaureate will typically be applied:

• A-level AAA = French Baccalaureate 15/20
• A-level AAB = French Baccalaureate 14/20
• A-level ABB = French Baccalaureate 13/20
• A-level BBB = French Baccalaureate 12.5/20
• A-level BBC = French Baccalaureate 12/20
• A-level BCC = French Baccalaureate 11.5/20.

Gümnaasiumi loputunnistus with the Riigieksamitunnistus (Secondary School Leaving Certificate with the State Examination Certificate).

Certificate of Nile International Secondary Education

Hojere Forberedelseseksamen (HF). The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Czech Republic

Vysvědčení o maturitní zkoušce / Maturita (Secondary School Leaving Certificate). The exact requirements from the above qualification differ between courses.

Apolytirion. The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

The following A-level equivalences to Apolytirion will typically be applied:

• A-level AAA = 19 (91 – 95)
• A-level AAB = 18.5 (88 – 90)
• A-level ABB = 18 (86 – 90)
• A-level BBB = 18 (86 – 90)
• A-level BBC = 17.5 (83 – 85).

Maturalna svjedodzba (Matura Certificate). The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Bachiller Académico/Technico

Senior High School Certificate students must successfully complete a recognised foundation course.

Gaokao students with exceptional grades considered for direct entry on a case-by-case basis. Please contact Admissions to confirm the requirements for your course of interest.

Grade 12 high school graduation certificate / diploma. Please note that exact requirements may differ between provinces.

Please refer to the UK entry requirements for this course, check for any prerequisites such as compulsory or preferred subject areas, and use the following as an indication of the Canadian equivalent required.

The following A-level equivalences to Canadian year 12 Diplomas will typically be applied:

• A-level AAA = 85% average across 5 best Grade 12 subjects
• A-level AAB = 80% average across 5 best Grade 12 subjects
• A-level ABB = 77% average across 5 best Grade 12 subjects
• A-level BBB = 75% average across 5 best Grade 12 subjects
• A-level BBC = 72% average across 5 best Grade 12 subjects
• A-level BCC = 70% average across 5 best Grade 12 subjects.

The Cameroonian GGCE is normally considered like for like with UK A levels.

Diploma Za Sredno Obrazovanie.

Please refer to the UK entry requirements for this course, check for any prerequisites such as compulsory or preferred subject areas, and use the following as an indication of the Bulgarian equivalent required.

The following A-level equivalences to Diploma Za Sredno Obrazovanie will typically be applied:

• A-level ABB = Diploma Za Sredno Obrazovanie 5.3 average and 5 in state exams
• A-level BBB = Diploma Za Sredno Obrazovanie 5.0 average and 4 in state exams
• A-level BBC = Diploma Za Sredno Obrazovanie 4.5 average and 4 in state exams
• A-level BCC = Diploma Za Sredno Obrazovanie 4.0 average and 4 in state exams
• A-level CCC = Diploma Za Sredno Obrazovanie 4.0 average and 4 in state exams.

Brunei-Cambridge GCE A-levels considered equivalent to UK A-levels on a like for like basis.

• Certificado de Conclusao de Ensino Médio
• Certificado de Conclusao de Segundo Grau

Botswana National qualifications

Diploma van Secundair Onderwijs/Certificat d'Enseignement Secondaire Supérieur.

General Secondary Education Certificate.

Reifeprufungszeugnis/Maturazeugnis. The exact requirements from the above qualification differ between courses. Please contact Admissions to confirm the requirements for your course of interest.

Titulo de Bachiller.

The Baccalaureat de l'Enseignement Secondaire

Diplome e Matures Shteterore (Diploma of State Matura). Students must successfully complete a recognised foundation course. Alternatively, IB, A Levels, or other European system will be considered.

If you are unable to find your country equivalents in the above list, City will consider other international qualifications on a case by case basis.

Please contact the Admissions team for more details.

