how to write a creative writing piece

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How to Plan a Creative Writing Piece

Last Updated: March 6, 2024 Fact Checked

This article was co-authored by Lucy V. Hay . Lucy V. Hay is a Professional Writer based in London, England. With over 20 years of industry experience, Lucy is an author, script editor, and award-winning blogger who helps other writers through writing workshops, courses, and her blog Bang2Write. Lucy is the producer of two British thrillers, and Bang2Write has appeared in the Top 100 round-ups for Writer’s Digest & The Write Life and is a UK Blog Awards Finalist and Feedspot’s #1 Screenwriting blog in the UK. She received a B.A. in Scriptwriting for Film & Television from Bournemouth University. There are 12 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 134,912 times.

Whether you are writing for fun or to satisfy a school assignment, planning a creative writing piece can be a challenge. If you don't already have an idea in mind, you will need to do a little brainstorming to come up with something that interests you. Once you have a general idea of what you want to write about, the best way to get started is to break your project into smaller, more manageable parts. When you have a clear idea of what you want to achieve with your piece, the writing itself will come more easily.

Getting Started

• You can find character sheet templates online, such as here: https://www.freelancewriting.com/copywriting/using-character-sheets-in-fiction-writing/ .

Writing Your Piece

• Kurt Vonnegut grabs the reader's attention at the start of Slaughterhouse-Five quite simply, by saying, “All this happened, more or less.”
• Tolstoy summed up the main theme of his novel Anna Karenina in its very first sentence: “Happy families are all alike; every unhappy family is unhappy in its own way.”

• If you are writing a work of fiction, each of your main characters has something they want, which motivates them to make the choices that drive the plot forward.
• If you are writing a non-fiction work about an actual person or event, include specific details about the key players to make them more interesting to your reader.

• Think of a familiar place you encounter every day, but set the story 100 years in the future – or 1,000.
• Set your story in the modern day world, but change one very key element – imagine that dinosaurs never went extinct, electricity was never invented, or aliens have taken over the planet.
• Whatever time period you choose, make sure the reader has a firm understanding of it early in your story so that they can properly follow the story. The reader needs to know the time period in order to imagine that characters and scenes.

• If you are writing something for the young adult market, focus on the things that matter most to teens and don't worry about whether older adults will like it.
• If you want to write a particular type of fiction, like westerns or sci-fi, read the most popular works in that genre to understand what its readers expect.
• Not everyone will appreciate your sense of humor, and that's okay – be yourself, and let your work speak to those who do.

Staying Motivated

Developing Your Concept

• Novels. The novel is one of the most popular forms of creative writing, and also one of the most challenging. A novel is a large project, with most novels containing at least 50,000 words. Any topic can be the subject of a novel. Certain types of novels are so popular that they belong to their own category, or genre. Examples of genre fiction are romance, mystery, science fiction, and fantasy.
• Short stories. A work of fiction under 7,500 words is usually considered a short story. A short story usually has all of the elements of a novel, including a structured plot. However, experimental forms of short stories like flash fiction do away with ordinary narrative conventions and can take almost any form the author chooses.
• Personal essay or memoir. A personal essay or memoir is a work of non-fiction based on your life. Drawing on your own life experiences can provide you with a wide array of story topics. Not only that, it can be an interesting way to better understand yourself and share your experiences with the world.
• Blogs. The word blog is a shortened form of the term web log, which can refer to any type of writing that is published regularly on the internet. Blogs can be stories, factual pieces, or diaries.
• Poetry. Poetry can take any number of forms, from traditional rhyming couplets to modern free-form verse. Poets typically develop their own unique writing style and write about any topic imaginable, from situations and emotions to current events or social commentary.
• Screenplays or stage plays. These are detailed scripts written for a film or a play. This form of writing has very specific rules about structure and formatting, but the subject matter can be anything you like. [10] X Research source

• Keep your eyes open for compelling stories in the news that could provide a starting point.
• Observe what is happening around you and turn it into a story.
• Adapt your thoughts into a story.
• Draw on an interesting or unusual event that happened in your own life.
• Search the web for “writing prompts” and you'll find lots of ideas to get you going, suggested by other writers. You could even use a random prompt generator website to get a unique suggestion just for you!

• The popular 1990s teen movie Clueless is a modern adaptation of Jane Austen's classic novel Emma .
• The classic Greek myth The Odyssey has been re-imagined in countless ways, including James Joyce's Ulysses and the Coen Brothers' O Brother Where Art Thou? Many authors have adapted its basic story structure of a hero's quest.
• Stories about vampires are all loosely adapted from Bram Stoker's Dracula, but many different writers have put their own unique spin on the concept.

• Salinger's Catcher in the Rye contains themes of alienation and coming of age.
• Tolkien's Lord of the Rings series addresses themes of courage, and the triumph of good over evil.
• Douglas Adams' Hitchhiker's Guide to the Galaxy plays with themes about the absurdity of life, the interconnectedness of all things, and how seemingly minor incidents can have huge consequences.

Expert Q&A

• Try to provide something of value to the reader, who is investing their time in reading your work. Thanks Helpful 0 Not Helpful 0
• The best writing is always simple, clear, and concise. Overly complicated sentences can be difficult to follow, and you may lose your reader's interest. Thanks Helpful 0 Not Helpful 0

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• ↑ https://owl.purdue.edu/owl/general_writing/the_writing_process/developing_an_outline/how_to_outline.html
• ↑ https://www.scad.edu/sites/default/files/PDF/Animation-design-challenge-character-sheets.pdf
• ↑ https://www.writersdigest.com/be-inspired/5-ways-to-start-writing-your-novel-today
• ↑ https://www.georgebrown.ca/sites/default/files/uploadedfiles/tlc/_documents/hooks_and_attention_grabbers.pdf
• ↑ https://owl.purdue.edu/owl/subject_specific_writing/creative_writing/characters_and_fiction_writing/writing_compelling_characters.html
• ↑ https://www.umgc.edu/current-students/learning-resources/writing-center/writing-resources/prewriting/writing-for-an-audience
• ↑ https://academicguides.waldenu.edu/writingcenter/writingprocess/goalsetting/how
• ↑ https://researchwriting.unl.edu/developing-effective-writing-habits
• ↑ https://owl.purdue.edu/owl/resources/writing_instructors/grades_7_12_instructors_and_students/what_to_do_when_you_are_stuck.html
• ↑ http://www.acs.edu.au/info/writing/creative-writing/creative-writers.aspx
• ↑ https://writingcenter.unc.edu/tips-and-tools/brainstorming/
• ↑ https://owl.purdue.edu/owl/general_writing/common_writing_assignments/research_papers/choosing_a_topic.html

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What Is Creative Writing? (Ultimate Guide + 20 Examples)

Creative writing begins with a blank page and the courage to fill it with the stories only you can tell.

I face this intimidating blank page daily–and I have for the better part of 20+ years.

In this guide, you’ll learn all the ins and outs of creative writing with tons of examples.

What Is Creative Writing (Long Description)?

Creative Writing is the art of using words to express ideas and emotions in imaginative ways. It encompasses various forms including novels, poetry, and plays, focusing on narrative craft, character development, and the use of literary tropes.

Table of Contents

Let’s expand on that definition a bit.

Creative writing is an art form that transcends traditional literature boundaries.

It includes professional, journalistic, academic, and technical writing. This type of writing emphasizes narrative craft, character development, and literary tropes. It also explores poetry and poetics traditions.

In essence, creative writing lets you express ideas and emotions uniquely and imaginatively.

It’s about the freedom to invent worlds, characters, and stories. These creations evoke a spectrum of emotions in readers.

Creative writing covers fiction, poetry, and everything in between.

It allows writers to express inner thoughts and feelings. Often, it reflects human experiences through a fabricated lens.

Types of Creative Writing

There are many types of creative writing that we need to explain.

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

They are compact but impactful, telling a full story within a limited word count. These tales often focus on a single character or a crucial moment.

Short stories are known for their brevity.

They deliver emotion and insight in a concise yet powerful package. This format is ideal for exploring diverse genres, themes, and characters. It leaves a lasting impression on readers.

Example: Emma discovers an old photo of her smiling grandmother. It’s a rarity. Through flashbacks, Emma learns about her grandmother’s wartime love story. She comes to understand her grandmother’s resilience and the value of joy.

Novels (The Long Journey)

Novels are extensive explorations of character, plot, and setting.

They span thousands of words, giving writers the space to create entire worlds. Novels can weave complex stories across various themes and timelines.

The length of a novel allows for deep narrative and character development.

Readers get an immersive experience.

Example: Across the Divide tells of two siblings separated in childhood. They grow up in different cultures. Their reunion highlights the strength of family bonds, despite distance and differences.

Poetry (The Soul’s Language)

Poetry expresses ideas and emotions through rhythm, sound, and word beauty.

It distills emotions and thoughts into verses. Poetry often uses metaphors, similes, and figurative language to reach the reader’s heart and mind.

Poetry ranges from structured forms, like sonnets, to free verse.

The latter breaks away from traditional formats for more expressive thought.

Example: Whispers of Dawn is a poem collection capturing morning’s quiet moments. “First Light” personifies dawn as a painter. It brings colors of hope and renewal to the world.

Plays (The Dramatic Dialogue)

Plays are meant for performance. They bring characters and conflicts to life through dialogue and action.

This format uniquely explores human relationships and societal issues.

Playwrights face the challenge of conveying setting, emotion, and plot through dialogue and directions.

Example: Echoes of Tomorrow is set in a dystopian future. Memories can be bought and sold. It follows siblings on a quest to retrieve their stolen memories. They learn the cost of living in a world where the past has a price.

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

They require an understanding of visual storytelling, pacing, and dialogue. Screenplays must fit film production constraints.

Example: The Last Light is a screenplay for a sci-fi film. Humanity’s survivors on a dying Earth seek a new planet. The story focuses on spacecraft Argo’s crew as they face mission challenges and internal dynamics.

Memoirs (The Personal Journey)

Memoirs provide insight into an author’s life, focusing on personal experiences and emotional journeys.

They differ from autobiographies by concentrating on specific themes or events.

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

Example: Under the Mango Tree is a memoir by Maria Gomez. It shares her childhood memories in rural Colombia. The mango tree in their yard symbolizes home, growth, and nostalgia. Maria reflects on her journey to a new life in America.

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

It’s about crafting compelling narratives concisely. Each word in flash fiction must count, often leading to a twist.

This format captures life’s vivid moments, delivering quick, impactful insights.

Example: The Last Message features an astronaut’s final Earth message as her spacecraft drifts away. In 500 words, it explores isolation, hope, and the desire to connect against all odds.

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

This genre covers real events, people, and places with a twist. It uses descriptive language and narrative arcs to make true stories engaging.

Creative nonfiction includes biographies, essays, and travelogues.

Example: Echoes of Everest follows the author’s Mount Everest climb. It mixes factual details with personal reflections and the history of past climbers. The narrative captures the climb’s beauty and challenges, offering an immersive experience.

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

It explores themes like good vs. evil and heroism in unreal settings. Fantasy requires careful world-building to create believable yet fantastic realms.

Example: The Crystal of Azmar tells of a young girl destined to save her world from darkness. She learns she’s the last sorceress in a forgotten lineage. Her journey involves mastering powers, forming alliances, and uncovering ancient kingdom myths.

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

Science fiction ranges from speculative to hard sci-fi, focusing on plausible futures.

Example: When the Stars Whisper is set in a future where humanity communicates with distant galaxies. It centers on a scientist who finds an alien message. This discovery prompts a deep look at humanity’s universe role and interstellar communication.

