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How to Teach Creative Writing to High School Students

How to Teach Creative Writing to High School Students

Creative Writing was forced onto my schedule; I didn’t ask for it. But it ended up becoming my favorite class period of the day. While academic English courses can feel high-stakes and always short on time, Creative Writing can be a refreshingly relaxed elective class. In many districts with loose curriculums, Creative Writing is what you make of it. In this post, I outline six steps to show you how to teach creative writing to high school students.

Why Teach Creative Writing

Before we get into the how , let’s first address the why . Why bother teaching Creative Writing in the first place? Students’ basic skills are lower than ever; is now really the time to encourage them to break the rules?

If you want to get really deep into why you should teach Creative Writing, I have a whole post about it here.

But think about why you love reading. Is it because you were made to annotate or close read a bunch of classic novels? Probably not. You probably fell in love with reading while you were reading something that was fun. And because it was fun, you read more, and your skills as a reader grew.

The same principle applies to writing. If we can make it fun for our students, perhaps we can foster a love for it. And passion is what leads, eventually, to mastery.

Giving our students the opportunity to fall in love with writing is a gift that might help them grow in their academic writing later.

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Teach Creative Writing to High School Students Step #1: Decide on Your Standards or Goals

Your school or district may have a mandated syllabus or curriculum. Mine did not. 

Whether you’re given student goals or have to create them, you must have an overall vision for what your Creative Writing class will accomplish. 

Is this a laid-back, engaging course designed to help students discover the fun in writing? Or is it a supplement to rigorous academics for college-bound high school students? 

If you know your school’s student population well, I encourage you to think about their needs. Some students just need to write more–more of anything, but lots more. Some students are high achieving and ready to write their first novels! If possible, design your course around the needs and interests of the general student population in your school or district. 

Regardless of how rigorous your Creative Writing course will be, deciding on these goals first will help you in backwards planning. 

Teach Creative Writing to High School Students Step #2: Choose Your Final Assessments and Big Projects

Before we can start planning our lessons, we have to decide what skills or knowledge our students will need. And to know what they need, we have to decide on their summative assessments.

Cover for It's Lit Teaching Resource: Fairy Tale Retelling Creative Writing Project

Will your final assessment be a short story? A collection of poetry? Are you required to offer a final exam?

Once you know what students will need to do, you can make a list of the skill they’ll need. This list will become a list of lessons you’ll need to teach.

Fairy Tale Retelling Project

My Fairy Tale Retelling Project is a great Creative Writing assessment. For this project, students had to first choose a fairy tale. Then, they rewrote the story from the perspective of the villain.

This project works really well because students have structure. They can pick any fairy tale they want, but they can’t write about just anything.

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Secondly, students already know the story, so they don’t have to worry about a beginning, middle, and end. The open-endedness of writing a story completely from scratch has paralyzed my students before. Structure allows students lots of creative freedom without the excuse of “I don’t know what to write.”

Author Study Project

If you’d like your Creative Writing class to help beginner writers have fun and just get some practice with fiction writing, a Fairy Tale Retelling Project would probably be perfect for your class.

Another project I’ve done with my students is an Author Study . In this project, students choose one author to study in-depth. Then, they attempt to replicate that author’s style in an original work.

syllabus for creative writing class high school

If you’d like your class to also include lots of exposure to other writers or classic literature, then this might be a great assessment for your class.

Learn more about doing an author study in this step-by-step post.

Test or Final Exam

I also gave my students a final exam focused on literary terms.

This Literary Terms Test allowed me to test students on the academic knowledge they gained throughout class instead of their writing ability. This test also helped me fulfill my district’s requirement of having a final exam at the end of each course.

Once you’ve decided on your class’s major projects and assessments, you can begin designing the rest of your class.

Teach Creative Writing to High School Students Step #3: Backwards Plan

Now that you know what your students will need to do at the end of this class, you can list out everything you need to teach them in order for them to be successful.

For example, if you opt for an author study as a final project, you know what you will need to cover. You will need to teach students some literary terms so that they can describe an author’s style. You’ll need to show them how to analyze a poem.

During the course of your class, you’ll also want to expose students to a variety of authors and mentor texts. Students will need to practice basic writing techniques in order to replicate those of their chosen authors.

If you need some inspiration for what kinds of lessons to teach, check out this post on essential Creative Writing lessons.

Teach Creative Writing to High School Students Step #4: Decide on Your Class Structure

Once you’ve decided on the end goals for your Creative Writing class, you can use them to help create day-to-day plans. 

What will your class look like? Will it be full of lots of quiet and independent work time? Will it be full of frenetic energy with students working in collaborative groups? Are students writing in notebooks or on laptops?

Cover of It's Lit Teaching Resource: Creative Writing Journal Prompts for High School

Of course, a successful class will most likely include a mixture of all of the above. But it’s up to you to decide on your ratio. 

Again, I encourage you to think about your school’s population. If you’re on ninety-minute blocks, is it realistic for students to be quietly writing that whole time? If you have high-achieving students, might they benefit from working independently at home and then getting and giving peer feedback during class time?

Use your goals to help decide on a general class structure. 

Warm-ups for Creative Writing

You’ll need a consistent way to begin each class.

When I initially began teaching Creative Writing, I just wanted to provide my students with more time to write. We began every class period with free writing. I gave students a couple of prompts to choose from each day, and then we’d write for about ten minutes. 

( Those journal prompts are right here . Every day includes two prompts plus a third option of freewriting.)

Students were given the option to share part of their writing if they wanted to. Every couple of weeks I’d flip through their notebooks to make sure they were keeping up, but I only read the entries they starred for me in advance. 

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Later, I wanted to add some rigor to my Creative Writing class and leverage more mentor texts. I created a Poem of the Week activity for each week of the course. 

This gave students the opportunity to study professional writing before using it as a mentor text for a new, original piece. 

(You can read more about using these Poem of the Week activities here.) 

As my goals for the class and my students change, so did the way we began class. 

How can you begin your class in a way that supports the end goals or teaches the desired standards? How often will peers work together?

Teach Creative Writing to High School Students Step #5: Focus on Engagement Strategies

Now you can actually start planning lessons and projects!

But as you do so, focus on creating engaging ones–especially if your class is meant to be a fun elective.

Need more tips? Check out this post full of Creative Writing teaching tips!

Use Mentor Texts and Lots of Examples

Have you ever tried putting a puzzle together without knowing what the image was going to look like? It would be pretty difficult! Similarly, students need lots of examples of strong writing to aspire to. 

Without clear models or mentor texts , students will happily turn in unread drafts. They’ll choose the first word that comes to their mind instead of searching for a better one. 

But if you surround students with great writing, highlight strong technique when discussing the writing of others, and challenge them to notice the details in their own writing, they’ll naturally become better at self-editing.

I don’t believe that you can provide students with too many mentor texts or examples of strong writing. As you teach Creative Writing, keep or take pictures of strong writing samples from students to use as examples later. 

Nearly all of my lessons and projects include an example along with instruction.

Model and Create with Your Students

You can even use your own writing as an example. When I had students free write to creative writing prompts, I always wrote with them. Sometimes I would then put my notebook under the document camera and model reading my own work.  

I would cross out words and replace them or underline phrases I thought were strong enough to keep. Model for students not just great writing, but the process of strengthening writing.

And then give them plenty of time to edit theirs. This is when having students engage in peer feedback is a game-changer. 

Without great writing to aspire to, however, students easily become lazy and turn in work that is “good enough” in their eyes. Don’t let them get lazy in their writing. Keep throwing greater and greater work in front of them and challenge them to push themselves. 

(This is another reason I love using Poem of the Week warm-ups –they expose students to a new writer every week!)

Set Clear Expectations

Creative writing causes a lot of students anxiety. There’s no “right” answer, so how will they know if they creatively wrote “correctly?”

Help them out by setting clear expectations. Offering a rubric for every project is great for this. If you can, give them specifics to include. “At least 500 words” or “three or more similes” are nice, concrete guidelines that students can follow.

Give Students Choice

Offering students choice always boosts engagement. It lets students take charge of their learning and pursue something that interests them.

For example, when I teach odes , students are given the opportunity to write about something they love.

With an author study , students can study a writer whose style and work they admire.

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Teach Creative Writing to High School Students Step #6: Use Clear and Structured Expectations

While showing students excellent prose or perfect poetry should help inspire students, your writers will still need some hard parameters to follow. 

Academic writing is often easier for students than creative writing. Usually, academic writing follows a structure or certain formula. The rubric dictates exactly how many quotes need to be included or how long an essay needs to be. MLA or APA formats tell students how to punctuate quotes and citations. 

These rules don’t apply to creative writing. And while that’s exactly what makes creative writing awesome, it’s often overwhelming. 

So do your students a favor and give them some clear expectations (without, of course, entirely dictating what they need to write about).  

The project also includes a rubric, so young writers know what should be included in their stories.

Don’t give your students so much creative freedom that it paralyzes them! Your writers are still students; give them the same level of structure and organization that you would in any other class. 

syllabus for creative writing class high school

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Teach Creative Writing to High School Students Step #7: Give Students Choices

So how do you give students frameworks, requirements, and uphold high expectations without stifling their creativity?

Give students choices. You can write about A, B, or C, as long as you meet requirements 1, 2, and 3. 

Offering choices works with small one-day assignments or lessons as well as bigger, longer-term projects. 