English language requirements

If your first language is not English, we will require evidence of English language proficiency. Minimum requirements are:

English language programmes

Don’t meet the English language requirements? INTO City, University of London offers English language programmes to help prepare you for study at university. These intensive and flexible courses are designed to improve your English ability for entry to degree courses.

Why choose this course?

in London for student satisfaction in English studies three years in a row (NSS Survey 2022-2024)

Study in the heart of London, a global hub of literary creativity.

Explore your artistic side and learn how to write fiction and creative non-fiction, and for films, television and games.

• Course overview

Teaching and assessment

Fees and funding, how to apply, english with creative writing ba (hons) degree course overview.

This course is subject to approval for 2025 entry.

This programme builds on our international reputation in creative writing, media and the creative industries.

Your first year is shared with BA English. Throughout your degree you will study the written word across time and space, from Shakespeare to popular music, comic books to Chimamanda Ngozi Adichie.

By the end of your studies, you will be able to communicate in different professional and critical forms, using the written and spoken word.

You will also develop a set of specialised and applied skills in contemporary forms of creative writing, from short stories and literary journalism to screenplays and game dialogue. You’ll graduate with a compelling portfolio of sample writings.

• Immerse yourself in world literature and study in Central London, which has inspired so many iconic stories.
• Learn how to write in a range of genres and voices, including screenplays, poetry, short stories, narrative non-fiction and gaming narrative.
• Develop applied creative skills in communication, persuasion, individuality, writing for different audiences, and awareness of different creative industry markets.
• Learn from a team of expert lecturers who are passionate about creativity and the written word.

Course content

Develop your own creative and professional skills while immersing yourself in the study of English in this three year-degree.

Year 1: Develop a thorough grounding in reading, writing, academic and creative skills. Encounter a range of texts from around the world, explore how creative writing represents issues like social justice, and develop your own skills in storytelling.

Year2: Take core modules in creative short fiction and screenplay writing. Deepen your understanding of writing in English by choosing from a range of modules focusing on global and English literature, publishing, writing for media and communications, and advertising.

Year 3: Take core modules in writing for gaming and long-form journalism. Choose from a range of options including contemporary approaches to writing in English, media, marketing and publishing. Cap your degree with an optional creative writing project.

Study abroad

As an Undergraduate student you can undertake a period of study abroad whilst completing the programme.

This is possible through the Exchange Programme, a year of study at one of our European and/or international partner universities via a sandwich year, which is undertaken between completing Programme Stage 2 and entering Programme Stage 3, extending the degree to four years.

The resulting degree title awarded would be: BA English with Study Abroad.

We have strong links with Universities such as:

• Curtin University
• University of Queensland
• Queensland University of Technology.

North America

• University of British Columbia
• Concordia University
• Northeastern University
• Toronto Metropolitan University.
• Koç University.

Your modules will be delivered using a combination of:

• Practical workshops
• Interactive sessions
• Small seminars
• Personal tutorials

Lectures will provide you with commentary and explanation of key content areas. Most modules also offer small seminars and workshops, where you can develop your understanding of key texts and ideas through discussion and debate as well as hone your practical and professional skills. This versatility of approach will not only facilitate discussion but allow you to generate your own content, with different readerships, forms and functions in mind.

Assessment methods

Your programme will be assessed via a range of coursework and practical assignments, which may include:

• Professional, reflective, and creative assignments and portfolios
• Group assignments, including projects, performances, and presentations
• Live showcase events.

Fees for year 2025/26

To be confirmed

International

The fees indicated are for undergraduate entry in the 2025/26 academic year only. Fees for future years may be subject to an inflationary increase in the region of 5%.

Funding options

Explore up-to-date information about funding options, available financial support and typical living costs .

• Fee waivers are available for this course.
• Means tested support is available for 2025/26 entry.

Additional expenses

Some of our degrees may involve additional expenses which are not covered by your tuition fees.  Find out more about additional expenses .

You will graduate with a unique blend of intellectual and creative skills.

Our employability-focused curriculum strongly emphasises the practical application of your skills in a professional context. You’ll have the opportunity to take a work placement module or year, apply for a year’s study abroad, or undertake shorter and intensive work placements.