Watch this great video that explores the question, “What is creative writing?” and “How to get started?”:

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

They guide writers to produce compelling and impactful work. These principles—Clarity, Coherence, Conciseness, Creativity, and Consistency—help craft stories that engage and entertain.

They also resonate deeply with readers. Let’s explore each of these critical components.

Clarity makes your writing understandable and accessible.

It involves choosing the right words and constructing clear sentences. Your narrative should be easy to follow.

In creative writing, clarity means conveying complex ideas in a digestible and enjoyable way.

Coherence ensures your writing flows logically.

It’s crucial for maintaining the reader’s interest. Characters should develop believably, and plots should progress logically. This makes the narrative feel cohesive.

Conciseness

Conciseness is about expressing ideas succinctly.

It’s being economical with words and avoiding redundancy. This principle helps maintain pace and tension, engaging readers throughout the story.

Creativity is the heart of creative writing.

It allows writers to invent new worlds and create memorable characters. Creativity involves originality and imagination. It’s seeing the world in unique ways and sharing that vision.

Consistency

Consistency maintains a uniform tone, style, and voice.

It means being faithful to the world you’ve created. Characters should act true to their development. This builds trust with readers, making your story immersive and believable.

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

Crafting stories from your imagination involves more than just words on a page. It requires discipline and a deep understanding of language and narrative structure.

Exploring complex characters and themes is also key.

Refining and revising your work is crucial for developing your voice.

The ease of creative writing varies. Some find the freedom of expression liberating.

Others struggle with writer’s block or plot development challenges. However, practice and feedback make creative writing more fulfilling.

What Does a Creative Writer Do?

A creative writer weaves narratives that entertain, enlighten, and inspire.

Writers explore both the world they create and the emotions they wish to evoke. Their tasks are diverse, involving more than just writing.

Creative writers develop ideas, research, and plan their stories.

They create characters and outline plots with attention to detail. Drafting and revising their work is a significant part of their process. They strive for the 5 Cs of compelling writing.

Writers engage with the literary community, seeking feedback and participating in workshops.

They may navigate the publishing world with agents and editors.

Creative writers are storytellers, craftsmen, and artists. They bring narratives to life, enriching our lives and expanding our imaginations.

How to Get Started With Creative Writing?

Embarking on a creative writing journey can feel like standing at the edge of a vast and mysterious forest.

The path is not always clear, but the adventure is calling.

Here’s how to take your first steps into the world of creative writing:

• Find a time of day when your mind is most alert and creative.
• Create a comfortable writing space free from distractions.
• Use prompts to spark your imagination. They can be as simple as a word, a phrase, or an image.
• Try writing for 15-20 minutes on a prompt without editing yourself. Let the ideas flow freely.
• Reading is fuel for your writing. Explore various genres and styles.
• Pay attention to how your favorite authors construct their sentences, develop characters, and build their worlds.
• Don’t pressure yourself to write a novel right away. Begin with short stories or poems.
• Small projects can help you hone your skills and boost your confidence.
• Look for writing groups in your area or online. These communities offer support, feedback, and motivation.
• Participating in workshops or classes can also provide valuable insights into your writing.
• Understand that your first draft is just the beginning. Revising your work is where the real magic happens.
• Be open to feedback and willing to rework your pieces.
• Carry a notebook or digital recorder to jot down ideas, observations, and snippets of conversations.
• These notes can be gold mines for future writing projects.

Final Thoughts: What Is Creative Writing?

Creative writing is an invitation to explore the unknown, to give voice to the silenced, and to celebrate the human spirit in all its forms.

Check out these creative writing tools (that I highly recommend):

Read This Next:

• What Is a Prompt in Writing? (Ultimate Guide + 200 Examples)
• What Is A Personal Account In Writing? (47 Examples)
• How To Write A Fantasy Short Story (Ultimate Guide + Examples)
• How To Write A Fantasy Romance Novel [21 Tips + Examples)

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

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

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

What is Creative Writing?

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

Creative writing can take on various forms such as:

• short stories
• screenplays

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

5 Key Characteristics of Creative Writing

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

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

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

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

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

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

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

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

Styles of Creative Writing

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

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

Short Stories

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

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

Screenplays

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

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

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

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

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

Importance of Creative Writing

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

Developing Creativity and Imagination

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

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

Enhancing Communication Skills

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

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

Exploring Emotions and Ideas

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

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

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

4 Steps to Start Creative Writing

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

1. Finding Inspiration

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

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

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

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

2. Planning Your Piece

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

• the main points

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

3. Writing Your First Draft

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

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

4. Editing and Revising Your Work

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

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

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

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

Tips to Improve Creative Writing Skills

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

Read Widely

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

Practice Regularly

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

Attend Writing Workshops and Courses

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

Joining Writing Groups and Communities

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

Seeking Feedback on Your Work

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

Start Creative Writing Today!

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

Happy writing!

Brooks Manley

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

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

Here’s my favorite journal for 2024: 

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

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Writing Nestling

How To Improve Creative Writing (18 Effective Ways)

Embarking on the journey to improve one’s creative writing is like setting sail into an uncharted sea of boundless imagination and linguistic exploration.

Creative writing, a realm where words transform into vivid narratives, characters come to life, and emotions are painted across the pages, is a skill that thrives on constant growth and evolution.

In this guide, we will traverse the landscape of creative writing, delving into its various forms, mastering the craft, and unlocking the secrets to becoming a more skilled and imaginative writer.

Whether you’re a seasoned wordsmith seeking refinement or a budding writer just beginning your literary voyage, the path to improvement is a rich tapestry waiting to be woven, where inspiration knows no bounds, and storytelling becomes an art form.

So, fasten your literary seatbelt, for the journey to enhance your creative writing prowess is about to commence.

Table of Contents

How To Improve Creative Writing

To improve your creative writing skills, follow these steps:

Read Widely:

Read a diverse range of literature, including fiction, non-fiction, poetry, and different genres. This exposure will help you understand various writing styles and techniques.

Write Regularly:

Practice writing consistently. Set aside dedicated time each day or week to write. The more you write, the better you’ll become.

Expand Your Vocabulary:

Work on building a rich vocabulary. Learn new words, their meanings, and how to use them effectively in your writing.

Study Grammar and Punctuation:

A strong grasp of grammar and punctuation is essential. Review the rules and practice to avoid common mistakes.

Create a Writing Routine:

Establish a routine that works for you. Whether it’s early in the morning, late at night, or during lunch breaks, find your optimal writing time.

Outline Your Ideas:

Plan your writing in advance. Create outlines, mind maps, or notes to organize your thoughts before you start writing.

Set Writing Goals:

Define clear goals for your writing projects. Whether it’s completing a short story , novel, or a series of articles, having goals keeps you motivated.

Seek Feedback:

Share your work with peers, writing groups, or mentors. Constructive feedback helps you identify areas for improvement.

Revise and Edit:

Writing is rewriting. After you’ve completed a draft, revise and edit your work for clarity, coherence, and style.

Experiment with Style and Genre:

Don’t be afraid to try different writing styles and genres. Experimentation can help you discover your unique voice.

Read Aloud:

Reading your work aloud can help you catch errors, awkward phrasing, and improve the rhythm of your writing .

Be Observant:

Pay attention to the world around you. Observing people, places, and events can provide inspiration and authenticity to your writing.

Overcome Writer’s Block:

When you’re stuck, try free writing, brainstorming, or taking a break to refresh your creativity.

Stay Inspired:

Surround yourself with inspiring sources, whether it’s art, nature, music, or conversations. Inspiration can fuel your creativity.

Edit and Proofread:

Once you’ve completed your writing, thoroughly edit and proofread it for spelling, grammar, and punctuation errors.

Publish and Share:

Share your work through blogs, social media, or submit it to publications. Public sharing can provide valuable feedback and exposure.

Learn from Feedback:

Take feedback seriously and use it as a tool for improvement. Analyze critiques to enhance your writing skills.

Keep Learning:

Writing is an ongoing journey. Continuously seek to learn and grow as a writer by attending workshops, reading about writing, and experimenting with new techniques.

Remember, improving your creative writing skills takes time and dedication. Patience, persistence, and a willingness to learn are key to becoming a better writer.

Understanding Creative Writing

Understanding creative writing is like embarking on a journey into the boundless realm of imagination, where words become brushstrokes, painting the canvas of your mind with vivid worlds, complex characters, and emotions that dance off the page.

It’s a realm where you’re the architect of reality, bending the rules of ordinary language to conjure extraordinary stories that tickle the senses and stir the soul.

It’s about wielding the power of narrative to shape destinies, provoke thought, and make hearts skip a beat.

In the realm of creative writing, you’re both the magician and the audience, crafting spells with sentences that transport you and your readers to places unknown, unraveling mysteries, and exploring the infinite possibilities of human expression.

Different forms of creative writing

Creative writing encompasses a kaleidoscope of diverse forms, each a unique facet of the literary universe.

There’s the enchanting world of fiction, where novelists weave intricate plots and multidimensional characters that become your companions on thrilling adventures.

Poetry, a mesmerizing tapestry of words, paints vivid imagery and emotion in the concise space of a few lines.

Non-fiction is a realm of truth and authenticity, where writers illuminate reality with memoirs, essays, and journalistic narratives. Screenwriting brings storytelling to life on the silver screen, capturing the hearts and minds of audiences worldwide.

These forms are but a glimpse into the labyrinth of creative writing, where the only limit is the boundaries of one’s imagination.

Elements of creative writing

The elements of creative writing are the building blocks that breathe life into words , transforming them into vibrant stories.

At the heart of any creative work lies the intricate dance of plot, where conflicts and resolutions unfurl like a well-orchestrated symphony.

Characterization paints portraits of individuals, each with their own quirks and depths, making them unforgettable to the reader.

Setting, a crucial backdrop, provides the stage upon which these tales unfold, influencing moods and actions.

Themes thread through the narrative like a hidden river, adding depth and purpose, while style is the unique fingerprint of the author, infusing the work with their voice and perspective.

These elements, in concert, give creative writing its compelling complexity , inviting readers to embark on journeys that resonate with their hearts and minds.

Cultivating a Creative Mindset

Cultivating a creative mindset is akin to tending to the most wondrous of gardens—the garden of the imagination.

It’s about donning the gloves of curiosity and nurturing the seeds of inspiration, coaxing them to bloom into vibrant ideas that dance in the sun-dappled meadow of your thoughts.

In this garden, writer’s block withers under the warmth of persistence, and the weeds of self-doubt are plucked away with unwavering belief in your creative potential.

It’s a sanctuary where meditation and mindfulness are the water and sunlight, ensuring that the fruits of your imagination grow ripe and abundant.

In this verdant oasis, you are the creator and the caretaker, shaping the tapestry of your mind into a masterpiece of creativity that never ceases to blossom with new ideas.

Overcoming writer’s block

Overcoming writer’s block is like finding a hidden passage out of a labyrinth of your own thoughts. It’s the art of breaking free from the stranglehold of a blank page and transforming it into an open canvas.

Sometimes, the most formidable adversary is not the lack of ideas but the daunting prospect of beginning. To conquer this nemesis, one must navigate a myriad of techniques, from freewriting and brainstorming to changing the physical environment, in order to unearth the buried treasure of creativity within.

It’s a mental jigsaw puzzle where pieces of inspiration are scattered, and solving it involves patience, resilience, and sometimes simply allowing your mind to wander until it stumbles upon that elusive spark that will ignite your words.

Overcoming writer’s block isn’t just a battle won; it’s a gateway to the ever-expanding universe of storytelling, waiting to be explored with fervor and imagination.