Cover for It's Lit Teaching Resource: Show. Don't Tell Creative Writing Mini Lesson Workshop

The previously mentioned Fairy Tale Retelling Project is a great example of offering a narrow selection of choices that uphold expectations without dictating what students write. 

Another one of my favorite examples of offering students choices is my “Show. Don’t Tell” Mini-lesson . This lesson touches on everything students need to successfully learn creative writing. 

First I teach them the concept of showing vs. telling in writing through direct instruction. I show them lots of examples of expanding a “telling sentence” into a “showing paragraph.”

Then I model for students how I would write a paragraph that shows crucial information, rather than telling it. 

Lastly, I have students pick a strip of paper from a hat or a bag. Each strip of paper contains a “telling sentence” that they must then write as a “showing paragraph.” Students are limited by the sentences I provide, but they still have complete freedom over how they achieve that detailed paragraph. 

If you wanted to give students even more freedom, you could let them pick their sentences or trade with a peer rather than blindly choosing. 

Any time you can give students a choice, you give them permission to use their creativity and allow them to take some of the initiative in their own learning.

Teach Creative Writing to High School Students Step #8: Encourage Peer Collaboration and Feedback

We can tell students something a hundred times, but they won’t listen until a peer says the same thing. Us educators know the value of positive peer interaction, so don’t limit it in a creative writing class!

There are a ton of ways to implement peer interaction in a creative writing class. I often do this on the first day of class with a writing game. You’ve probably heard of it: everyone writes a sentence on a piece of paper, then everyone passes the paper and adds a sentence, and so on. 

I highly encourage you to use peer feedback throughout the class. I usually start having students share their work from day one with my free “I Am” Poem Lesson so that they can start getting used to having their work read by others immediately.

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Make getting feedback so routine in your room that students don’t even question it.

It’s really tempting to let students get away without sharing their work. We don’t want to make shy or anxious students uncomfortable. I mean, what better way to completely ruin creative writing for a student than to make them feel embarrassed all the time, right?

But keep trying to encourage shy students to share. Even if that means you share it anonymously or read it aloud for them. 

I recommend including some kind of peer feedback with every writing assignment . Yes, even short practice assignments. This will work as a kind of “immersion therapy” for receiving feedback on more involved work.

After some time, you might find that your students even begin to share their work without your prompting! 

I like to organize the desks in my Creative Writing class so that students are in little groups. I’ve found that at least half of my classes will begin talking and sharing with one another in their little groups while working on projects. 

They’ll ask each other questions or to remind them of a word. They’ll read sentences aloud and ask if they sound right. Personally, I would much rather hear this kind of chatter in my class than have a dead silent room of boring writers!

However you decide to allow students to work together, be sure to provide the opportunity. Reading and getting feedback from peers could possibly teach students more about writing than any of your instruction (sorry!).

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One of the truly great things about teaching creative writing to high school students is that there often isn’t a rigid curriculum. Of course, this is also sometimes one of the worst things about teaching creative writing to high school students!

You have total freedom over the assignments you give, the standards you teach, and how you organize and structure your classroom. After a few years of teaching Creative Writing, however, I’ve found that sticking to these six steps is a great way to have a successful semester.

If you’re excited about teaching your Creative Writing class, but are running low on prep time, check out my complete 9-week Creative Writing course ! Included are two different types of warm-ups, poetry analysis activities from well-known authors, mini-lesson, projects, and more!

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Our 2020-21 Writing Curriculum for Middle and High School

A flexible, seven-unit program based on the real-world writing found in newspapers, from editorials and reviews to personal narratives and informational essays.

syllabus for creative writing class high school

Update, Aug. 3, 2023: Find our 2023-24 writing curriculum here.

Our 2019-20 Writing Curriculum is one of the most popular new features we’ve ever run on this site, so, of course, we’re back with a 2020-21 version — one we hope is useful whether you’re teaching in person , online , indoors , outdoors , in a pod , as a homeschool , or in some hybrid of a few of these.

The curriculum detailed below is both a road map for teachers and an invitation to students. For teachers, it includes our writing prompts, mentor texts, contests and lesson plans, and organizes them all into seven distinct units. Each focuses on a different genre of writing that you can find not just in The Times but also in all kinds of real-world sources both in print and online.

But for students, our main goal is to show young people they have something valuable to say, and to give those voices a global audience. That’s always been a pillar of our site, but this year it is even more critical. The events of 2020 will define this generation, and many are living through them isolated from their ordinary communities, rituals and supports. Though a writing curriculum can hardly make up for that, we hope that it can at least offer teenagers a creative outlet for making sense of their experiences, and an enthusiastic audience for the results. Through the opportunities for publication woven throughout each unit, we want to encourage students to go beyond simply being media consumers to become creators and contributors themselves.

So have a look, and see if you can find a way to include any of these opportunities in your curriculum this year, whether to help students document their lives, tell stories, express opinions, investigate ideas, or analyze culture. We can’t wait to hear what your students have to say!

Each unit includes:

Writing prompts to help students try out related skills in a “low stakes” way.

We publish two writing prompts every school day, and we also have thematic collections of more than 1,000 prompts published in the past. Your students might consider responding to these prompts on our site and using our public forums as a kind of “rehearsal space” for practicing voice and technique.

Daily opportunities to practice writing for an authentic audience.

If a student submits a comment on our site, it will be read by Times editors, who approve each one before it gets published. Submitting a comment also gives students an audience of fellow teenagers from around the world who might read and respond to their work. Each week, we call out our favorite comments and honor dozens of students by name in our Thursday “ Current Events Conversation ” feature.

Guided practice with mentor texts .

Each unit we publish features guided practice lessons, written directly to students, that help them observe, understand and practice the kinds of “craft moves” that make different genres of writing sing. From how to “show not tell” in narratives to how to express critical opinions , quote or paraphrase experts or craft scripts for podcasts , we have used the work of both Times journalists and the teenage winners of our contests to show students techniques they can emulate.

“Annotated by the Author” commentaries from Times writers — and teenagers.

As part of our Mentor Texts series , we’ve been asking Times journalists from desks across the newsroom to annotate their articles to let students in on their writing, research and editing processes, and we’ll be adding more for each unit this year. Whether it’s Science writer Nicholas St. Fleur on tiny tyrannosaurs , Opinion writer Aisha Harris on the cultural canon , or The Times’s comics-industry reporter, George Gene Gustines, on comic books that celebrate pride , the idea is to demystify journalism for teenagers. This year, we’ll be inviting student winners of our contests to annotate their work as well.

A contest that can act as a culminating project .

Over the years we’ve heard from many teachers that our contests serve as final projects in their classes, and this curriculum came about in large part because we want to help teachers “plan backwards” to support those projects.

All contest entries are considered by experts, whether Times journalists, outside educators from partner organizations, or professional practitioners in a related field. Winning means being published on our site, and, perhaps, in the print edition of The New York Times.

Webinars and our new professional learning community (P.L.C.).

For each of the seven units in this curriculum, we host a webinar featuring Learning Network editors as well as teachers who use The Times in their classrooms. Our webinars introduce participants to our many resources and provide practical how-to’s on how to use our prompts, mentor texts and contests in the classroom.

New for this school year, we also invite teachers to join our P.L.C. on teaching writing with The Times , where educators can share resources, strategies and inspiration about teaching with these units.

Below are the seven units we will offer in the 2020-21 school year.

September-October

Unit 1: Documenting Teenage Lives in Extraordinary Times

This special unit acknowledges both the tumultuous events of 2020 and their outsized impact on young people — and invites teenagers to respond creatively. How can they add their voices to our understanding of what this historic year will mean for their generation?

Culminating in our Coming of Age in 2020 contest, the unit helps teenagers document and respond to what it’s been like to live through what one Times article describes as “a year of tragedy, of catastrophe, of upheaval, a year that has inflicted one blow after another, a year that has filled the morgues, emptied the schools, shuttered the workplaces, swelled the unemployment lines and polarized the electorate.”

A series of writing prompts, mentor texts and a step-by-step guide will help them think deeply and analytically about who they are, how this year has impacted them, what they’d like to express as a result, and how they’d like to express it. How might they tell their unique stories in ways that feel meaningful and authentic, whether those stories are serious or funny, big or small, raw or polished?

Though the contest accepts work across genres — via words and images, video and audio — all students will also craft written artist’s statements for each piece they submit. In addition, no matter what genre of work students send in, the unit will use writing as a tool throughout to help students brainstorm, compose and edit. And, of course, this work, whether students send it to us or not, is valuable far beyond the classroom: Historians, archivists and museums recommend that we all document our experiences this year, if only for ourselves.

October-November

Unit 2: The Personal Narrative

While The Times is known for its award-winning journalism, the paper also has a robust tradition of publishing personal essays on topics like love , family , life on campus and navigating anxiety . And on our site, our daily writing prompts have long invited students to tell us their stories, too. Our 2019 collection of 550 Prompts for Narrative and Personal Writing is a good place to start, though we add more every week during the school year.

In this unit we draw on many of these resources, plus some of the 1,000-plus personal essays from the Magazine’s long-running Lives column , to help students find their own “short, memorable stories ” and tell them well. Our related mentor-text lessons can help them practice skills like writing with voice , using details to show rather than tell , structuring a narrative arc , dropping the reader into a scene and more. This year, we’ll also be including mentor text guided lessons that use the work of the 2019 student winners.