Delivered through world-class teaching dedicated to enhancing your job prospects, this course prepares you for a range of possible career options, including:

• creative writing
• writing for film, television and other media including games
• advertising and marketing
• library and archival professions
• civil service.

More information on the Careers support available at City is available on our website.

Placement opportunities

As an English student at City, you will have the opportunity to take a second-year elective module, ‘Work Placement’. You may also apply to take a sandwich year between years two and three of your degree. Our careers team will help you secure a placement in the areas that meet your future ambitions.

Previous students have taken their placements in a wide range of sectors, including:

• Publishing (Penguin)
• Teaching Assistant (Secondary)
• Marketing (Intern at 11 Investors recruitment group)
• Theatre work (Chickenshed)
• Charity work (Oxfam books).

Applications for degree courses must be made through the Universities and Colleges Admissions Service (UCAS).

You can apply through your school or college using the Apply system, which enables you to submit your application directly to the  UCAS website .

You can apply to up to five universities or institutions on the form. The UCAS code for City, University of London is C60 .

Please take care to enter the correct course code when applying, particularly for subjects with a Foundation year or with BEng (Hons) and MEng (Hons) or BSc (Hons) and MSci (Hons) options.

UCAS has implemented an 'invisibility of choices' policy so that, on the initial application and while you are receiving decisions, each institution can see only their entry and not those of other institutions you have chosen. This ensures that your application for a course at City is considered solely on your academic and personal qualities.

You should submit your completed application form to UCAS with a £27.50 application fee.

For enquiries about the admissions process at City, please contact our Admissions Office

Complete the Admissions enquiry form .

Call: +44 (0)20 7040 8716.

When to apply

Your application for entry in September 2025 should arrive at UCAS between September 2024 and 31 January 2025. Applications that arrive after 31 January 2025 will be considered only at City's discretion.

Contacting UCAS

Website: www.ucas.com

Address: Universities and Colleges Admissions Service (UCAS), Rosehill, New Barn Lane, Cheltenham, Gloucestershire, GL52 3LZ

• from inside the UK 0871 468 0468
• from outside the UK +44 (0)871 468 0468

For callers with hearing difficulties:

• from inside the UK use the Text Relay service on 18001 0871 468 0468
• from outside the UK dial +44 151 494 1260 (text phone) and then ask the operator to dial 0871 468 0468.

Our students

BA (Hons) English student Ruth’s insights

Ask a student

Want to find out more about student life? Chat with our student ambassadors and ask any question you have

Your studies are supported by a team of committed and enthusiastic teachers and researchers, experts in their chosen field. On occasion we also work with external professionals to enhance your learning and appreciation of the wider subject.

Dr Hetta Howes

Senior Lecturer in Medieval and Early Modern Literature

• Department of Media, Culture and Creative Industries

Dr Minna Vuohelainen

Dr Sarah Jilani

Lecturer in English

What's happening

Nov  06

Postgraduate Open Evening

Join us at our Postgraduate Open Evening to learn more about our postgraduate courses and discover all the benefits of studying at City, University of London.

Wednesday, 6 th November 2024 , 17:00 – 19:00

Location: Northampton Square

Audience: Prospective students

Wednesday, 10 th January 2024

Stories shape our world as concretely as infrastructure

Dr Dominic Davies publishes new book The Broken Promise of Infrastructure, which investigates the cultural politics of infrastructure in Britain.

Friday, 10 th March 2023

‘Working with Words’ opens up career possibilities for English students

Careers-focused module boosts BA English students’ employability at City.

Related courses

Journalism ba (hons).

Train for a career in journalism with this hands on degree. Develop the skills you need to become a print, broadcast or online journalist, alongside research and critical thinking skills.

Award: Bachelor of Arts (Honours)

Duration: 3 years (4 years with placement or study abroad year)

History BA (Hons)

Our fascinating three-year History BA Hons degree invites you to explore the events, force and ideas that have shaped modern and international history.