Developing a writing routine

Developing a writing routine is akin to crafting a symphony out of the everyday humdrum. It’s the art of carving out sacred moments in the day, allowing the muse to speak amid the cacophony of life’s demands.

A writing routine is the scaffold that supports the architecture of creativity, providing the structure and discipline necessary for the magic of storytelling to flourish.

Whether it’s the first light of dawn or the stillness of midnight, these designated hours become the writer’s sanctuary, the place where the mind opens up like a treasure chest of ideas, and words flow like a river.

It’s in these moments of consistency that the craft evolves, enabling writers to hone their skills, unravel narratives, and beckon inspiration at will.

Ultimately, a writing routine is a personal ritual that weaves creativity into the fabric of daily existence, transforming the ordinary into the extraordinary, one word at a time.

Mastering the Craft

Mastering the craft of writing is like harnessing the mystical forces of language to conjure entire universes from the ink of your pen.

It’s a lifelong journey of delving into the labyrinth of words, where each sentence becomes a brushstroke, and every paragraph a brush dipped in the palette of emotions.

It’s an alchemical process, where you transmute raw ideas into literary gold, refining your art through an unending cycle of creation, revision, and relentless pursuit of perfection.

Every metaphor, every plot twist , and every character’s whisper becomes a note in the grand symphony of storytelling, where the crescendo is the moment you realize you’re not just a writer; you’re a sorcerer, weaving spells with every keystroke, capturing the hearts and minds of readers with the magic of your narrative.

Vocabulary and Language

Vocabulary and language are the enchanting threads that weave the tapestry of storytelling. A writer’s arsenal of words is akin to a painter’s palette, each word a unique hue that, when skillfully blended, creates vivid imagery and evokes powerful emotions.

A rich and varied vocabulary is the cornerstone of effective communication, allowing writers to express the nuances of thought and sentiment with precision and eloquence.

Language, on the other hand, is the vessel that carries these words, shaping the tone and rhythm of a narrative.

The beauty of this interplay lies in the writer’s ability to select the perfect word, the ideal phrase, and the most evocative metaphor, thereby sculpting a literary masterpiece that resonates with readers, captivating their senses, and transporting them to worlds of imagination and wonder.

In the realm of creative writing, vocabulary and language are the keys to unlocking the full spectrum of human experience and imagination.

Writing Techniques

Writing techniques are the chisels and brushes of the wordsmith, essential tools that sculpt and paint the narrative.

They encompass a spectrum of strategies that shape the flow and impact of a piece of writing. “Show, don’t tell” is the art of letting readers experience a story through sensory details and actions, fostering a deeper connection.

Crafting authentic dialogue breathes life into characters, allowing them to converse and reveal their personalities naturally.

The choice of point of view, whether first person, third person, or omniscient, defines the lens through which the reader perceives the tale.

These techniques, like a craftsman’s skills, enable writers to craft stories with finesse, immersing readers in vivid landscapes, relatable characters, and intricate narratives, making the written word a portal to realms of imagination and emotion.

Reading as a Writer

Reading as a writer is akin to peering behind the scenes of a magnificent stage production to witness the magic of storytelling in its purest form.

It’s a journey where the reader transforms into a literary detective, dissecting the prose, unraveling the plot, and examining the intricate brushstrokes of the author’s craft.

With each turn of the page, a writer learns the secret language of pacing, character development, and dialogue that is whispered through the text.

It’s an immersive masterclass that teaches the orchestration of tension, the symphony of foreshadowing, and the art of unveiling mysteries.

In this dual role of reader and writer, one discovers that every book is not just an escape but an invitation to the backstage, where the invisible threads of narrative manipulation are spun, inspiring the storyteller within to reach new heights and craft unforgettable tales.

Analyzing literature

Analyzing literature is akin to embarking on an archeological expedition into the layers of human expression and experience.

It’s a fascinating journey where each page holds the whispers of the past and the echoes of the author’s soul.

As one delves into the intricacies of a literary work, it’s like decoding a cryptic message, revealing the hidden treasures of symbolism, theme, and narrative structure.

Every word, sentence, and character becomes a clue in a grand puzzle, inviting you to explore the profound depths of the human psyche and society.

In the process of literary analysis, readers not only unearth the intellectual and emotional nuances of a text but also gain a profound appreciation for the artistry of the written word, for it is in these revelations that the alchemy of storytelling is unveiled, proving that literature is not merely ink on paper, but a mirror reflecting the intricate mosaic of human existence.

Learning from other authors

Learning from other authors is akin to a masterclass in the art of storytelling. It’s an exquisite journey of exploration, where you walk in the footsteps of literary giants, witnessing their genius unfold across the pages of their works.

These authors, like mentors from afar, offer invaluable lessons in character development, plot structure, and the delicate dance of language.

With each book you read, you glean insights into the diverse ways authors craft their narratives, be it the lyrical prose of one or the gripping dialogue of another.

Their stories serve as templates, guiding you in understanding the subtleties of storytelling, nurturing your creative instincts, and sparking that inner fire of inspiration.

In the pages of their books, you find not just tales, but the wisdom of those who have paved the way, ready to illuminate your path as you embark on your own journey of writing.

Building a personal library

Building a personal library is like assembling a treasury of knowledge, imagination, and soul. Each book, lovingly arranged on the shelves, is a passport to different worlds, eras, and minds.

It’s a sanctuary where you can escape the mundane and embark on an endless odyssey of exploration, enlightenment, and enchantment. Your personal library becomes a reflection of your intellectual curiosity and passions, a curated collection of stories and wisdom that have resonated with you.

Beyond the tangible beauty of bound pages, it’s a space where you can seek refuge, inspiration, and solace.

In this haven, books aren’t just inanimate objects; they are the keepers of dreams, mentors, and the compass that guides you on your own creative journey, whispering their stories and secrets, ready to be discovered anew each time you open their pages.

Research and Fact-Checking

Research and fact-checking are the unsung heroes of the writer’s craft, the secret agents who ensure that the tapestry of fiction and the canvas of non-fiction remain unblemished by errors.

Like intrepid explorers, writers embark on quests for knowledge, sifting through archives, traversing the corridors of history, and plumbing the depths of the digital ocean.

Fact-checking is the lighthouse that guards against the treacherous cliffs of misinformation, ensuring that the narratives we weave are anchored in truth.

It’s not just a scholarly pursuit; it’s the alchemy that transforms a story from mere entertainment into a portal to the worlds, cultures, and ideas it seeks to represent.

In the realm of research, writers become detectives, unearthing secrets, unmasking mysteries, and painting the scenery with the vivid strokes of authenticity.

Without this duo, the magic of storytelling would lose its luster, and readers would be adrift in a sea of uncertainty.

Importance of accuracy in creative writing

The importance of accuracy in creative writing cannot be overstated, for it is the cornerstone upon which the credibility and resonance of a narrative are built.

While creativity allows us to conjure imaginary realms and characters, these creations must find their roots in a foundation of truth.

Factual accuracy in the details of a story, whether it’s historical, scientific, or cultural, lends authenticity to the narrative, enriching the reader’s experience by making the fictional world feel tangible and relatable.

Inaccuracies can disrupt the suspension of disbelief, pulling readers out of the story, and eroding the trust they place in the author.

Moreover, for works that explore complex themes or socio-cultural issues, accuracy is paramount in promoting understanding and empathy.

By upholding the value of accuracy, creative writing can reach its full potential, becoming a powerful vessel for both entertainment and enlightenment.

Finding Your Voice

Finding your voice in the vast wilderness of creative expression is like discovering a hidden gem within your own soul.

It’s not just about words; it’s the symphony of your thoughts, your emotions, and the unique cadence of your experiences coming to life on the page. Your voice is the compass that guides you through the labyrinth of creativity, allowing you to navigate the realms of storytelling with authenticity.

It’s a fingerprint that distinguishes your work from the rest, making your narratives resonate with a singular, unforgettable resonance.

Finding your voice is not just a revelation; it’s a journey of self-discovery, an ongoing exploration of who you are and how you want to connect with the world through the magic of words.

It’s the moment when you realize that your voice, unlike any other, is the key to unlocking the hearts and minds of your readers, inviting them to explore the world as you see it and share in the emotions that define your unique narrative.

Personal style and uniqueness

Personal style and uniqueness in writing are the vibrant colors that distinguish an artist’s canvas from all others.

Your writing style is the echo of your personality, your perspective, and the experiences that shape you. It’s the idiosyncratic rhythm of your sentences, the selection of words that resonate with your soul, and the peculiar nuances that define your narrative fingerprint.

Embracing your uniqueness is not a departure from the norm but a celebration of individuality, an affirmation that your voice is unlike any other.

In a world filled with words, it’s your personal style that makes your work stand out, inviting readers to explore the world through your eyes and experience the emotions that pulse through your stories.

Your style is your signature, and your uniqueness is the spark that ignites the literary world, reminding us that in the realm of creativity, diversity is the catalyst for innovation and the source of endless inspiration.

Authenticity in storytelling

Authenticity in storytelling is the golden thread that weaves a powerful connection between the writer and the reader.

It’s the unwavering commitment to truth, not in the factual sense, but in the emotional and human sense. Authentic storytelling dares to venture into the raw, unvarnished corners of the human experience, revealing vulnerability, joys, struggles, and complexities with unapologetic honesty.

It acknowledges the imperfections of characters, the messiness of life, and the ambiguity of morality.

Authenticity in storytelling is the bridge that allows readers to see themselves in the characters and situations, to empathize, to confront their own truths, and to resonate with the essence of the narrative.

It’s a reminder that, in the world of storytelling, the most profound impact is often not achieved through escapism but through a mirror reflecting the truth of our shared humanity, inviting us to explore, understand, and embrace the beautifully imperfect mosaic of human existence.

Overcoming Challenges

Overcoming challenges is akin to harnessing the fiery spirit of a phoenix, rising from the ashes of adversity with newfound strength and resilience.

It’s the grand adventure of our lives, where obstacles are not roadblocks but stepping stones towards personal growth and transformation.

Challenges are the litmus test of character, the forge where determination is tempered, and where the human spirit finds its true mettle.

In the face of these trials, we discover untapped reserves of courage, creativity, and perseverance that we never knew existed.

Like intrepid explorers charting uncharted territories, we boldly face the unknown, seeking not just victory but self-discovery, for it is in the crucible of challenges that our true potential is revealed, and we emerge as the heroes of our own stories.

Publishing and Sharing Your Work

Publishing and sharing your work is like setting a fleet of paper boats adrift on the vast sea of human connection.

It’s the culmination of the creative journey, where words born in the depths of your imagination finally take flight, finding their way into the hearts and minds of readers around the world.

It’s not just about self-expression; it’s the bridge that unites creators with an audience eager to embark on the emotional and intellectual voyages they’ve crafted.

Sharing your work is an act of courage and vulnerability, inviting both praise and criticism, but it’s also an affirmation that your voice is worthy of being heard.

It’s the act of extending a hand to others, saying, “Come, join me on this journey,” and allowing your stories to become a part of the tapestry of the human experience.

In the realm of publishing and sharing, you become a storyteller not just for yourself but for the world, weaving connections, igniting conversations, and leaving an indelible mark on the shared narrative of humanity.

Traditional vs. self-publishing

The choice between traditional and self-publishing is a crossroads that writers often face, each path offering its own set of opportunities and challenges.

Traditional publishing, akin to the majestic gates of a literary castle, can provide the author with the validation and resources of an established publishing house, offering professional editing, cover design, and broad distribution networks.