As a final project, we invite students to send finished stories to our Second Annual Personal Narrative Writing Contest .

DECEMBER-January

Unit 3: The Review

Book reports and literary essays have long been staples of language arts classrooms, but this unit encourages students to learn how to critique art in other genres as well. As we point out, a cultural review is, of course, a form of argumentative essay. Your class might be writing about Lizzo or “ Looking for Alaska ,” but they still have to make claims and support them with evidence. And, just as they must in a literature essay, they have to read (or watch, or listen to) a work closely; analyze it and understand its context; and explain what is meaningful and interesting about it.

In our Mentor Texts series , we feature the work of Times movie , restaurant , book and music critics to help students understand the elements of a successful review. In each one of these guided lessons, we also spotlight the work of teenage contest winners from previous years.

As a culminating project, we invite students to send us their own reviews of a book, movie, restaurant, album, theatrical production, video game, dance performance, TV show, art exhibition or any other kind of work The Times critiques.

January-February

Unit 4: Informational Writing

Informational writing is the style of writing that dominates The New York Times as well as any other traditional newspaper you might read, and in this unit we hope to show students that it can be every bit as engaging and compelling to read and to write as other genres. Via thousands of articles a month — from front-page reporting on politics to news about athletes in Sports, deep data dives in The Upshot, recipes in Cooking, advice columns in Style and long-form investigative pieces in the magazine — Times journalists find ways to experiment with the genre to intrigue and inform their audiences.

This unit invites students to take any STEM-related discovery, process or idea that interests them and write about it in a way that makes it understandable and engaging for a general audience — but all the skills we teach along the way can work for any kind of informational writing. Via our Mentor Texts series, we show them how to hook the reader from the start , use quotes and research , explain why a topic matters and more. This year we’ll be using the work of the 2020 student winners for additional mentor text lessons.

At the end of the unit, we invite teenagers to submit their own writing to our Second Annual STEM writing contest to show us what they’ve learned.

March-April

Unit 5: Argumentative Writing

The demand for evidence-based argumentative writing is now woven into school assignments across the curriculum and grade levels, and you couldn’t ask for better real-world examples than what you can find in The Times Opinion section .

This unit will, like our others, be supported with writing prompts, mentor-text lesson plans, webinars and more. We’ll also focus on the winning teenage writing we’ve received over the six years we’ve run our related contest.

At a time when media literacy is more important than ever, we also hope that our annual Student Editorial Contest can serve as a final project that encourages students to broaden their information diets with a range of reliable sources, and learn from a variety of perspectives on their chosen issue.

To help students working from home, we also have an Argumentative Unit for Students Doing Remote Learning .

Unit 6: Writing for Podcasts

Most of our writing units so far have all asked for essays of one kind or another, but this spring contest invites students to do what journalists at The Times do every day: make multimedia to tell a story, investigate an issue or communicate a concept.

Our annual podcast contest gives students the freedom to talk about anything they want in any form they like. In the past we’ve had winners who’ve done personal narratives, local travelogues, opinion pieces, interviews with community members, local investigative journalism and descriptions of scientific discoveries.

As with all our other units, we have supported this contest with great examples from The Times and around the web, as well as with mentor texts by teenagers that offer guided practice in understanding elements and techniques.

June-August

Unit 7: Independent Reading and Writing

At a time when teachers are looking for ways to offer students more “voice and choice,” this unit, based on our annual summer contest, offers both.

Every year since 2010 we have invited teenagers around the world to add The New York Times to their summer reading lists and, so far, 70,000 have. Every week for 10 weeks, we ask participants to choose something in The Times that has sparked their interest, then tell us why. At the end of the week, judges from the Times newsroom pick favorite responses, and we publish them on our site.

And we’ve used our Mentor Text feature to spotlight the work of past winners , explain why newsroom judges admired their thinking, and provide four steps to helping any student write better reader-responses.

Because this is our most open-ended contest — students can choose whatever they like, and react however they like — it has proved over the years to be a useful place for young writers to hone their voices, practice skills and take risks . Join us!

writer pic

ENG 231. Intro to Creative Writing

Spring 2014.

Language Arts Classroom

A Comprehensive High School Writing Curriculum Guide

high school writing curriculum guide

In this comprehensive high school writing curriculum guide, I explain necessary components of planning a writing for a year. 

Writing is an essential skill that students need to develop in high school. Part of teaching this essential skill is encouraging, inspiring, and mentoring.

However, not all writing curriculums are created equal. A well-structured writing curriculum can help students understand the fundamentals of writing, improve their skills, and explore their creativity.

use several writing curriculums

High School Writing Curriculum: A Comprehensive Guide

Honesty time: I do not suggest one entire curriculum but rather, pieces from several sources. Many tools can get you to meeting standards, encouraging young writers, and working through common struggles. However, as someone who has taught in various capacities for over twenty years, one set curriculum will probably not work. You will need to incorporate pieces of your own to address the learners in front of you and modify it each semester.

Therefore, in this blog post, I’ll explore the components, considerations, and requirements for high school students.

high school writing curriculum guide

Why are you writing about a high school writing curriculum?

If you have followed me for a few years, you were with me while I finished my second master’s degree, one in English Literature . Now, I teach dual-credit writing courses at my high school in coordination with a local community college. Many of my subscribers teach a similar class for high school credit.

The previous seven years, I taught freshmen and worked with those standards. Therefore, my teaching load focuses on standards for seniors, a shift for me.

As I create and build my high school writing curriculum, these considerations come into play.

essentials for English class

Understanding the Essentials of a High School Writing Curriculum

A comprehensive high school writing curriculum will address students’ writing skills and grammatical knowledge. Meeting language skills alongside the writing standards can happen naturally.

A well-rounded high school writing course will also address essential aspects such as argumentative writing (sometimes referenced as persuasive writing), informative, and creative/narrative writing, providing students with a holistic understanding of the writing process.

Here is my teacher’s guide to incorporate all these factors.

a structured approach

Importance of a Structured Approach to Writing

A structured approach to writing is essential in a writing curriculum. In my teaching career, I have taught several semester-long courses like public speaking, creative writing, and English 101. My #1 learned lesson: Have an overarching project that builds community in classes. For public speaking, speakers set goals for public speaking. In creative writing, writers compile a journal with writing prompts.

In a standard writing class, we use images to write about mentor sentences and fun topics . Images help young writers envision their responses, and the images work as a form of scaffolding. An ongoing activity, a habit, allows writers to reflect on their writing process, figurative language use, and sentence structure. Take time to reflect with students.

diverse writing activities

Diverse Writing Assignments

Instilling excellence in writing skills and grammar instruction is essential for an effective writing curriculum. One research paper and one narrative alongside “drill and kill” grammar will not produce an engaging high school writing curriculum.

A few of my favorite writing assignments for high school:

  • Mini-memoirs (narrative standards)
  • Response to informational text (an assortment of standards)
  • Argumentative RAFT (argumentative standard)
  • Researched famous events (expository standards)

If you look at the mentor texts (below) and provide excerpts to your classes, you will also create diverse writing assignments from those inspired pieces.

create a calendar for your writers

Calendar of Writing

Map out your calendar of dates. No amount of researching and organizing will help us creators of a high school writing curriculum: We must sit down with a calendar.

My high school writing curriculum contains two large-ish type assignments, one due about six weeks into the semester and another at about fourteen weeks. I space them out so that students understand my expectations and feedback, so that we have worked through our standards together, and so that large assignments are not due when students are already overwhelmed. Spacing out assignments in this manner also provides me time to provide meaningful feedback.

If you are interested in looking at my outline for a creative writing course, you can make a copy on Canva (for free).

grammar and writing

Grammar Excellence

If you have floated around my blog for a bit, you’ll realize that my preference is not to teach grammar with worksheets. A grammar workbook and worksheets have their place, sure. But once classes understand the basics of language, I branch into additional resources.

For instance, with my high school grammar activities , students use interactive pieces to practice punctuations, to add types of clauses to sentences, and to experiment with difficult concepts. The pieces allow writers to take their own writing and implement lessons. In doing so, they are experimenting with language.

Another addition to any writing program will be addressing grammatical errors . My suggestion is to assign paragraph writing and while grading, note common errors. Then, provide direct instruction and practice correcting the errors.

Any grammar curriculum will connect grammar to writing. One of my goals is to approach language in a positive way so that my brave writers feel empowered instead of crushed by grammar rules.

writing standards

Meeting Standards with Writing

Writing standards define the expectations for what students should be able to do at each grade level. These standards aim to develop clarity, coherence, and effective communication through writing.

However, meeting these standards can sometimes be a challenge for both students and teachers. Below, I explain what helps me as my students and I work to meet writing standards.

importance of writing standards

Importance of Writing Standards

Writing standards are guidelines that outline the skills and knowledge students should acquire in writing. They provide a common framework for teaching writing skills, ensuring consistency across classrooms and grade levels.

Be prepared to breakdown standards with students in sensible ways. For instance, in my creative writing activities, I break down pieces like implementing pacing and external conflicts into smaller lessons. With those smaller activities, we can dive deep into the standards.

Overall, writing standards promote clarity, coherence, and effective communication, which are essential skills in the 21st century.

implement your writing curriculum

Implementation of Standards

The more you build your writing curriculum, the more engrained and natural the standards will be.