Useful links

• School of Communication & Creativity
• Creative writing and publishing at City, University of London
• English at City, University of London

Contact details

Undergraduate enquiries.

+44 (0)20 7040 8716

Admissions enquiries

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Stanford Sparks Literary Backlash by Phasing Out Creative Writing Lecturers’ Jobs

Please try again

Sarah Frisch starts each of her creative writing courses at Stanford University by letting her students know the classroom is a working community.

Stanford can be a difficult, high-pressure space, and Frisch said creative writing courses can be a respite.

“Students read this incredible literature, and they meet people they ordinarily just read about,” Frisch said. “But I think the part that’s really powerful is to see that writers are ordinary people. Writers write within friendships, and they get plugged into that community.”

Now, Frisch and other lecturers worry that the job security and lecturer longevity that make those relationships possible will disappear. During a video meeting last week, Frisch and her colleagues learned the Stanford Creative Writing Program’s nearly two dozen lecturers would lose their current positions over the next two years.

Instead, a faculty working group recommended the program’s lectureships consist of one-year appointments with the possibility of renewal for a limited period of up to five years.

Many of the current lecturers have taught at the university for more than a decade.

“I feel like our students were betrayed,” said Frisch, who has been a Stanford lecturer since 2009. “The whole program is going to be based on temporary labor, and that is a sea change from the program that we have. And that means that the program we have no longer exists.”

Transitioning to short-term futures

In a statement posted on the university’s website on Wednesday, the School of Humanities and Sciences and Creative Writing Program leadership defended the changes, arguing that the lectureship program, known as Jones lectureships, was originally intended for limited-term appointments.

“We plan for there to be as many lecturers in the Program in five years as there are today, and we expect to offer more classes then than now,” the statement reads. “The university, school, and numerous generous donors are committed to not only the excellence of the program but also its growth.”

Colleagues credit the Creative Writing Program’s success and popularity to support for lecturers from the late Eavan Boland, a distinguished poet and former director of the program. Boland, who died in 2020, encouraged lecturers to develop their own ambitious classes and foster deep mentoring relationships with undergraduates.

“She empowered lecturers not only to have job longevity but to use that time to innovate in the classroom,” said Nina Schloesser Tárano, who has been teaching in the Creative Writing Program since 2012.

“This is being treated as a luxury — my ability to be there for the entirety of somebody’s career as an undergraduate. But it’s my job, and it should be,” Schloesser Tárano said.

Students, alums and writers sound off

The changes to Stanford’s Creative Writing Program quickly generated widespread outrage online. In a Medium post , lecturer Tom Kealey noted that the changes come a year after lecturers, who made around $52,000, asked for a pay increase.

Writer Joyce Carol Oates wrote on X , “I am puzzled most by the lack of simple collegiality & generosity at one of the most wealthy universities in the world. Stanford’s endowment could support an entire nation.”

Kyle Wang, who graduated from Stanford in 2023 with a master’s in the modern thought and literature program, started a petition calling on the university to change course and reinstate the lecturers whose contracts will be phased out.

Wang said the lecturers in the Creative Writing Program changed his life.

When Wang first came to Stanford, he was unsure what to study. He had grown up in Silicon Valley, “where everyone and their mother” worked in tech or tech-adjacent fields. He took computer science class after computer science class. Then, in January 2019, he took his first creative writing class.

“A couple of weeks later, I think I knew deep down that I was going to be studying English,” Wang said. “Every single class that I’ve taken with a Jones lecturer has, in some new way, shape, or form, not only pushed me as a writer and thinker — it showed me a different way of imagining that a life in writing and a life in the arts could be possible.”

He worries for future generations of students who may not be able to build those same life-changing relationships with lecturers and about the institutional knowledge that could be lost.

Sarah Frisch is not sure what’s next when her lectureship ends. Classes start again next month, and she said in the meantime, she will focus on her students.

“I just want them to know those of us who are in this crappy position see and hear them,” Frisch said. “We’re willing to fight for their experience and their futures.”

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