It opens doors to bookstores and literary awards, but it also demands patience and perseverance in the face of stringent gatekeepers. Self-publishing, on the other hand, is the democratization of literature, an open road that allows authors to take the reins of their creative destiny.

It offers control and speed of publication but requires authors to take on multiple roles, from editing to marketing.

Ultimately, the decision hinges on individual goals and preferences, as each path holds the promise of sharing stories with the world, whether under the watchful eye of a traditional publisher or the entrepreneurial spirit of self-publishing.

Continuing Education

Continuing education is the compass that keeps the writer’s journey ever-advancing. It’s the symphony of growth in a world that constantly whispers new stories and knowledge.

Imagine it as an uncharted library, where each book holds the key to unlock a new realm of understanding, and each workshop or course is an invitation to dance with different writing techniques.

It’s not just about honing existing skills; it’s about unfurling new horizons and uncovering hidden treasures in the treasure chest of literary prowess.

Continuing education is the echo of the writer’s heartbeat, a reminder that the world of words is boundless and ever-evolving, and that within its embrace, the writer can continue to explore, learn, and craft stories that leave an indelible mark on the literary landscape.

Frequently Asked Questions (FAQ) about How To Improve Creative Writing

What is creative writing, and why is it important to improve this skill.

Creative writing is the art of crafting original and imaginative stories , poems, or prose. It’s important to improve this skill because it not only enhances your ability to express yourself but also unlocks the door to a world of creativity, enabling you to engage and captivate readers.

How can I overcome writer’s block and boost my creativity?

Overcoming writer’s block can be achieved through various techniques like free writing, mind mapping, or changing your writing environment. To boost creativity, consider practicing mindfulness, exploring new experiences, and cultivating a daily writing routine.

What are some effective strategies for improving my vocabulary and language skills?

Expanding your vocabulary can be done by reading widely, using a thesaurus, and playing word games. To enhance language skills, study grammar and syntax, experiment with different writing styles, and immerse yourself in literature.

What are some common writing techniques to improve the quality of my creative writing?

Common writing techniques include “show, don’t tell,” crafting compelling dialogue, and mastering point of view. These techniques help to make your storytelling more engaging and immersive.

How can I find my unique voice as a writer?

Finding your unique voice involves experimenting with different writing styles, embracing authenticity, and understanding that your individual perspective is your greatest asset. It’s about being true to yourself and your experiences.

What’s the importance of reading as a writer, and how can I analyze literature effectively?

Reading exposes you to different writing styles and genres, helping you learn and grow as a writer. Effective analysis of literature involves examining themes, characters, and symbolism, and considering the author’s use of language and narrative structure.

What are the differences between traditional publishing and self-publishing, and how do I decide which is right for me?

Traditional publishing involves working with established publishing houses, while self-publishing allows you to independently release your work. The choice depends on your goals, the level of control you want, and your willingness to handle aspects like marketing and distribution.

How can I ensure the accuracy of my work, especially when writing about real-world facts and details?

To ensure accuracy, research extensively using reliable sources, fact-check rigorously, and consider seeking feedback from experts in the field you’re writing about.

What’s the role of continuing education in improving creative writing, and where can I find resources for it?

Continuing education helps you stay updated with the latest writing trends and hone your skills . You can find resources through writing workshops, online courses, writing groups, and literary events.

How do I deal with writer’s rejection and criticism constructively, and stay motivated in my writing journey?

Dealing with rejection and criticism involves developing resilience, learning from feedback, and keeping your passion for writing alive. Staying motivated can be achieved by setting goals, celebrating small wins, and surrounding yourself with a supportive writing community.

In the realm of creative writing, the journey to improvement is an endless odyssey, an ever-evolving expedition into the limitless depths of imagination and language.

It’s a path that weaves through the intricacies of plot, character, and style, as well as the nuances of authenticity and self-expression. Whether you are a seasoned wordsmith or a budding writer, the pursuit of creative excellence is a lifelong commitment to self-discovery, growth, and storytelling.

As you navigate the labyrinth of writer’s block, craft your unique voice, and refine your skills, remember that creative writing is not merely a craft; it’s a journey of self-expression, a gateway to new worlds, and a conduit for shared experiences.

So, pen in hand and heart afire, continue to embark on this voyage, for it is through the continuous exploration of your own creative depths that you will not only improve your writing but leave an indelible mark on the world of literature.

Your story is waiting to be told, and the pen is your magic wand, the world your canvas.

Happy writing !

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Essential Creative Writing Tips and Techniques

Creative writing has no written formula and no immutable laws, you just need a good imagination and good writing skills.

And you’re good to go!

Creative writing presents us with fewer tethers than other forms of writing. This means that we have more liberty when we want to express our imagination artistically.  

With all this freedom, defining and serving creative writing techniques is a bit hard, and some tips are frowned upon as they seem to infringe upon the liberties of some creative writers.

Still, some writers need guidance.

So, I have taken it upon myself to be this guide and dish out much-needed tips and discuss some creative writing techniques.

If you’ve been looking for guidance and insight, here’s a no-frills article full of practical tips on creative writing for you.

What Is Creative Writing?

Creative writing is writing that uses imagination , creativity, and mastery of the art of writing to evoke emotion in a reader.

It could be a fictional story, a nonfiction piece, or movie script, a play, a poem, et cetera. Creative writing oftentimes springs up from experimentation and good, imaginative use of knowledge and ideas.

One of the things that make creative writing different from other forms of writing is the underlying message or theme. Unlike other forms of writing, creative writing sometimes hides a message under the entertaining, saddening, or horrifying part of the written content.

Other archetypal elements of creative writing include creating an emotional connection with the reader (and sometimes evoking a response), having a deliberate point of view, using a narrative structure, and use of imaginative and descriptive language.

What Isn’t Creative Writing?

Whatever lacks the elements I just listed isn’t creative writing. Written pieces such as company reports, statements, and other professional communications aren’t regarded as creative writing.

Similarly, personal documents and communications such as emails, social media content, and personal communications all fit in the non-creative writing category.

In addition to that, research papers and pieces that are in the “Academic Writing” category do not qualify as creative writing.

Most often the type of content that I have listed is devoid of deliberate themes. Often, these types of pieces have goals similar to those prevalent in creative writing, but they’re presented differently.

But—as a reminder to myself or you, the reader—I would like to say that they’re blurred boundaries in some forms of content. For example, we can’t outrightly classify content such as blog posts as creative writing non-creative. Blog content belongs to a broader category that is as flexible as creative writing itself.

Therefore, you would have to analyze the elements of each blog post to see if they fit a particular category.

Forms of Creative Writing

Given the freedom that creative writing gets, it is just right that it takes many forms.

Here are some of the forms of creative writing:

This is one of the most popular forms of creative writing. Novels are also the first thing people think about when it comes to books (apart from academicians who are religiously into textbooks).

Novels are extended fictional works in prose that usually (or always?) come in the form of a story.

Most of them are in the range of 50,000 to 150,000 words, but some are told in less than 50,000 and others extend beyond 150,000.

Pieces that are too short to qualify as novels and too long to qualify as short stories automatically qualify as novellas and novelettes.

Novellas often fall in the range of 10,000-40,000 words, while novelettes generally have a word count of 7,500-19,000 words.

Word count boundaries are usually varied—and they are oftentimes at the discretion of the publisher or competition organizers.

Short Fiction

Short stories as the name suggests are on the other end (the shorter word count end) of the fiction word count spectrum. 

Short stories generally fall between 2,500 and 7,500 words but sometimes extend to 10,000 words.

Unlike novels, short stories tell stories with fewer characters, details, and backstories, among other deficiencies.

Then there are other forms of short fiction told in 1,000 words, and they’re called flash fiction and micro-fiction.

The unrestricted and spontaneous nature of poetry embodies the artistic multifariousness of creative writing.

Poetry is as emotional as it is rebellious—and word counts and rhyming rarely matter for poems, i.e., those in the free verse category.

There are different types of poems such as sonnets, haikus, sestinas, limericks, and free verses.

The spontaneous nature of poetry does connote lawlessness. The thing is, the different types of poetry originated from different cultures around the world and many come with rules.

However, for most of these types of poetry, the rules are adaptable. A few types such as haikus have specific rules on the number of lines or structure.

Plus, just because there aren’t many rules governing the structure, content, and length of poetry it doesn’t mean that you can brush aside the use of perfect grammar, the importance of POV, the need for a theme, and the need to evoke the reader’s emotions.

TV scripts, stage play scripts, and screenplays

This category comprises stage plays and scripts for films, television programs, and other types of video content.

A majority of content in this category has a lot in common with novels and short stories. Although different scripts have different formatting requirements, they carry a message or central theme and try to appeal to their audience’s emotions.

In a way, these scripts depart from the highly descriptive nature of novels and short stories.  There’s much more dialogue in scripts with a bit of stage or scene directions in stage plays screenplays.

Creative Nonfiction

Creative writing doesn’t always have to be works of fiction, some nonfiction also qualifies as creative writing.

Here are some of the works that can be called creative nonfiction:

• Lyric essays
• Autobiographies
• Humor Writing
• Literary Journalism

Tips and Techniques for Creative Writing

1. read widely and learn from other writers.

You can improve by focusing on looking at your writing only. If you want to be a good creative writer, you have to read.

When you read other people’s work, you discover other writing styles and get inspired in the process.

There are lots of reading resources on creative writing out there. You can find books, essays, blog articles, and video content covering different aspects of creative writing.

Some works will comprise fiction and nonfiction pieces (novels, short stories, poetry, lyrical essays. Et cetera) while others seek to cover interviews and personal essays that talk about the authors’ creative processes.

2. Benefit from Your Imagination

A wild imagination represents superiority for creative writers, especially fiction writers.

This is the only time you’re allowed to play god!

By using a crazy imagination you can conceive an exciting story, build a unique world, and come up with convincing, never-imagined-before characters.

Heck! You can even create your own language!

Be as imaginative as you can be, even going into a trance, and create a creative piece using your own rules!

3. Focus on Understanding and Improving Yourself as a Writer

You cannot improve something you don’t fully understand; therefore, you have to understand your strengths and weaknesses as a writer to become a better writer.

I wrote an article on this, explaining some general strengths and weaknesses that writers have.  As a creative writer, you have to identify problem areas such as bad sense of rhythm, dodgy flow, lack of creativity, et cetera.

As a creative writer, there are things you must have in your armory, such as a rich and relevant vocabulary, organized writing, and a unique writing style (which also happens to be the next tip on the list).

4. Develop or Discover a Unique Writing Style

Creative writers are better off seeking inspiration from other creative writers while trying to follow their path.

In short: study other writers, but develop your writing style. Take a look at all the best, and you’ll discover that most of them developed a unique style.

So, have your writing style. And, it should fit the niche you want to specialize in—if it’s horror, a befitting style. You could also focus on developing vibrant writing full of eccentric characters.

Likewise, you could become a writer who always writes in a specific POV.

5. Create Space for Creative Writing and Stick to a routine

Writing routinely and total focus are tremendously important for creative writers. If you’re a spontaneous writer who scarcely writes and only writes whenever they feel like it, you’re bound to fail as a writer!

You need to have a schedule and some working space. The ideas might come spontaneously and anywhere, but it’s hard to write without proper planning and a distraction-free setting.

It’s unproductive trying to squeeze writing into your day.

When you start writing routinely, in a ‘comfortable’ place, creative writing becomes natural. Even when you’re out of ideas experiencing writer’s block, you have to practice the habit of writing stuff daily—just write some fluff if you’re bored.