To start, align writing activities with specific standards. By doing so, you ensure that the writing skills targeted are directly tied to the standards. This alignment helps reinforce the skills and knowledge necessary for students to meet the standards effectively.

Additionally, incorporating a wide range of writing skills into lesson plans allows you to address multiple standards simultaneously, providing a comprehensive writing instruction experience for students. In the example above, pacing and external conflicts will occur in smaller activities and then implemented into larger one.

Don’t fear breaking down a standard with students. (Some teachers call this process “unpacking the standards”). The more you discuss writing expectations that derive from the standards, the more meaningful discussions you and your students will have.

mentor texts

Considering mentor texts.

Mentor texts are simply example texts that work well for providing example of structure, vocabulary, language use, and any other piece of writing. Below, I have included books from which I pull pieces. Included are explanations of ways I use the excerpts.

Plus, university writing courses often use excerpts, so using them is a great way to prepare classes. If you read a publication like the New York Times, keep your eyes open to pieces you can add.

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This book might be the most loaned book from my classroom library. Dashka Slater is a journalist who wrote The 57 Bus , a story told from two perspectives of what became a hate crime.

Five Little Indians

Michelle Good’s novel portrays the lives of residential school survivors. The uses for Five Little Indians is diverse. Dialogue, setting, and pacing shine through in this story.

The Forgotten Girls

Monica Potts’ memoir weaves research into a narrative. The story covers rural women and their limited options. When older students write narratives, I encourage them to add research and use Potts’ memoir as a mentor text.

The Sun Does Shine

I’ve written about The Sun Does Shine before. Pieces from Anthony Ray Hinton’s story have been in my American literature class too. For a writing class, chapter two, “All American,” works well for modeling background and flashback.

Chapter twenty-seven, “The Symbols of Caste” works as a model for comparing two situations. Isabel Wilkerson compares America’s response to slavery to Germany’s response to the Holocaust. Her pacing and transitions serve as strong examples.

Slavery by Another Name

Douglas A. Blackmon’s book provides examples of incorporating primary sources into research. The end to the chapter, “New South Rising” has a short piece to analyze with writers.

The chapter, “Took Over the OxyContin Belt” serves as a mentor text for narrative nonfiction. From its hook to its powerful concluding paragraph, this short chapter helps me to model narratives.

Patient H.M.

Patient H. M. is about lobotomies, written by the grandson of a famous doctor who performed them decades ago. Luke Dittrich incorporates interviews into research. You can also use excerpts to model writing about delicate topics.

Excerpts from larger books provide authentic texts for young writers and if they are interested, you can loan them the book. Incorporating mentor texts into your high school writing curriculum provides young writers with inspiration and examples.

For those readers who are designing a homeschool writing curriculum, you can ask your local librarian for suggestions regarding books of varying genres.

high school writing curriculum guide

In conclusion, a high school writing curriculum should provide a structured approach to writing that covers key components such as grammar, vocabulary, and essay writing. It should also offer options that cater to different learning styles and preferences.

While most writing curriculums have their merits, it is important to incorporate creative elements to engage and inspire today’s high schoolers with your own touch. By tailoring the curriculum to your student’s needs and interests, you can make the learning experience more enjoyable and effective.

Replace a student workbook with excerpts, webinars, and audio pieces to diversity the curriculum.

Remember, the goal is to equip them with the necessary skills to express themselves confidently and effectively in various writing formats. You can see details of my high school writing curriculum as a foundation for your classes.

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writing writing activities writing lessons

Embark on the Journey

High school creative writing.

Homeschooling

You can teach high school creative writing even if you’re not a writer yourself! Come see how you can do it without killing their creativity.

What do you do when your child loves creative writing, and you have no idea how to teach it? 

You research, of course! We have used so many writing programs over the years trying to find something that would combine my daughter’s passion for creative writing with my desire to train her to write college-level papers.

syllabus for creative writing class high school

The problem is that I’m not a creative writer. Yes, I know. I’m a blogger, and I just said “I’m not a writer.” I’m a chatter. I talk to you through my blog. I write as if we’re hanging out at the coffee shop talking about homeschooling and being moms. I write non-fiction. True stuff. Life lessons.

High School Creative Writing Curriculum

Writing essays and research papers…

That’s a whole different story. I can teach the basics of a five-paragraph essay. I can teach the proper way to site resources in a research paper. But, my math-loving, left-brain self cannot “teach” creative writing.

What is Writing Fiction in High School?

Writing Fiction [in High School]: Bringing Your Stories to Life is a writing curriculum designed to introduce high school students to the concepts of fiction. Seems pretty clear cut, huh? But, what exactly does that mean?

This writing course is designed to help high schoolers write fictional short stories and novels.

There are two tracks available in this course. One track is designed for all writers no matter how proficient they are with writing. The second track, which is optional, is designed for students who have already begun writing their own short story or novel. The assignments throughout the course are clearly marked as to which ones are for everyone and which target the manuscript tract.

Topics covered throughout this course include point of view, conflict, dialogue, theme, plot, and more.

syllabus for creative writing class high school

What do we think about it?

My daughter, 8th grade, has many notebooks full of short stories and the beginnings of novels. She turns her interests and life stories into stories that she may or may not ever publish. Her goal for this program is to “get better writing skills for my stories.”

She is really enjoying the assignments so far. “They’re fun, and they are helping me grow as a writer.”

How do we use it in our homeschool?

Writing is best done in some form of a group setting so writers can receive critiques and feedback on their work. Since we don’t have a writing group of our own, she and I are going through this course together.

I have no desire to formally write a short story or novel so you could consider me a reluctant writer. My kiddo, as I mentioned above, has notebooks and notebooks full of short stories.

The beauty of Writing Fiction [in High School] is that it appeals to us both. For my writer, it is showing her new techniques and honing the skills she’ll need to continue working on the stories she’s started. For me, the lessons are easy to follow, easy to understand, and not intimidating. They’re easy to teach and fun to do. We’re both having a lot of fun!

Each of the thirteen chapters in the book contains multiple lessons. There is a clear “end of today’s lesson” sign at the end of each section. We try to complete at least one section 3-4 days a week.

We’re having lively discussions about the lessons and about our writing. Sharing our writing offers us a chance to look at each other’s perspective. So far, our favorite activity has been to write an ABC story – a 26 line story with each line beginning with the next letter of the alphabet.

syllabus for creative writing class high school

Creative Writing Syllabus & Rubric (for Writers and Tutors)

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Writing Syllabus

Creative Writing Syllabus & Rubric (PDF for viewing) Creative Writing Syllabus & Rubric (PDF for printing)

This is the syllabus I was never given in my university course. After meditating on my own slow and sporadic epiphanies on the subject of writing, I created this giant list of skills and criteria to get a better sense of where I am as a writer, and what I can try to teach my students.

Obviously, this curriculum can’t guarantee that you will become a successful writer. These are just some guidelines that you might consider following if you feel as if you’ve been blundering around aimlessly for a while and not progressing in your craft, or even if you’re not sure whether you want to make writing your career. In case you do, this is the framework I will be referencing when I develop courses and ebooks for The Lady Writers League .

PREPARATION is anything that precedes writing, whether it relates to your warm-up routine, your reading and influences, or your worldbuilding notes, plot outlines, etc.

WRITING is anything that takes place while you’re writing, whether it relates to the actual time you spend putting words on a page, or the months or years of writing and erasing that go into creating a manuscript.

FINISHING is anything that takes places after you’ve finished writing, whether it relates to the revision, the subsequent drafts, the conversations with early readers or editors, or the formatting, packaging and promotion of a finished piece of work.

The Masterpiece

In medieval guilds, the “masterpiece” was the piece of work that a journeyman submitted to the guild for acceptance as a master. This piece would showcase all the techniques they had learnt throughout their studies and travels, and would represent the best work they were (and possibly ever would be) capable of producing. If the journeyman was accepted into the guild as a master, the guild would keep the masterpiece.

Some Observations

  • Despite my adoption of the medieval craft hierarchy, I don’t mean to imply that a progression is necessary, or that a lifelong neophyte can’t be as good a writer as a master.▼
  • In this sense, it doesn’t matter which level you feel you fall into. What differentiates the levels is your focus and purpose for writing.
  • I want to distance the rubric as much as possible from a subjective consideration of “good” and “bad” writing. Quality must follow quantity, in my experience, and developing “good” taste is not nearly as difficult as demonstrating it in your writing.
  • Another criteria I’ve used to determine the levels is “earning a living”. In spite of the age-old conflict between art and business, I think (especially in this internet era), the craftsman must be someone who can meet their physical as well as their intellectual and spiritual needs through their work.
  • Hopefully this will also help teachers (and writing “gurus”) in deciding what guidance to provide their students, but please remember that the levels are merely conveniences. No matter how neophytic your pupils seem, I recommend following the advice given me by my own writing guru : include something for all learner levels (and a little extra for yourself).
  • Each row deals roughly with the same concept, but each cell should nevertheless be considered on its own.
  • You can use the rectangles to the left of each cell to mark completion, partial completion or topics that need extra attention.
  • Don’t hesitate to add items to the syllabus (I’ve left a blank row for each level for this purpose), but think long and hard about your reasons before you remove anything.
  • Practice and contemplate in equal parts.
  • To be clear, this isn’t a syllabus for a university course, not even a four-year one. The best a university course can do is guide students in moving from Neophyte to Apprentice, and then give them as much information (and I stress information over feedback) as possible for the work ahead of them.
  • Be patient. Some of the individual items on the syllabus are deceptively short – in practice, they can take years to learn.
  • I plan on extending and improving this syllabus; currently the bias is towards self-published fiction writing. Extra apologies to poets for the word count-based pass criteria.
  • Use this syllabus for good! Feel proud of how far you’ve come, and inspired by the opportunities for learning that still lie before you.  Compile a study list of subjects you feel you need to consciously improve.

▼ The exception might be the final row of the ‘Neophyte’ level – once you come alive to language, I fear you’re a lost cause. You will have to become a writer whether you like it or not.

Creative Writing Syllabus

I write about literature, language, love, and living off your pen. Also, fortifying fiction, personal amelioration, and tea.

syllabus for creative writing class high school

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Creative Writing: Complete 9-Week Class & Curriculum for High School

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Description

Take the stress out of planning a high school Creative Writing class with this complete, 9-week elective course curriculum bundle! This Complete Creative Writing Class Bundle includes everything you need to teach creative writing skills, poetry analysis, and engage students in a variety of writing at the high school level!

In this engaging 9-week elective creative writing class, students will learn and apply literary terms, analyze mentor texts, and write their own original poems and stories. This full course bundle includes daily warm-ups, projects, individual poem writing activities, mini lessons, and more--everything you need to create a creative writing class that is low-stress and works for both you and your students.

The included bundle-only bonus calendar is flexible. Choose from two different bell ringer or warm-up activities. Move lessons and projects around to suit you or your academic calendar. Plus, most activities and lessons include a digital version, so you and your students can stay on track no matter what! (Writing mini lessons are printable only .)

These lessons and activities are the same curriculum and lessons that I've personally used with my high school creative writing students. My students are usually a mix of low-level 11th and 12th graders. Depending on your students' ability levels, these lessons could work for middle school through high school (look through resource previews to get an idea of rigor).

This Resource Includes:

  • Journal Prompts
  • Poem of the Week Activities
  • Figurative Language Mini Unit
  • Writing Workshops and Mini Lessons
  • Poetry Writing Activities
  • Fairy Tale Retelling Project
  • Author Study Project
  • 2-Sentence Horror Stories
  • "Nicholas Was..." Holiday Analysis and Activity
  • Literary Terms Test
  • 9-week Suggested Course Calendar
  • Day 1 Google Slides Presentation
  • Directions for a Storytelling Game
  • Create Your Own Poem of the Week Project (from the Poem of the Week bundle)

Please look at each of these resources individually prior to purchase . Each resource includes an extensive preview, and I want you to be sure that these products will work for you and your students prior to purchase!

***This bundle consists of a mix of editable and non-editable resources, as well as a mix of Zip folders and Google folders. In order to access your purchase, you will need to give Teachers Pay Teachers access to your Google Drive. Before purchasing, please review the preview to make sure these resources support your and your students' needs. The whole of each resource, with the exception of any answer keys, is included in each activity's preview--please look at each product to make sure you'll be happy with your purchase.

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  • Career Edge - NYU High School Summer Program

Creative Writing

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This summer, immerse yourself in the craft of creative writing with fellow young authors in a pre-college environment. Learn from an industry expert as you transform your ideas and stories into compelling writing. Develop the techniques that are fundamental to all types of fiction writing—literary fiction, dystopian fantasies, fairy tales, and mysteries—and refine your skills in story structure, character development, description, and dialogue. Students will also experience lectures, interact with noted authors, and receive information on how to turn your passion into a career. Gain exposure to workshopping your writing with constructive feedback, ultimately walking away with a variety of short creative pieces ranging from poems, stories, and scenes, to collage texts and flash fiction.

  • High school students who have completed grades 9, 10, or 11
  • High school students interested in strengthening creative writing skills

You'll Walk Away With

  • Refinement of your creative writing, including narrative arc, world-building, authentic dialogue, and character development
  • A portfolio of peer-critiqued short stories
  • An NYU transcript showing grade(s) earned upon completion of the course (Please note: No college credit or certificate of completion is granted for this course.)

Available Sessions

  • Session 3 Jul 15 - 19, 2024 Mon - Fri 09:00 AM - 05:00 PM
  • Session 4 Jul 22 - 26, 2024 Mon - Fri 09:00 AM - 05:00 PM
  • Session 6 Aug 05 - 09, 2024 Mon - Sat 09:00 AM - 05:00 PM

Information Table

Students from around the world attend NYU summer programs, but only a college prep program like High School Academy provides the opportunity to explore both traditional and emerging career paths.

Projects and short assignments provide take-aways that prepare you for college classroom work, while demonstrating your newly acquired skills.

Career Edge Schedule

Start Date: June 24, 2024 End Date: June 28, 2024

Start Date: July 8, 2024 End Date: July 12, 2024

Start Date: July 15, 2024 End Date: July 19, 2024

Start Date: July 22, 2024 End Date: July 26, 2024

Start Date: July 29, 2024 End Date: August 2, 2024

Start Date: August 5, 2024 End Date: August 9, 2024

International Student Deadline: March 15, 2024 Residential U.S Student Deadline: May 17, 2024 Commuter U.S Student Deadline: June 7, 2024

Application Requirements and Fees

To apply you must have successfully completed grades 9,10, or 11. You must submit the online application, a 250-500 word essay, and an official high school transcript. Essay Topic: Please describe why you would like to take your selected course(s). Please include any previous courses you've taken in this subject or previous experiences with this subject. Give more detail as to why you would like to take this course over the summer. Your response should be 250-500 words total. If selecting multiple courses, please contain all responses to a single essay.

Fees for Summer 2024

Application Fee: $50 (non-refundable) Tuition: $2,579 per course Housing & Dining Fees (add on): $618 per week Please note: No financial aid, scholarships, or discounts are available for Career Edge

For International Students

Resources and visa information for international students interested in studying abroad in NYC

Program Contact

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Fall 2020: Introduction to Creative Writing: Hybridity, Identity, and Getting Weird With It

Fall 2020: Introduction to Creative Writing: Hybridity, Identity, and Getting Weird With It

If you’d prefer to download this syllabus in PDF form—including a working schedule for the whole semester— please click here .

ENW 210: Introduction to Creative Writing: 

Hybridity, Identity, and Getting Weird With It

lehmanfallcw.commons.gc.cuny.edu

Instructor: Prof. Zefyr Lisowski

MW 12:30 – 1:45 PM 

Office Hours Monday 11:30 to 12:30 or by appointment

[email protected] | [email protected]  

Course Description

How are we creative? What in our lives leads us to be creative? This course explores various types of creative writing—playwriting, fiction, and poetry—all through the lens of identity, hybrid-ness, and getting weird. Students should be prepared to listen closely to each other and the texts we’re looking at, push themselves in their writing and thinking, and develop skills in a wide range of forms. This can be intense work! As such, I invite you all to take your time with difficult assignments, let me know if you can’t complete a reading, and try and get yourself in a state to “create freely” through writing as frequently as you can, in as many different ways as you can. 

This class will emphasize developing craft through interrogating, writing from, and (in some cases) writing against one’s identity, so be prepared to get messy!

Course Expectations

We’ll draft up course expectations together on the first day, although regardless of what we decide on, compassion and deep engagement with each others’ work is as must. Avoid talking over other people if you can, and if you’re excited about something (or, conversely, really dislike one of the readings I’ve given you) say so!

As far what you can expect to take from this, here are the department’s outcomes:

  • Build a community of creative writers sustained through insightful and constructive feedback
  • Analyze, produce and learn about avenues for publishing a broad range of creative writing, including fiction, poetry, playwriting, and creative nonfiction

And here are my own addendums to this: 

By the end of the semester students will  be able to: 1) demonstrate their close reading skills by reading and discussing selections in all three genres; 2) develop their creative writing through weekly writing assignments covering all three genres; 3) refine and deepen their writing through revision exercises; a final project consisting of one piece in each genre; and written reflection on the writing process; and 4) engage in verbal workshop critiques of classmates’ work that draws on critical reading skills developed through discussion of literary selections.

Course Materials Get a notebook for our class. Get a pen or pencil. If you have a smartphone, make sure you’re comfortable using the notes function on it—or even better, Google Docs (if not, don’t sweat it). Do you have all of these things? Incredible, that’s the majority of your required materials.  This class is not a comprehensive survey of the history of creative writing in the English language; what we wind up talking the most about is subject to both my own interests and your own. We’ll look mainly at PDFs and web links of poems, stories, and essays, but you will also be responsible for selecting and purchasing at least one hybrid work from the list below to discuss; take some time to google what looks the most interesting to you. We will discuss these books individually by the halfway point of the semester, so reading them ahead is recommended.

Hybrid Works (Combine Fiction, Nonfiction, and Poetry) 

These works are available at a number of sources, including online, at used and new bookstores. You will select one of these books for a final presentation. Let me know if you have any issues with affording a copy. 

Zami: A New Spelling of My Name, Audre Lorde, The Crossing Press, 1982 (available as a free PDF here ) ISBN 0895941228

Fierce Femmes and Notorious Liars, Kai Cheng Thom, Metonymy Press, 2017. ISBN 0994047134

Skim, Jillian and Mariko Tamaki, Groundwood, 2008*** ISBN 088899964X

***This book is a graphic novel/comic book; however, I invite you to think about the same ways it can also be a blurring of form!