6. Know your audience

“Why do you write?”

The most popular answer to the question is, “because I love it!”

But if the question was rephrased and we asked “why do you publish your works?” the previous answer would be ‘half true.’

You write because it’s the love of your life and you publish for your audience. So, creative writing isn’t always about you, but your fans too.

You have to know what your readers are like. Even when you haven’t published a single piece, it’s easy to research readers’ interests using web-based analytics resources.

Armed with this knowledge, you can craft a piece that strikes a chord with your target audience, with a high potential of becoming a bestseller.

7. Always Start and End Strong

Our English teacher constantly reminded us that when she was going through our essays, she started with the introduction and summary before moving to the body.

“They’re the most important parts of your essay.” She’d always say.

Later, I found out that this applied to almost every form of writing.  

Your readers want your piece to either start with a bang or catch their attention. Once the reader feels underwhelmed, they won’t read all the way through.

Strong endings are just as important, but it doesn’t mean that you always have to end on a happy note. You can close on a sad note or give them a cliffhanger. 

As long as you effectively use your imagination and the end doesn’t turn out to be a clichéd one.

The Best Books on Creative Writing

• 1. Plot & Structure: Techniques and Exercises for Crafting a Plot that Grips Readers from Start to Finish by James Scott Bell
• 2. On Writing: A Memoir of the Craft by Stephen King
• 3. The Writing Life by Annie Dillard
• 4. On Writing Well: An Informal Guide to Writing Nonfiction by William Zinsser

Final Words

Writing—whatever form it takes—isn’t a simple chore, but as hard as it is, it is also fun!

The goal is always to become a better writer and learn different techniques that will make our content impactful.

Every writer should fear stagnation and continue learning. Utilize today’s easy access to resources, read, ask for help, and let your wild imagination run loose.

While there’s no fixed formula in creative writing, tips from experienced writers will help you improve in some areas.

So, always be inquisitive and reach out to other writers.

Crafting an original work of fiction, poetry, or creative non-fiction takes time, practice, and persistence.

Recommended Reading...

Crafting compelling game stories: a guide to video game writing, how to write a murder mystery: figuring out whodunit, good story starters for your next bestseller, 100 fluff prompts that will inspire creativity.

Keep in mind that we may receive commissions when you click our links and make purchases. However, this does not impact our reviews and comparisons. We try our best to keep things fair and balanced, in order to help you make the best choice for you.

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© 2024 When You Write

• Creativity Techniques

26+ Creative Writing Tips for Young Writers

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

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

Read a wide range of books

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

Write about real-life events

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

Be imaginative

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

Find your writing style

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

Stick to a routine

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

Know your audience

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

Daily Exercises

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

Work together with others

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

Get feedback

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

Enter writing competitions

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

Keep a notebook

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

Research your ideas

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

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

Create Writing Goals

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

Follow your passions

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

Don’t Settle for the first draft

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

Plan before writing

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

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

Pace your story

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

Think about themes

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

Use dialogue carefully

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

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

Write now, edit later

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

Ask yourself questions

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

Create a dedicated writing space

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

Beware of flowery words

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

Create believable characters

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

Show, don’t tell

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

Make the conflict impossible

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

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

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

Write powerful scenes

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

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

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

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

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10 Effective Ways to Improve Your Creative Writing

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

(1) Don’t underestimate your reader

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

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

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

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

(3) Give Your Characters Life

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

(4) Use Strong Words

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

(5) Show Don’t Tell.

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

(6) Check your Commas

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

(7) Grab their Attention from the Start

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

(8) Give Your Reader a Satisfactory Ending

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

(9) Sober up

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

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

(10) Challenge Yourself

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

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Last updated on Feb 14, 2023

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

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

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

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

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

Here are a few examples:

“Ozymandias” by Percy Bysshe Shelley

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

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

“Trying to Raise the Dead” by Dorianne Laux

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

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

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

Song Lyrics

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

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

“Hallelujah” by Leonard Cohen

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

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

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

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

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

Plays and Screenplays

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

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

All My Sons by Arthur Miller

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

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

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

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

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

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

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

Personal essays

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

Here are a couple of fantastic examples:

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

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

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

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

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

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

Short Fiction

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

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

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

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

“Flowering Walrus” by Scott Skinner (Reedsy)

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

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

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

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

Convenience Store Woman by Sayaka Murata

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

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

Erasure by Percival Everett

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

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

Creative Nonfiction

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

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

Men We Reaped by Jesmyn Ward

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

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

Cork Dork by Bianca Bosker

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

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

Illustrated Narratives (Comics, graphic novels)

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

Calvin & Hobbes by Bill Watterson

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

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

From Hell by Alan Moore and Eddie Campbell 

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

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

Video Games and RPGs

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

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

80 Days by inkle studios

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

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

What Remains of Edith Finch by Giant Sparrow

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

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

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

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

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

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

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

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

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

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

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

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

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GCSE English language: 10+ tips for creative writing

On paper creative writing should be one of the easiest parts of the English language GCSE but you're not alone if you're finding it tricky.

Creative Writing in GCSE exams can take various forms: You may have to tell an entire short story or you could be asked to write a description of a picture.

Here's some top tips when it comes to dealing with your creative writing headaches...

Understanding the Exam Format

First and foremost, it's essential to familiarise yourself with the GCSE English Language exam format. Creative writing usually forms a significant part of the assessment, often as part of a coursework component or in a specific section of the exam. Knowing what is expected in terms of length, format, and content can significantly boost your confidence and performance.

Reading Widely

One of the best ways to enhance your creative writing skills is to read a diverse range of literature. This exposure helps you understand different writing styles, narrative techniques, and genres. By reading extensively, you can develop a sense of what makes a story engaging and learn how to incorporate these elements into your own writing.

Practising Writing Regularly

Consistent practice is key in improving your writing skills. Try to write something every day, whether it's a short story, a descriptive piece, or even just a diary entry. This not only helps improve your writing style and vocabulary but also keeps your creative juices flowing.

Answer The Question

Read it VERY carefully because your answer will only be marked in the context of what was actually asked in the first place, regardless of how well written your piece may have been. Pay special attention to the type of creative writing you're asked to come up with and it's audience (see more below).

Developing Strong Characters and Settings

In creative writing, characters and settings are the heart of your story. Spend time developing characters who are believable and relatable. Similarly, create settings that are vivid and contribute to the mood of the story. Using descriptive language and sensory details can bring your characters and settings to life.

READ MORE: > 10+ GCSE creative writing ideas, prompts and plot lines

Mastering Narrative Structure

A good story has a clear structure - a beginning, middle, and end. The beginning should hook the reader, the middle should build the story, and the end should provide a satisfying conclusion. Think about the plot and how you can weave tension, conflict, and resolution into your narrative.

Showing, Not Telling

'Show, don’t tell' is a golden rule in creative writing. Instead of simply telling the reader what is happening, show them through actions, thoughts, senses, and feelings. For example, rather than simply telling the reader a character is tall, show them that in your writing: "He towered above me like a skyscraper." This approach makes your writing more engaging and immersive.

Take Inspiration From Real Life

Write more convincingly by taking inspiration from your real life experiences and feelings, embellishing where necessary.

Go Out of This World

If you're given a prompt to write the opening of a story involving a storm, it doesn't need to be a storm on earth. Going out of this world allows you to be really descriptive in your language and paint a picture of a completely unique world or species.

Varying Sentence Structure and Vocabulary

Using a range of sentence structures and a rich vocabulary can make your writing more interesting and dynamic. Avoid repetition of words and phrases, and try to use descriptive language that paints a picture for the reader. Consider the senses such as what you might hear, smell, feel or taste.

Don't Leave The Ending To The, Well, End

Some pieces will lend themselves to a nice, easy ending - and in some questions, the ending may even be provided for you - but other times it's not so simple to stop. When it comes to fictional stories, it may well be easier to plan your ending first and work backwards, you don't want to end on a whimper, in a rush or with leftover loose ends from the plot.

Editing and Proofreading

A vital part of writing is reviewing and refining your work. Always leave time to edit and proofread your writing. Look out for common errors like spelling mistakes, grammatical errors, and punctuation issues. Also, consider whether your writing flows logically and whether there's anything you can improve in terms of language and style.

Seeking Feedback

Don’t be afraid to ask teachers, friends, or family members for feedback on your writing. Constructive criticism can provide new perspectives and ideas that can help you improve your writing significantly.

Staying Calm and Confident

Lastly, it's important to stay calm and confident during your exam. Stress and anxiety can hinder your creativity and writing ability. Practice relaxation techniques and believe in your preparation to help you stay focused and composed during the exam.

Remember, creative writing is an opportunity to express yourself and let your imagination run wild. With these tips and consistent practice, you can excel in your GCSE English Language creative writing exam look forward to results day and enjoy the process of crafting your own unique stories.

Thomas Brella is the founder of Student Hacks, starting the website in 2013 while studying at the University of Brighton to share tips and tricks on life as a cash-strapped student. He's now spent over 10 years scoping out the best ways to live on a budget

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The Ultimate Guide to VCE Creative Writing

March 1, 2022

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

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

1. What Is The Creative Response?

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

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

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

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

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

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

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

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

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

Characterisation

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

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

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

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

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

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

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

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

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

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

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

Part 1 – Metalanguage Word Bank For Books

Part 2 – Metalanguage Word Bank For Films With Examples

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

4. LSG's unique REPLICATE and IMAGINE Strategy

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

Step 1: Read

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

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

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

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

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

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

Step 2: Understand the World of the Text

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

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

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

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

Step 3: Implement Your Understanding ‍

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

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

5. Sample A+ Creative Response

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

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

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

6. Writing The Written Explanation ‍

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

7. Resources To Help You Prepare For Your Creative Response

Youtube videos ‍.

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

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

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

Blog Posts ‍

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

5-Step Recipe for Creative Writing   ‍

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

"Creative Response to Text" Ideas ‍

Written Explanation - Explained ‍

Reading My 10/10 Marked CREATIVE GAT essay ‍

VCE Creative Response to Runaway by Alice Munro

Study Guide ‍

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

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

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

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

Runaway is usually studied in the Australian curriculum under Area of Study 1 - Creative Response. For a detailed guide on Creative Response, check out our Ultimate Guide to VCE Creative Writing .

The biggest challenge of the creative writing SAC in VCE is figuring out how to balance your own ideas and style with that of the text you’re studying. The assessment requires you to incorporate elements of a text into your writing without copying the original narrative. In this case, Runaway by Alice Munro (2004) is a short story collection that explores themes of marriage, loss, mother/daughter relationships, womanhood and more. To be able to emulate Munro’s writing style within your original piece, it’s important to analyse the most frequent devices she incorporates into her work. By focusing specifically on the three stories ‘Chance’, ‘Soon’ and ‘Silence’, we can understand how Munro writes and how to embed that into a Creative Response. 

If you would like more information on the themes in Runaway , you can refer to this blog post.

Literary Devices

Literary devices can be defined as the techniques that an author uses in writing to convey meaning and their ideas within their work. These devices construct the story and emphasise key themes , which are particularly important to note when studying a text in VCE English. There are many devices that you may already be familiar with - metaphors, similes and repetition are commonly used in a variety of types of writing. For example, repetition of a certain word or phrase within a text highlights that it has significance and is reinforcing a particular idea or theme. By identifying which literary devices an author prefers to include in their novel, you can gain an understanding of their style and have a practical method for emulating it within a Creative Response. Below is a breakdown of some of the techniques woven by Munro throughout ‘Chance’, ‘Soon’ and ‘Silence.’