________________

Requirements:

Readings : Come into class prepared to discuss all readings you were assigned. Think of things you liked and things you felt troubled by. Coming into your own as a writer so frequently involves coming into your own as a reader as well; connect these pieces w/ your own works in terms of techniques you could thieve, small details you noticed, and the emotional resonance of each work.

Writing Prompts: Each week you will have a creative/critical assignment due. Pick one element from the work you find interesting, and write in that mode. It could be writing a story using a similar narrator as the story we read, revealing information in the same kind of way as a specific nonfiction writer, or using a similar image to one of the poets we read. Revise as you feel necessary and turn in whatever you write. Some weeks, you will get a specific prompt, as opposed to being able to craft your own. Approach this much the same way! 

Forum Presentations: On forum presentation days, you’ll post an excerpt and short analysis on a book you’ve read outside of class that you’re especially excited by . In this post, you’ll discuss whatever you find interesting therein, and you’ll moderate (respond to, highlight, and discuss other people’s posts) a discussion on the forum.

Attendance: Attendance and participation are very important to this course. I expect everyone to be on time and be prepared for all classes; this means doing the reading, doing the assignments, and being prepared to respond to each other’s writing. However, if you have a disability, health, or family/work condition that makes completing the work (or punctuality, or attendance) difficult, let me know. 

Due dates, likewise, must be received within 24 hours of the deadline unless previously informed; the grade will drop by one letter grade each day after that. 

Workshops: Occasionally we’ll workshop each other’s work. This is indicated on the class website by “WORKSHOP” being written in all caps by the day in question. You’ll be assigned groups, and will only have to read each other’s work this week. Come in with comments, thorough questions, and a (kind) letter towards the writer on what you like or don’t like. 

University Policies:

A Note on Grading

This course practices qualitative, not quantitative assessment.  So what does that mean? I won’t give you grades on every assignment, but will provide written and feedback for everything you turn in. I’ll meet in the middle of the semester with each of you to discuss course progress, and at the end of the semester will submit a final grade based on (1) assignment completion; (2) your own self-assessment; and (3) my own evaluation of your progress. Feel free to ask any questions!  This policy is adapted from several other professors; here’s more information if you’re curious about why I’m doing this.

A Note on Scheduling

I realize that there are unique difficulties associated with digital learning. Our class is scheduled to meet twice a week on Lehman’s schedule, on Monday and Wednesday. We’ll be meeting every Wednesday synchronously, via Zoom. Mondays will be reserved for asynchronous work, a time to engage in forum posts, writing, class reading, and homework assignments in preparation for the next synchronous class. Occasionally, we may meet, either in person or one-on-one, on Mondays; you’ll receive ample notice over email when this is scheduled. We’ll discuss this more on the first day of class. 

I think it’s important to say: we’ll be reading some materials that may be difficult—either emotionally or formally. If you’re triggered by any of the materials we’re discussing, let me know and we can make accommodations together. 

This is a living syllabus; especially towards the end, what we’ll read and discuss will have as much to do with your needs and interests as my own. As such, check CUNYCommons and my class emails for the most up-to-date assignment lists.

A note on our identities:

We’re coming to this class from a wide range of different experiences, all of which impact our own writing. A lot of us may have experiences with violence that impact our comfort in the classroom and certainly can impact our writing. To this end, I encourage everyone to treat each other respectfully, including in the assignments you bring in; racist, homophobic, sexist, classist, ableist, transphobic, or otherwise discriminatory language won’t be tolerated, unless you can provide a full and convincing explanation of why you use it.

However, everyone makes mistakes (myself included)! If you see someone being rude, politely let them know. If someone tells you you were rude, consider where they are coming from! Hopefully, no one here wants to hurt anyone else.

I’ll try to put into place some safer space policies, including asking for pronouns and providing content warnings for pieces; however, I may slip up. Please, don’t feel afraid to tell me if I do so.

Above all, approach this with a sense of exploration. We’ll spend some of the first day talking about identities, but this is a conversation that is threaded through all of the works we’ll be discussing. Identities (especially gender and sexuality) can change throughout a semester. Keep that in mind, and, in your writing and class presence, try and explore who you are as much as what the writing is. Let’s jump into things.

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Prof. Jessica Penner | OL05 | Fall 2020

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OpenLab Help

I have separated the one big document everyone gets at the beginning of the semester into two: the syllabus and the schedule .

This is the syllabus , which shares a lot of detail about the class. Questions about how the class is run, how you will be graded, etc., can be found here. The other document is the schedule , which shares assignments and due dates. Questions about what we will be doing each week can be found there.

Table of Contents

How This Class Operates

Aspects of a Writing Class

Required Material

Learning Outcomes

  • Breakdown of the Final Grade & Grading Scale

Communication

Participation in an Online Course

Office Hours

Late Writing Assignment Policy

Extra Credit

  • A Few “Oddities”
  • NYCCT Policy on Academic Integrity

Student Accessibility

A Note on Course Workload

I. Nuts & Bolts

Some of you may have taken online courses before, for others, this may be a new experience. Like a face-to-face class, every teacher runs their class differently. Read on for a guide on how this class will be run:

  • This is an asynchronous course, which means there is no specific time that this class will meet.
  • You’ll notice I have two emails listed. The first address is my general NYCCT email. The second is just for your class. Please use the second email! Because all my classes are online, I get a lot of email every day, so your message can quickly get lost. If you use the second email, my response time will be much quicker!
  • All activities/information will take place on OpenLab .
  • Each Friday , I will post an Announcement (located under Activities ) message in our OpenLab website. It will summarize what we’ll be working on for the following week.
  • I will also publish a weekly Assignment post (also located under Activities ) each Friday , which will provide a detailed guide on what is due throughout the following week, titled “Week 1,” “Week 2,” etc. There will usually be two sections: Read and Write , with links to the week’s reading assignments and instructions on what you need to write in response to the assignment.
  • There are deadlines noted in the schedule (the other document) throughout each week, marked in red . Most of the deadlines are on Mondays and Wednesdays , with a few exceptions. Some assignment deadlines are small (posts on the Student Work section), some are large (major writing assignments). All of them count toward your final grade!
  • Be advised that if you do not log onto OpenLab and participate in the writing assignments, this will be noted by me. If you have not shown participation in this class within two weeks of the start of the semester, I will notify the administration and you will be dropped from the class. (Please note: If you wait until right before the end of the two weeks, you’ll discover that you’ve lost participation points!)
  • The responsibility to keep up with assignments rests on you . All the assignments in this class have specific due dates, which means once a date has passed, you cannot turn in the work and receive the points. I do not accept late work. If you have questions about assignments, please contact me and we can either work things out over Zoom or an email conversation—but this works better when you ask right away rather than wait until right before a due date arrives!

As you’ve probably guessed from ENG1101 or ENG1121, a writing class isn’t like a mathematics or computer programming class. Here’s some details about what this class will be like. Throughout this semester, we will:

Discuss – Suzan-Lori Parks once told The New Yorker : “I love my lecture tours. I get up onstage. I have my stack of books and a glass of water and a microphone. No podium, no distance between me and the audience, and I just talk to people and get all excited and tell a lot of jokes, and sing some songs, and read from my work and remind people how powerful they are and how beautiful they are.”

Although this class is asynchronous, I may at times post short video discussions or link you to PowerPoints. I refer to my lectures as discussions, because that’s how I look at them. I’ll passionately “talk” at length at times, especially when I’m introducing a topic, but I’ll also prod you for your reactions to the information via Discussion Boards, because each of you have a point of view that is unique and needs to be heard.

Read/Analyze – William Faulkner once wrote: “Read, read, read. Read everything—trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You’ll absorb it. Then write.”

You will be asked to read material, analyze the work, and think about how you can use the example to benefit your own writing. I recommend you read the assignment at least twice—once for basic comprehension , the second time for details . If English is not your first language, you may need to read the assignment three or four times.

Write/Revise – Octavia Butler once wrote: “You don’t start out writing good stuff. You start out writing crap and thinking it’s good stuff, and then gradually you get better at it. That’s why I say one of the most valuable traits is persistence.”

You will use what we have read as a jumping-off point for your writing. On a specific date, we will have a “peer review” (see below). After the peer review, you will be given time to revise, edit, and type a second draft. I will evaluate this draft. Be sure to keep the second draft once it’s evaluated! Don’t just delete it, because you’ll have an opportunity to revise that draft for your Writing Portfolio at the end of the semester!

Peer Review – Isaac Bashevis Singer once wrote: “The waste basket is the writer’s best friend.” I add: “The peer reviewer is the writer’s next best friend.”

The class will be divided into a Cohort of four peers each. They will be given another student’s work and have time to read, fill out a peer reviewer’s worksheet, and discuss the work over email or text. You may be tempted to be “nice” and write nothing but glowing reviews during this process—please ignore this temptation. This is a time for you to work together for your common goal for this class: to become better writers.

Course Overview

All writing is creative, including the writing you do for school, internet posts to social media, and text/email messages. Where there was a blank page–virtual or otherwise–and you fill it with your words, you have, in fact, drawn on your intellectual resources to create patterns of meaning with those words.

“Creative writing,” however, generally refers to poetry, fiction, drama, and some forms of non-fiction–memoirs and narratives that use the techniques of story-telling.

We will focus on understanding how form and meaning work together and on understanding the types and complexities of each genre–notably, fiction, non-fiction, poetry, drama, and cross-genres–so each student can begin to develop their unique, individual voice .

We will be writing a lot—every day, in fact. You will be keeping a writing journal the entire semester to log your creative material and reflect on the process itself. I will be checking these journals occasionally throughout the semester—not to evaluate, but to ensure you are keeping up with assignments and know a little bit about what you are thinking as a writer.

We will be reading [1] a lot, immersing ourselves in the world of words–and analyzing forms of written expression, both student-produced and published work. Together, we will read, discuss and write memoir essays, short stories or flash fiction, and, time permitting, poetry and very short dramas (dialogues). In addition, we will give attention to the process of writing and the writing life and learn how to become adept critics by providing sensitive, useful feedback on each other’s work.

  • First, make sure your email is one you check on a daily basis, because all announcements and email related to this class will go to the  email address you have set in Blackboard . See  this video  for how to check/change your email address in Blackboard. Please be sure to check that email inbox frequently during the semester.
  • Make sure you have access to OpenLab .
  • Log in to your OpenLab account and follow  these instructions  to join this course . If you’re new to OpenLab, follow  these instructions to create an account  and then join the course .
  • You’ll be posting assignments on OpenLab, so you need to have member status.
  • We may be using Google Docs for some assignments. Here’s where you can get started if you’ve never used Google Docs before.
  • Have a notebook and a folder reserved specifically for this class, pens/pencils, and a laptop or tablet that has access to the Internet (since all reading material and other documents will be shared online) .

Students will be able to:

  • employ characterization, specifically the representation of characters through their actions, words, descriptions of them, and the responses of others to them;
  • create stories and poems with convincing points of view, specifically as it functions through the narrators of stories, speakers of poems, and characters of plays, and their perspectives on the subject matter of the works in which they exist;
  • create plots, specifically the selection and ordering of events as situations or scenes, to achieve suspense through exposition and action;
  • employ style, specifically its identifiable components: patterned sentence structure, word-order, manipulation of the qualitative and quantitative features of sound, and the choice of appropriate diction and tone;
  • utilize structure, as a planned framework for writing, selecting from several options to achieve most effective arrangement of parts, and the desired effect and impact of the work;
  • understand and demonstrate the use of symbolism and allusion in different cultural contexts;
  • conduct online, archival and primary research, to mine raw material for creative works.

Breakdown of Final Grade & Grading Scale

20% Participation

Completion of weekly homework assignments that will include participation in the Discussion Board and other reading/writing activities by assigned due dates will earn these points. There will be 20 points possible for each week.

10% Critical Responses

Guidelines for critical responses to your peers’ work will be explained before our first major writing assignment. Learning to assess your own and others’ work and to offer constructive, specific feedback is a key part of our course. There will be 10 points possible for each Critical Response.

20% Journal

You will be keeping an online writing journal the entire semester to log your creative material and reflect on the process itself. I will be reading these entries—not to evaluate—but to ensure you are keeping up with assignments and know a little bit about what you are thinking as a writer. There will be 20 points possible for each Journal.

20% Writing

Throughout the semester, we will be writing memoir essays, short stories, poetry, and dialogues. You must complete each project on the due dates in order to receive points. There will be 100 points possible for each assignment.

30% Writing Portfolio

This will be a significant revision of three major writing projects and a final reflection essay highlighting how you’ve evolved as a writer. There will be 400 points possible for the Portfolio.

Grading Scale

A- 90-92.9%

B+ 87-89.9%

B- 80-82.9%

C+ 77-79.9%

F 59.9% and below

II. Details

I will be communicating via your City Tech email . Please check your City Tech email at least once a day. I check mine at least twice a day during the week. If you send me an email during the week, you can expect a response within 24 hours. If you write me on the weekend, I will respond within 48 hours.

Just because you’re logging on to OpenLab doesn’t mean you are “participating.” Just logging on every once in a while doesn’t guarantee you will pass this class or get the grade you desire. In order to pass or get the highest grade possible, you need to do the following:

Complete homework before the due date. As I mentioned above, I do not accept late work. On a positive note, homework is graded upon completion. That means if you’ve obviously shown effort (answered the question, written the paragraph, etc.) you’ll get the credit.

How does a person show effort? For example, if I ask students to answer an open-ended question in a paragraph (How do you feel about your cultural identity? Why do people love or hate the Kardashians?), and one student writes a single sentence, they have not shown effort, while another student writes five to eight sentences, they have shown effort.

It’s been my experience (and I’ve been teaching for fifteen years) that those who do the homework fare better on the larger writing assignments than those who didn’t. If I’ve assigned something, I think it’s going to help you become a better writer, it’s not just “busywork.”

Finally, when we have first drafts due for Peer Review for your Cohort, be ready to present whatever you have on that date. Even if it’s incomplete, share what you have. If you don’t share what you have, your peer reviewers won’t be able to give you feedback on what’s good about your writing and what needs work before I evaluate it (this is invaluable information).

Even though this is an online class and we won’t be physically together, it’s important to behave in a professional manner. As you’ve undoubtedly seen on social media, things can very quickly veer from joking to antagonistic if participants aren’t careful, or perhaps a way someone words a post may offend a reader (when there wasn’t an intent to offend). So, when you’re responding to another student’s post on the Discussion Board, a peer’s essay, or in email conversations, please remember the following:

Respect – Students are required to show respect to the professor and other students at all times. This includes carefully reading content the professor assigns or a post made by another student, asking questions about the topic at hand, and refraining from name-calling or using inappropriate language (ableist, racial, misogynist, and anti-LGBTQ slurs, to name a few).

Participation – Students are required to participate actively in the class. This means doing all the homework assignments, connecting with your peers and instructor in a timely manner, and being prepared for each week’s assignments.

Many of you are taking this course to fulfill a Pathways requirement. However, once you commit to the course , you will be considered as a writer who cares about your work . Therefore, all of you are writers in this class and your work will be given the respect your efforts deserve

My office hours will be 1 to 2 PM on Tuesdays, Wednesdays, and Fridays. I’ll be available through Zoom and will send an invitation through email each week. Try to join my meeting at the start of the hour, not at the end—since I may be talking to other students or have another appointment after the hour is up. If those times don’t work with your schedule, we can schedule a different time. This means you’ll have to schedule an appointment in advance via email . In order to ensure we can meet, it’s important you contact me at least 24 hours in advance. For example, if you want to meet at 11 AM on Wednesday, be sure to email me on Tuesday morning; do NOT wait until 10:30 AM on Wednesday. I may have an appointment with another student or other responsibilities scheduled during that time. Please take advantage of this. It’s a time for me to help you with reading and/or writing issues or discuss any concerns you have. I really enjoy talking with students!

ALL writing assignments not received by the due date listed on the syllabus will be recorded as an F. I do not accept ANY assignments after the due date (this includes the Writing Portfolio at the end of the semester) .

I do not offer extra credit. If you complete the assigned readings, and turn in ALL writing assignments that have been thoughtfully written and proofread, you will pass this class.

A Few “Oddities” (and Other Notes)

A Cohort is a fancy word for a small group that works toward a common goal. In this class, you’ll be divided into Cohorts for to critique writing assignments. You will be with your Cohort all semester .

Assignments and Readings

Read with gusto and discernment. Learning to read well will enhance your ability to write well. Complete all assignments and write as much as you can. Of necessity, there will be overlap between drafts, with a new sketch or draft begun and another final draft due.

Writing Dos and Don’ts

Hate speech (racist, ableist, misogynist, anti-LGBT+, anti-Semitic, Islamophobic, etc.) won’t be tolerated. Curse words are allowed, but only when there is a true need for the word (perhaps a character would use the f-word, etc.). Don’t get too stressed about grammar, but be sure your sentences are clear to the reader. More on this below…

Language Awareness and Precision

Not all of you self-identify as writers. Some of you do. All of you, though, come to this course with an interest in developing your writing and communication skills. A key goal is for students to pay attention to word choice and phrasing–and to work on exploring ways to communicate complex ideas, observations, and feelings to yourself and to others. Take risks in your thinking and writing. Use our readings as guides to genres and use of figurative language.

Peer and Self-review

Methods for responding to your own and others’ work will be explained later. Always try to understand what the author is trying to say. Suggest, rather than command, focusing on ways to bring out and shape the author’s meaning. All writers are sensitive to criticism. NEVER be rude or dismissive. All writers need to learn to accept constructive criticism. Therefore, provide honest, but gentle feedback, within the guidelines I provide.

As noted in the final grade breakdown, you will be keeping a journal on the class website. I have specific “journal assignments” that are meant to prompt you either to write creatively or reflect on the writing process. If you’re uninspired or unable to follow the prompt, go to the site: https://www.writersdigest.com/prompts or check the web for other writing prompts—just note on your post where you found your alternative prompt (make a hyperlink or write the URL).

Some of our assignments will have specialized formatting, but most typed work should be double-spaced, in 12-point, Times New Roman font, with 1” margins. The first page header (this is on the first page, NOT all pages) should look like this:

Your First and Last Name

Word Count: XXX

Page numbering: Last name and page number in upper right corner on all pages.