Embedded Narrative

An embedded narrative is like a story within a story, often with the intention of lending symbolic significance to the narrative. In ‘Chance’, Munro includes many references to Greek mythology, embedding a story within the broader narrative. The myths she has chosen are similar to events in Juliet’s life, creating an intentional comparison. 

For instance, Juliet’s affection for Eric prompts her to visit his home where she meets Christa and Ailo, two women Eric has had a relationship with. Upon meeting them, Juliet is reminded of ‘Briseis and Chryseis’, who were ‘playmates’ of a Greek king. Munro’s use of this embedded narrative within Juliet’s story reveals how Juliet feels jealous of the two women and sees them as incapable of having a serious relationship with Eric. To echo this in a Creative Response, you might want to include either a myth, folktale or historical event that relates to your narrative and the characters within it. 

Time Progression/Regression

Time progression/regression refers to jumping back and forwards in time within a story to give context to certain characters or events. For example, the narrative moves back and forth in ‘Silence’ to slowly reveal the before and after of Juliet and Penelope’s estrangement. This helps to inform the reader of Penelope’s motives for no longer speaking to Juliet, and how Juliet deals with the pain of losing a relationship with her daughter. Any movement through time is typically shown through section breaks in the writing, as it alerts the reader that one scene has ended and a new one has begun. These moments might interrupt the chronological narrative, or you might choose to jump backwards and forwards consistently, although this can make your piece more complicated.

Epistolary Elements

‘Epistolary’ is defined as literary work ‘in the form of letters’. Munro weaves elements of this within Runaway, including letters within several of the stories. The letters help to convey the narrative through one character’s perspective, providing insight into their motivations and perspectives. This is particularly effective when the story is written in the third person, as a letter is usually in the first person, allowing for characters to be understood on a deeper level.

In ‘Soon’, Juliet’s letter to Eric demonstrates their intimacy as a couple. Munro has constructed the letter so that it contains very mundane details about Juliet’s time with Sara, instead of just the exciting or alarming news she might have to share. The personal nature of the letter conveys just how close Eric and Juliet are, and how different her relationship with him is from that with Sara. Epistolary elements can be easily included as a small section of a Creative Response as correspondence between two of your characters.

Finally, Munro often uses italics to emphasise certain words or phrases that are particularly important. Italics can also convey the tone of a character, as they might draw attention to some words spoken in excitement or anger. For example, when Juliet meets Joan at the church in ‘Silence’, Joan’s dialogue often has italics to highlight when she is making passive-aggressive remarks about Juliet’s relationship with Penelope. Munro is demonstrating that Joan has been influenced by Penelope in her opinion of Juliet, as she clearly dislikes her and speaks in a condescending manner towards her. You might decide to implement italics only in dialogue, or to use it in other parts of your response, to highlight an important moment within the plot.

Tips for Emulating Munro’s Style

While emulating the style of an author is an important component of a Creative Response, coming up with your own ideas is equally important! To find an idea that you are invested in, think about the parts of Runaway that really spoke to you and that you would like to explore more; this could be a broad theme or a specific character. It is easier to write about something you are interested in than something you feel obligated to write about. Come up with potential responses that you are excited to write, and then plan accordingly by asking “How can I incorporate parts of Munro’s style into this piece?”

To plan out your piece, start by creating a simple plot structure to guide your writing. If it helps, this can include a 3-act structure consisting of a set-up, conflict, and resolution; or you might prefer to do a simple dot point plan instead. When considering what literary devices you would like to include, pick at least one literary technique, and work on making it fit with your idea. Focus on incorporating that one as best as you can before you move on to another one. You might want to pick a second technique that is more subtle, like italics, and start applying that in your second or third draft.

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

There are two types of people in this world… those who love creative writing, and those who don’t. But no matter which one you are, never fear, your saviour is here (in the form of this simple guide to writing creatively – whether it’s for school, for a writing competition or just for fun)!

What Are the Five Steps?

• Do a brain dump of your ideas!
• Stay true to yourself
• Start small - keep it simple
• Don't be afraid to add "spice"
• Read your writing out loud

STEP 1: Do a brain dump of your ideas!

You’ll often find that your brain is buzzing with possible storylines or scenarios; you’ll feel so overwhelmed trying to pick just one! Or maybe, you’re experiencing  “writer’s block”,  a mind blank. My tip for this is to set a five-minute timer, get a blank sheet of paper and scribble down everything that comes to your mind! You’ll be surprised at how imaginative your mind can be under pressure! When the timer goes off, take a break and then read through each idea individually before choosing one to develop. This way you’ll be able to clearly see all your thoughts, and maybe even be able to link multiple ideas into a more detailed story !

STEP 2: Stay true to yourself

Creative writing is so different to other text types because it gives you the freedom to choose what you're writing about, and how you're going to do it! So, take advantage of this and write from the heart – don’t try to be someone you’re not. Let your personality shine through your writing. It's usually the stories that have some kind of personal backstory, or are based on a real-life experience that are the most enjoyable to read!

STEP 3: Start small - keep it simple

No one expects you to write a New York Times best seller novel in your first attempt! Even the most talented authors began with a dot point plan or a simple paragraph based on their idea. From my experience, the absolute hardest thing to do is actually get started. Keeping it simple and focusing on getting your ideas down on the page is the easiest way to overcome this hurdle. You can worry about the language and descriptions later, once you have a basic first draft, editing and developing is so much easier!

Want to also know the 11 mistakes high school students tend to make in creative writing? Check out this  

STEP 4: Don't be afraid to add "spice"

Now it's time for my favourite part; adding the flavour! This is what will make your writing stand out from the crowd! Take some risks , don’t be afraid to rewrite parts of your piece or use language techniques that are out of your comfort zone! 

Here are a few of my favourite features to use when creative writing:

• Flashbacks / Foreshadowing (these are good tools to subtly suggest a character’s backstory and add some mystery – especially if you use third-person language to make it more cryptic) 

E.g. As he entered the quadrangle for the first time since the accident, a wave of nostalgia hit Jack… The boy chuckled as the girl ran across the quadrangle to meet him, her cheeks rosy from the frosty air. The pale orange sky was transforming into a deep violet and the new-formed shadows cast dancing silhouettes on the young couple. The boy took the girl’s hand, making a silent promise to himself to protect her smile forever. A promise he would fail to keep…

• Personification (giving inanimate objects some life to spice up your descriptions!)

E.g. Her favourite oak tree stood proudly in the middle of the park, arms outstretched, waving to those that passed by.

• Oxymoron (contradictory words or groups of words)

E.g. Deafening silence, blinding darkness, cold fire

If you want to enhance your language or use different adjectives to what you normally use, https://www.thesaurus.com/ is your best friend! 😉 

If you're stuck on how to develop your descriptions and make them more vivid, I suggest relating back to the five senses . Ask yourself, what can the character see? What can they smell? What does the setting they're in sound like?

E.g. He was paralysed in front of the caskets… the cotton wrapped, caterpillar-like bodies, the oppressive silence of the parlour made him feel sick. And the overpowering stench of disinfectant mixed with already-wilting flowers certainly didn’t help.

STEP 5: Read your writing out loud

It can be awkward at first, but have some fun with it! Put on an accent, pretend you're a narrator, and read your writing. It really helps you to gauge the flow of the piece , and also identify things you might need to change. Or even better, read your writing to a friend or family member - ask them how they feel and what their initial thoughts are after hearing your piece .

Either way, reflection is one of the best ways to improve your writing and get it to the next level.

That’s all there is to it folks! Follow this simple recipe and you’ll be cooking up a creative-writing storm! Good luck! 😊

Want more tips on how you can achieve an A+ in creative writing? Read this blog post.

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

Creative Responses in VCE Literature

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

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

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

You can establish this relationship by:

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

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

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

‍ 5-Step Recipe for Creative Writing

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

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

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

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

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

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

Key knowledge:

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

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

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

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

Key skills:

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

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

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

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

Sample reflective commentary

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

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

-Characterisation

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

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

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

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

Here’s how to get ahead of this brand new VCE English Unit. 

What Is ‘Creating Texts’?

If you’re in Year 12 this year, chances are you will begin studying the Creating Texts Area of Study very soon (if you haven’t started already). This new AoS in the 2024 study design has essentially expanded and replaced the previous study design’s approach to creative writing, now placing a greater focus on the process of creating texts and embracing multiple forms of writing.

Here’s what the study design states the outcome of this unit is:

‘On completion of this unit the student should be able to demonstrate effective writing skills by producing their own texts, designed to respond to a specific context and audience to achieve a stated purpose; and to explain their decisions made through writing processes.’ (VCAA English Study Design, 2024-2027)

So, while before VCAA did not place a heavy focus on this unit, now it is heavily emphasised, being one of the three sections of the English exam. Now, more so than before, you are required to write – even if just a little bit – creatively.

Given that Creating Texts is now reflected in the end-of-year exam, it is very important to nail it. And to do that, you first need to know what this Area of Study is all about.

Framework of Ideas

A big part of this AoS is the Framework of Ideas , which provides students and, perhaps most importantly, schools, with thematic guides to encourage discussion and unique writing. The study design states:

‘ The Framework of Ideas presents four broad ideas through which students can engage with writing’. 

Here’s what they are, as directly taken from the study design:

• Writing about country: 'Exploration of place and belonging'

You can also explore ideas of one’s sense of national belonging, the climate crisis, colonisation and decolonisation, and different forms of cultural identities in relation to the land. Aboriginal and Torres Strait Islander perspectives can also be addressed.

• Writing about protest: 'Explorations of conflict and contest, what it means to protest, the value of protest, the outcomes of protest, personal stories of protest, struggle and war'

For this framework, you can dive deep into prominent figures who spearheaded social movements through protests, or you can look at protest more broadly and investigate its role and effectiveness within society, the history of protest and its many facets.

•   Writing about personal journeys: 'Explorations of ‘life’ or biographical explorations'

Ideas surrounding the importance of storytelling and personal change, and invitations for students to create autobiographical written pieces are also outlined in the study design.

•   Writing about play: 'Explorations of experiences and traditions of play and playing in many cultures and through history'

This framework also invites thought into how play intersects with technology, the role of play and make-believe in our daily lives, and even how performance and social media may influence how we view the world today.

NOTE: The study design also offers many other possible ways to explore these ideas, so make sure to check it out and read it carefully. It can be found HERE .

As you can see, the ideas within the frameworks are very broad. This was intentionally done, so that you have ample opportunity to find something within those ideas that engage you. Your school will choose only one of these frameworks, so you are in no way expected to dissect all four – that would be a huge undertaking!

Mentor Texts

There are also four mentor texts for each framework, which range from TED Talks, blog posts, short stories, speeches and argumentative articles, to name a few. Their purpose in the curriculum is to serve as examples of effective writing, as the selected texts show a competent understanding of context, purpose and audience , as well as confident use of textual features such as tone, vocabulary and authorial voice. This is similar to what you might have encountered in Year 11, where you were asked to read and analyse a range of creative texts to then inform your own writing.

When studying your mentor texts, make sure to keep all of this in mind and carefully analyse each text and what is successful about them in relation to your framework. This will make your life much easier when it comes to writing your own.

If you don’t feel very confident in creating texts or think these frameworks are very broad and hard to come up with good ideas for, just remember that you’re not going into this unit completely blind, neither are you expected to write completely from scratch.

Besides your experience last year, your given framework and mentor texts are there to provide a guide to effective writing and introduce you to many different ideas, so make sure to use them to your advantage! Besides, having more freedom in a creative writing task should definitely be viewed as a benefit rather than a hindrance. 