III. College Policies & Student Accessibility

New York City College of Technology Policy on Academic Integrity

Students and all others who work with information, ideas, texts, images, music, inventions, and other intellectual property owe their audience and sources accuracy and honesty in using, crediting, and citing sources. As a community of intellectual and professional workers, the college recognizes its responsibility for providing instruction in information literacy and academic integrity, offering models of good practice, and responding vigilantly and appropriately to infractions of academic integrity. Accordingly, academic dishonesty is prohibited in The City University of New York and at New York City College of Technology and is punishable by penalties, including failing grades , suspension , and expulsion . For further information about plagiarism, cheating and academic integrity see page 57 of the City Tech catalog .

You will earn a zero on a plagiarized assignment in my class. You will NOT be able to “make up” the assignment.

City Tech is committed to supporting the educational goals of enrolled students with disabilities in the areas of enrollment, academic advisement, tutoring, assistive technologies and testing accommodations. If you have or think you may have a disability, you may be eligible for reasonable accommodations or academic adjustments as provided under applicable federal, state and city laws. You may also request services for temporary conditions or medical issues under certain circumstances. If you have questions about your eligibility or would like to seek accommodation services or academic adjustments, please contact the Center for Student Accessibility at 718-260-5143.

Per CUNY guidelines, please calculate two hours of work per credit hour per week, exclusive of class time. This means that for a 3-credit course, you will need to budget 6 hours each week for independent study/class preparation.  Taking into consideration other professional, educational, and personal obligations, please make sure that you have the time to do the work for this course and successfully complete it.

  • There are reading assignments that cover abusive relationships and death. If these topics are triggers for you, talk to me privately ; we can discuss alternative readings or I can provide a summary that will let you know if these readings will be an issue. You must approach me before the reading is due. ↑

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Homeschool Hideout

Our Favorite Creative Writing Curriculum

You guys. Next year my daughter will be in 9th grade. Do you know what that means? Yep. High School.

As a relaxed homeschooler who teeters on the verge of unschooling, the idea of earning credits and completing an entire curriculum has me shaking in my boots. Long gone are my days of “winging it” and letting the weeks slip by without touching our curriculum. Now, I must keep track of credits and plan ahead to ensure my daughter completes everything needed in order to attend college.

When I sat my daughter down and started discussing which classes she’d take, she had only one request: a creative writing curriculum. As a blogger, I’ve always loved writing, so I was giddy at her request. But even after all of the creative writing classes I’ve taken, I still don’t really know how to teach creative writing. So I set out to find a curriculum that would take the guesswork out of it.

This post is sponsored by WriteShop. I received the products for free & was compensated for my time. All opinions are 100% my own.

Going from relaxed homeschoolers to “semi-strict, gotta-get-this-done homeschoolers” is a huge change. My daughter isn’t the only one who is struggling with the thought of it. I knew there were several creative writing curriculum options on the market and I hoped and prayed that one of them would help us with the transition.

I had a few things that I really wanted included in our creative writing curriculum and I wasn’t willing to budge on them.

  • We didn’t want a dry and boring curriculum that would make my daughter despise writing.
  • I wanted something that brought her out of her shell and helped her feel more confident in her writing.
  •  There were dreams of a curriculum that didn’t require me to spend hours prepping and teaching. It needed to take out all the guesswork and clearly lay out all expectations for her.
  • I still needed flexibility, as my other kids are still relaxed, almost-unschoolers . A rigorous schedule would interfere in life’s natural learning process.

 Lucky for me, I found all of these things wrapped up in WriteShop I.

Our creative writing curriculum is engaging and easy-easy for mama! Take the resistance out of writing and make it fun for EVERYONE!

A Creative Writing Curriculum That Sparks Imagination

With WriteShop I, we opted to take the 2 year path so we could enjoy some flexibility in our writing. Each lesson takes 2 weeks to complete so there’s no need to rush through the information. Each concept is presented and built upon until the idea becomes second natural to the student. 

In each lesson, kids will work through a series of hands-on activities to help them thoroughly understand each concept:

Pre-writing activity:.

Activities that are designed to build skills, help kids understand the introduced concepts and help them feel more comfortable with new ideas.

Brainstorm & Write a Practice Paragraph:

Students will brainstorm for the upcoming assignment and construct a practice paragraph.

Jot Down a Sloppy Copy:

The sloppy copy is a great way to help kids focus on getting their pencil on paper and not worry about grammar, spelling and other details. They organize their ideas into paragraphs and add more details and information.

First Revision:

Give the kids a chance to edit their own work before you dive into it. This will put the responsibility back on the writer to find and correct mistakes.

Teacher/Parenting Edit:

Using the Teacher Checklist, editing writing has never been so easy! Simply go through the steps and make suggestions as the list suggests. You want in on a secret? Us mamas don’t have to be a word-lover to be able to edit your child’s papers. You just need the perfect creative writing curriculum. ( Hint: this is it!!! )

WriteShop also stole my heart when I found the “Addressing Errors Lesson by Lesson” section of my teacher’s manual. WOWZA! It addresses every single issue I’ve ever came across and it offers solutions to help your child become a better writer.

Final Draft:

Students will create a final draft based on the edits and suggestions of the teacher. They’ll learn new concepts and key points to becoming a better essay writer through each lesson. They’ll even be proud to show off their compositions!

Teaching with a Creative Writing Curriculum that Covers It All

If you’re anything like me, you are  struggling to find the perfect creative writing curriculum. But teaching creative writing doesn’t have to be scary or hard. I kid you not when I say that WriteShop has outdone themselves. I’ve seen plenty of curriculum and I’ve never laid eyes on a Teacher’s Manual that covers everything as completely and thoroughly as WriteShop has done. The sections it covers takes the guesswork out of teaching and editing your students’ work.  Each section is neatly organized and streamlined with only the most vital information.

Sections include:

Our creative writing curriculum is engaging and easy-easy for mama! Take the resistance out of writing and make it fun for EVERYONE!

Lesson Plans

Editing & Evaluating

Positive & Encouraging Comments

Addressing Errors Lesson by Lesson

Common Problems of Mechanics

Student Writing Samples

Skill Builder Keys

Pre-Writing & Lesson Activity Keys

Appendix A: Handy References

Appendix B: Supplemental Activities

Seriously! Have you ever seen anything so thorough? I love the fact that the folks at WriteShop want to make sure ALL of the bases are covered. They’ve thought of the issues I’ve faced, long before I’ve faced them. And even better, they’re ready and waiting with a solution right at my fingertips!

If you’re looking for a comprehensive creative writing curriculum that won’t break the bank, you do NOT want to miss WriteShop! Down to the last details, they’ve gone above and beyond to make it easier for you and your child to fall in love for writing.

Our creative writing curriculum is engaging and easy-easy for mama! Take the resistance out of writing and make it fun for EVERYONE!

Want More From WriteShop?

Grab a free gift.

You don’t want to miss this bundle! It includes a total of 480 writing and essay prompts to inspire both elementary and teen students for an entire calendar year! You get two different products with a total value of $7.00. 

Print the prompts in your choice of three formats: calendars, cards, or strips. Only available for a limited time.

Grab their “Journal All Year!” Elementary Writing Prompt Calendar Scoop up the “Journal All Year!”  Teen Writing Prompt Calendar

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    This summer, immerse yourself in the craft of creative writing with fellow young authors in a pre-college environment. Learn from an industry expert as you transform your ideas and stories into compelling writing. Develop the techniques that are fundamental to all types of fiction writing—literary fiction, dystopian fantasies, fairy tales ...

  19. Syllabus

    If you'd prefer to download this syllabus in PDF form—including a working schedule for the whole semester— please click here. ENW 210: Introduction to Creative Writing: Hybridity, Identity, and Getting Weird With It. lehmanfallcw.commons.gc.cuny.edu. Instructor: Prof. Zefyr Lisowski. MW 12:30 - 1:45 PM . Fall 2020

  20. Creative Writing Syllabus

    Creative Writing Syllabus. ... ~ 2023-2024 Class Schedule~ English 1CP Syllabus; Creative Writing Syllabus; 1720 M Street, Arcata, CA 95521 Phone: 707-825-2400 Fax: 707-825-2407. NOTICE OF NON-DISCRIMINATION. Northern Humboldt Union High School District does not discriminate on the basis of race, color, national origin, sex, or disability in ...

  21. Syllabus

    ENG1141-OL05. Creative Writing. Fall 2020 (8/26 - 12/18) Syllabus. Instructor: Professor Jessica Penner. Email: [email protected] / [email protected]. Office: Online for Fall 2020. Office Hours: 1 to 2 PM on Tuesdays, Wednesdays, and Fridays. I have separated the one big document everyone gets at the beginning of the ...

  22. Our Favorite Creative Writing Curriculum

    It includes a total of 480 writing and essay prompts to inspire both elementary and teen students for an entire calendar year! You get two different products with a total value of $7.00. Print the prompts in your choice of three formats: calendars, cards, or strips. Only available for a limited time. Grab their "Journal All Year!".

  23. Creative Writing Syllabus

    Bob Jones High School Preparing Today for the Challenges of Tomorrow Home; Our School" About Us; Upcoming Events; Alumni Information; Our Team" National Board Certified Teachers ... Creative Writing Syllabus. Creative Writing Syllabus 2023.pdf, 182.28 KB; (Last Modified on August 10, 2023) 650 Hughes Road, Madison, AL 35758. Phone: 256-772-2547.