Oh No! Does This Mean I Have To Write a Narrative? 

No, it doesn’t! If the aforementioned formats of the mentor texts were any indication, this AoS encourages you to embrace the variety of different writing styles.

When before you might have been required to write within a narrative format or asked to ‘fill a gap’ in an already existing short story, now you have the freedom to write in whatever way you want, and it does not need to be a narrative, let alone fictional storytelling.

In the context of the Creating Texts AoS, ‘creative writing’ does not only equate to creating fictional characters, worlds and narratives. Instead, it gives way to the many other forms of writing that show off a writer’s creativity, which is not solely dependent on what is written, but also how and why the text has been written. This links back to the context, purpose and audience idea I talked about before.

The study design also heavily focuses on the process of writing and experimentation and not just the final draft. This AoS is your chance to fully immerse yourself in writing, so you should make sure to brainstorm and try new modes of writing you might not have thought of before. You might end up surprising yourself and coming up with great texts!

So, here’s a non-exhaustive list of writing styles you can choose to tackle:

• Your classic narrative or short story
• Argumentative article
• Transcript of a Podcast episode
• Poetry/Song (just remember you are not allowed to write in these formats for the Exam!)
• Reflective essay
• Biographical texts

You may find that, as you work through the unit, some formats may be more effective than others depending on your framework, chosen audience, chosen tone or even just your personal preference. For example, writing in a blog post format post would be more effective in engaging the particular audience of teens and young adults. 

Or, you may choose to convey your ideas with a specific tone in mind. For example, if you want to address your framework in an emotive way you might choose to write a first-person narrative short story. Conversely, if you want to address it in a rational and factual way, you might choose to write an article. 

That’s another reason why experimenting and trying new things is so important -  so that you can find out what, in your opinion, suits you and the framework best.

What Your SAC Will Look Like

This AoS is worth 60 of the 100 marks allocated for Unit 3, so it is a big deal. However, if you have a look at the study design, those 60 marks are split into three equal parts worth 20 marks each, which means your SAC will consist of three things:

‍ 1) ‘A written text constructed in consideration of audience, purpose and context.’ And, of course, your text will also need to be constructed in relation to your chosen framework.

2) ‘A written text constructed in consideration of audience, purpose and context.’ Yep, that’s right. For this SAC you have to create two distinct writing pieces. The assessment task as it is outlined in the study design does not mention whether they need to have completely different formats or audience/purpose/context from one another, so the specifics might be up to your school to decide.

3)   ‘A commentary reflecting on writing processes.’ This is the same as a Written Explanation , which you likely have come across before. This is where you write a couple of paragraphs outlining and justifying your choices for each written text you produced, especially in relation to your framework and your audience, purpose and context. Having a successful commentary means you clearly describe the authorial intent in your work, so make sure to be specific and self-analytical in your writing!

What the Exam Will Look Like

The 2024 English exam will be the first exam that follows the new 2024-2027 study design, and the biggest change between now and the previous years is that Section B, which used to ask students to write a Comparative Response to a set of texts they would have studied at school during the year, is now all about Creating Texts . So much so that now Section B is called – you guessed it – ‘Creating texts’.

VCAA has been kind enough to release a sample of this new requirement, which outlines very faithfully what this section will look like in the actual exam. The exam paper consists of a page of general instructions which apply to all students, and then four pages with three pieces of stimulus material each, which relate to each of the four frameworks.

The stimuli consist of one statement, an image, and a section of a poem/story, and the exam paper says you must use ‘at least one’ of them in your writing. (Here’s a quick tip: if the examiners are asking for at least one, use two or more.)

There is also a compulsory title given for each framework, which must be the title of your text.

The instructions in the VCAA sample exam also outline that in Section B ‘you must create one written text ( not including song, poetry or verse)’ , and that ’you must include meaningful connections with ideas drawn from one of the Frameworks of Ideas’ as well as the provided title and the stimulus material. You should choose the framework you have studied in depth at school to write about, and you are also able to refer to your mentor texts, although that is not compulsory in the exam.

Another point is that ‘you must develop your text with a clear purpose, incorporating at least one of the following: to explain, to express, to reflect, to argue.’

You may remember these purposes from the Unit 1 Crafting Texts Area of Study in Year 11. They are pretty much self-explanatory, and chances are that any writing you do will already serve one of these purposes without it being your conscious decision. Also, similar to the stimulus material, try to incorporate two purposes within your piece instead of just one, if possible.

And, as previously was the case as well, Section B is worth one-third of your full exam marks.

You can find the 2024 English sample exam and other very helpful resources such as past exams and exam reports by clicking HERE . 

Three Tips to Help You Ace Creating Texts

So, now that we know what Creating Texts is all about, here are three helpful tips to keep in mind as you make your way through this Area of Study:

1) Play to Your Strengths

As you experiment and become familiar with a range of writing styles and formats, you may find that you’ve become really good at writing argumentative essays, or you became more interested in writing short stories, or maybe you remember that in Year 11 you got a high mark for writing a strong reflective essay. Make sure to self-assess and keep in mind what your strengths are in writing, even if they might not be apparent at first glance.

Also remember that, in the exam, you have a very limited amount of time to come up with a unique piece of writing from scratch, so having a text format in mind that you feel really confident and comfortable writing with can provide at least a little bit of guidance and reassurance when you’re writing something new.

2) Choose Formats That Will Help You Show a Deep Understanding of Your Framework

For instance, if you have the ‘writing about play’ framework and you are deeply inspired by an example of how play can help people heal from trauma from one of your mentor texts which happens to be a memoir, you might deem it best to write a short story or a personal fictionalised diary entry which shows you have taken inspiration from that memoir’s central idea, but you are also engaging with the framework’s implications in society.

Of course, this should be judged on a case-by-case basis, but it can be a helpful guide if you feel stuck and unsure of where to start your writing process.

3) Be Flexible

This is especially important for the exam. You don’t want to walk in with a memorised text! Examiners can definitely tell when a student has just route-learned their way into essay writing, and this will undoubtedly be extra noticeable for creative texts, especially when the exam gives you no choice but to integrate their given stimulus material.

This is why becoming used to as many writing formats as possible, alongside consistent planning and brainstorming, are incredibly important skills to develop throughout the year, so that when it comes time to the end-of-year exam you are ready to go regardless of what the examiners throw at you!

The best way to succeed in this Unit, like pretty much all other tasks in English, is to consistently practice your writing and experiment with as many writing styles as you possibly can. Be open to new ways of thinking, not only about the framework you are given, but about the concept of writing itself! Although certainly challenging, the Creating Texts AoS can prove itself to be great fun. So, best of luck in creating texts, and happy writing!

Introduction

Many lawyers today would cite this 60-year-old story as an inspiration—Harper Lee’s To Kill A Mockingbird is, at its core, the tale of one attorney’s quest against racial injustice in his Deep South home, and of his children coming of age in the shadow of their father.

The novel is narrated in two parts by his younger child, Scout, and along with her brother Jem and their friend Dill, she traces their upbringing as inspired by Atticus’ moral teachings of tolerance, courage and justice. The first part follows their childhood, and their interactions with characters such as Boo Radley, Walter Cunningham, Miss Caroline and Mrs Dubose, while the second part follows the Tom Robinson trial itself, testing the children on the moral lessons of their childhood and disillusioning them to the overwhelming racism of their community.

We’ll be going through the novel’s major themes, and also looking at it a bit more critically within the historical context of civil rights and racial justice struggles.

Before we dive into To Kill A Mockingbird, I'd highly recommend checking out LSG's Ultimate Guide to VCE Text Response .

Prejudice and Race in To Kill A Mockingbird

All throughout the novel resonate messages of tolerance over prejudice. However, before any question of race is introduced, the children must confront their prejudices about Boo Radley, a local recluse who was rumoured to have attacked his parents. While they (particularly Jem and Dill) lowkey harass Boo by playing around his yard, re-enacting dramaticised versions of his life, and sending notes into his house with a fishing pole, they undoubtedly get drawn into the rumours as well: he was “six-and-a-half feet tall”, he “dined on raw squirrels” and he had a head “like a skull”.

What is prejudice, after all? In this case, it doesn’t have to do with race necessarily—it’s more about how the children judge Boo, form a preconceived image of who he is, before they really know him.

And this happens to other white characters too—notably Walter Cunningham, a boy from a poor family who Aunt Alexandra straight up derides as “trash”. Even when invited to dinner by the Finches, he is dismissed by Scout as “just a Cunningham”, and this is where Calpurnia steps in as the moral voice, chastising her for acting “high and mighty” over this boy who she hardly knows.

The racial dimension of prejudice is impossible to ignore though—as Atticus says, “people have a way of carrying their resentments right into a jury box”. The word ‘resentment’ has special significance here in the context of the Great Depression (in which the novel was set—more on this in a later section) but the general idea is clear: Black Americans like Tom Robinson were guilty, and therefore doomed, the minute they stepped into a court because the white jury inevitably bore prejudices against them.

At the end of the day, the panacea Lee presents for prejudice is empathy, the idea that only by truly understanding someone, “climb[ing] into [their] skin and walk[ing] around in it”, can we overcome our own prejudices—something that the jury isn’t quite able to do by the end of the novel.

Justice in To Kill A Mockingbird

In the second part of the novel, these moral questions around prejudice and empathy find an arena in the courtroom, where Tom has been unfairly charged with rape and is being defended by Atticus. The court of law is supposed to be this colour-blind, impartial site of dispute resolution, where anybody “ought to get a square deal”, but the reality we see in the novel falls dramatically short; Tom is indeed ultimately found guilty despite the evidence to the contrary.

The intersection of these themes—race, prejudice and justice—forces us to confront the reality that our legal institutions may not be as colour-blind and impartial as we thought. As Atticus says in his closing statement, “a court is only as sound as its jury, and a jury is only as sound as the men who make it up.” However, what we see is that the people who make up a jury are not necessarily as sound as he/we would hope—Scout later recognises that the true trial occurs in the “secret courts of men's hearts”, and that racist biases were always going to get in the way of a fair verdict.

Heroism and Courage in To Kill A Mockingbird

All of that sounds pretty dire, so is the novel then purely pessimistic? We’re going to complicate this a little here, and then (spoiler) a little more in the “Past the Basics (II)” section, but let’s say for now that even though the outcome may be cause for pessimism, the novel is not so pessimistic on the whole. This is because of one central moral that stands out from all of Atticus’ other teachings, and that strings the entire story together, namely the idea that courage doesn’t have any one single shape or form, that anybody can be courageous.

In Part One, we find an unlikely hero in Mrs. Henry Lafayette Dubose, who the children describe as “plain hell”—when Jem takes out her flowers, Atticus makes him read to her as punishment. Only when she dies is it revealed that she was a morphine addict who had been trying to cut the habit in her last days, which Atticus sees as extremely brave: “[Real courage is] when you know you're licked before you begin but you begin anyway and you see it through no matter what.” For all we know, this could’ve been about himself…

Another example of Atticus switching up what it means to be heroic is in the way he puts down Tim Johnson. Don’t stress if you forgot who that is—Tim is the rabid dog. Jem is blown away by his father’s marksmanship, which he had never actually witnessed. Atticus transforms this into yet another lesson about courage: "I wanted you to see what real courage is, instead of getting the idea that courage is a man with a gun in his hand."

What we see here is Lee trying to broaden the reader’s imagination of what a hero could be, or what courage could look like, and all of this momentum eventually builds to the trial in Part Two. Even Tim Johnson’s name calls to mind parallels with Tom Robinson’s legal battle, in which Atticus heroically takes up the huge responsibility of protecting the innocent, and in spite of his best efforts, both times he fails.

Yet maybe both times he knew it would be inevitable—courage is “know[ing] you’re licked before you begin”, right?  

Fatherhood vs Adolescence in To Kill A Mockingbird

This knowledge seems to be one of those unfortunate things that comes with age and life experience. While Atticus already understands this, it doesn’t quite click for his children until the end of the novel. Jem is particularly shaken by the guilty verdict: “It ain’t right”, he cries.

The novel is sometimes referred to as a bildungsroman for this reason: at its core, it’s a coming-of-age story. Jem may have been really idealistic about law and justice and the court system, but this is the first time in his life that he has had to grapple with the reality that all these institutions might be flawed, and that his dad is a hero not because he always wins, but because he’s willing to get into the fight even when he knows he might lose. Even though these messages came through all across the novel, Jem’s personal investment in the Robinson trial brings it all together for him.

Thus, on the one hand, you have this disillusionment and loss on innocence, but on the other, you also have this shift in worldview that may well be valuable in the long run.

It’s also worth noting that Jem isn’t the only character who experiences this though—and also that heroism isn’t the only theme that is affected. Scout experiences similar disappointments, and they both grapple with other questions of conscience, tolerance and conformity throughout the novel.

Past the basics: Narrative Structure

I’ve hinted to this briefly throughout the themes, but the two-part structure of the novel plays a key role in delivering the key moral messages. While Part One isn’t necessarily the story you’d expect (given that it’s very long and almost completely not about the trial itself), many of the characters and their interactions with Jem, Scout and Dill are incredibly meaningful. (Walter Cunningham and Mrs. Dubose are covered above, but try to form some of these connections yourself).

Boo Radley is the key character who connects the two parts of the story. He spends much of the first part in hiding, occasionally leaving gifts for the kids in a tree (chapter 7), or giving them a blanket during a fire (chapter 8). However, he’s also victim to their prejudice and their gossip—they don’t see him as a person, but rather as an enigma whom they can harass and talk about at will. In the second part however, he emerges to save Jem from Bob Ewell and is actually a rather unassuming man. Here, Scout and Jem must reckon with the moral lessons they’ve been taught about prejudice, but also about innocence and courage. It’s through these interactions as well that they come closer to understanding Atticus, and his brave quest to defend the innocent. In many ways, the first part of the novel sets up and drives these ideas home.

Past the basics: Critical Racial Analysis

As foreshadowed, we’re going to complicate the heroism element of the novel here, and I’ll start with a quote from a New York Times review: “I don’t need to read about a young white girl understanding the perniciousness of racism to actually understand the perniciousness of racism. I have ample firsthand experience.”

So is there an issue when a story of Black injustice only elevates white people as heroes? Not to say that Atticus can’t be heroic, but what does it say that he’s the brave, stoic hero in a story about a Black man’s unjust suffering?

I think to best understand these complexities, it’s worth situating the story in its historical context.

• 1930s : Great Depression; when the novel is set . Economy had collapsed and masses were unemployed; with slavery abolished, Black people were competing with white people for labour, fuelling resentment. Harper Lee grew up in this time, so there are autobiographical elements to the novel.
• 1960s : Civil Rights Movement; when the novel is published . For the first time in history, Black heroes were capturing national white attention and shifting the needle drastically towards racial justice. It was in this watershed wave of activism and social change that people read this book for the first time, and it was received as a deeply authentic voice within this movement.
• 2010s : Present day; when the novel is currently being read . We’re closer towards achieving racial justice now, but we’re also in a world where more and more young people are cognisant of these issues. While the novel’s image on the surface (of white kids being blown away by the existence of racism) is fading in relevance, there are underlying messages that are still relevant: racism and prejudice is inevitable, and can occur across and within racial lines; courage and heroism can take many forms (consider how Black characters—such as Calpurnia—also act in heroic ways); and the experiences of young people, whether experiencing racism firsthand or witnessing its divisive impact, undoubtedly shape their values and morals as they enter the adult world.

If the same story was published today, it probably wouldn’t have the same impact, but think about what kinds of messages endure anyway, beneath the surface story.

Essay Prompt Breakdown

To Kill a Mockingbird argues that empathy is courageous. Discuss.

Which brings us to a topic that is a bit knottier than it might first seem. Although empathy is shown to be courageous, particularly in the context of its setting, part of the novel’s message is also that courage can be fluid. This means that you might agree for a paragraph or two, emphasising the importance of context, before expanding on this idea of courage in the third.

• Paragraph One : empathy can be a courageous trait in divisive times. Atticus says from early on that it’s important to “climb in [someone’s] skin and walk around in it” in order to better understand them. He initially says this about Walter Cunningham, but it’s a message that finds relevance all throughout—which occurs in parallel, of course, with his other lessons about courage, and how it can take different forms (as in Mrs. Dubose). Understood together, Lee suggests that empathy can in itself be a form of courage.
• Paragraph Two : we’ve blended two themes together in the previous paragraph, but let’s bring in some context here. Empathy only stands out as being particularly courageous because of the historical milieu, in which people were not only racist, but allowed racist resentments to surface in the economic struggle of the Depression. In fact, these “resentments [were carried] right into a jury box” where people failed to display the very courage that Atticus consistently espouses.
• Paragraph Three : that said, even if empathy is courageous, courage can take on many forms beyond just empathy. Consider Scout backing away from a fight with Cecil Jacobs (“I felt extremely noble”—and rightfully so) or the resilience of the First Purchase congregation in using their service to raise money “to help [Helen Robinson] out at home”. That these characters, Black and white, can hold their heads high and do the right thing in difficult times is also courageous.

In your opinion, what is the most central and relevant message from To Kill a Mockingbird ?

What is the role of innocence in To Kill a Mockingbird ?

Lee argues that legal institutions are fraught with human bias—is this true?

In To Kill a Mockingbird , who pays the price for racism, and what do they lose?

Challenge: In To Kill a Mockingbird , how are isolation and loneliness different, and what is Lee suggesting about society in this regard?

To Kill A Mockingbird Essay Prompt Breakdown Video

Video Transcription

Something that I want you to take away from this video is being able to develop a contention statement that is a complete, solid foundation for your essay. A lot of the time when I ask students what they’re trying to say in a specific section of their essay, they can’t really explain it, they’re just trying to put relevant evidence down. Ideally, it’s worth bearing in mind when you plan that you should be able to follow your logic back to the contention at any given point, even if you’re not that confident with the topic, and even if it wasn’t the topic you’re quite prepared for.

The topic we’ll be looking at is:

To Kill A Mockingbird is a story of courage. Discuss.

So ‘courage’ is the key word here, and the way we define it will shape our entire discussion. It generally means bravery and fearlessness, but what kinds of courage are explored in the novel? It could be anything from courage to do the ‘right’ thing, or courage to tell the truth, or courage to treat people with dignity even when you don’t know if they’ll treat you the same way.

Immediately, we can see that this is a theme-based prompt . To learn more about LSG's incredible Five Types Technique and how it can revolutionise how you approach VCE Text Response essays, have a read of this blog post .

For a prompt like this, you start building your contention based on these definitions, and this is handy if you’re better prepared for another theme. L et’s say you’re better prepped to write an essay on discrimination ...

You could contend that the novel is indeed about courage, as Atticus not only teaches it to his children but also applies it to his defence of Tom Robinson in the face of structural racism. However, courage is also linked more broadly to empathy, which is explored as a panacea for discrimination. A complete contention like this breaks up your points neatly, but also grounds everything you have to say in an essay that still addresses the question and the idea of courage.

For example, paragraph one would start by looking at the forms of courage he teaches to his children . Part One, the more moralistic and didactic section of the novel ends with the idea that “real courage” isn’t “a man with a gun” but rather “when you know you're licked before you begin anyway and you see it through no matter what.” The section is characterised by these lessons of “real courage”—while Atticus “One-Shot” Finch downplays his marksmanship, he focuses the children’s moral instruction on characters such as Mrs Dubose, who he admires as courageous for fighting her morphine addiction.

The next paragraph would look at Atticus’ actions and also the trial in a bit more detail, as he embodies this idea that real courage exists outside of physical daring . In the racist milieu of the Deep South at the time, juries rarely “decide in favour of a coloured man over a white man.” Yet, Atticus is determined to defend Tom even at the steep cost of his own personal honour or reputation. Not only does he teach his children about the importance of courage, but he goes on to exemplify those very lessons himself. Courage in this case reflects his commitment to the truth and to defending the innocent—“this boy’s not going till the truth is told.”

However, in the final paragraph we might take a bit of a turn. Atticus, in having the courage to see Tom as an equal, is probably reflecting another very important value in the novel—namely, empathy. Though he admires Mrs. Dubose for her “real courage”, the white camellia he gives to Jem represents the goodness he sees within her despite her discriminatory attitudes. Though Jem struggles to empathise with the “old devil”, Atticus posits that it takes a degree of courage to be the bigger person and see the best in others, rather than repeating cycles of discrimination and prejudice. The idea of empathy as a form of courage is also reflected in what he teaches them about Boo Radley. When Scout is terrified by the idea that he had given her a blanket without her realising, she “nearly threw up”—yet Atticus maintains the importance of empathising with people, “climb[ing] into another man’s shoes and walk[ing] around in it” rather than ostracising them. In other words, he sees empathy as a form of courage in being the first to break social stigmas and overcome the various forms of discrimination that separate us.

Now to touch base again with the take away message . We contended that the novel is about courage because Atticus teaches it to Scout and Jem while also representing it in the trial. We also contended that courage is linked to empathy, another key value that he imparts as it helps to overcome social barriers like discrimination. The aim was to build an essay on a contention that clearly props up the body of the essay itself, even when we were more confident with some other themes, and I think this plan does a pretty good job of covering that.

Ransom and Invictus are studied as part of VCE English's Comparative. For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

Introductions

Clint Eastwood’s 2009 film ‘Invictus’ centers on the events following the election of Nelson Mandela, South Africa’s first black President in the post-apartheid era. The film follows President Mandela’s attempt to infuse a deeply divided country with new energy, by supporting the South African rugby team’s victorious 1995 World Cup Campaign. The unlikely bond formed between President Mandela and Francois Pienarr, the captain of the rugby team, illustrates themes of unity and reconciliation in a divided nation. The film begins with the image of a deeply divided society in 1990, as Mandela is released from 27 years of incarceration. A poignant opening scene sees Mandela drive along a long dirt road that runs between two playing fields, on one side, young black children shout excitedly as Mandela passes. On the other side, immaculately dressed white boys stare vacantly, as their coach proclaims, “This is the day our country went to the dogs.” This tumultuous period in South African history is of central concern to ‘Invictus’, as Eastwood portrays the lingering racial prejudices imbedded in this society. The film portrays the tension between the bitter resentment of black South Africans towards their former oppressors, with the fear and uncertainty of white Afrikaners under Mandela’s political leadership. Eastwood masterfully depicts the true story of the moment when Nelson Mandela harnessed the power of sports to unite a deeply divided South Africa.

Set during the Trojan War, one of the most famous events in Greek mythology, David Malouf’s historical fiction ‘Ransom’ seeks to explore the overwhelming destruction caused by war, and the immense power of reconciliation. Drawing on the Iliad, the epic poem by Homer, Malouf focuses on the events of one day and night, in which King Priam of Troy travels to the enemy Greek encampment to plead with the warrior Achilles to release the body of his son, Hector. Maddened by grief at the murder of his friend Patroclus, Achilles desecrates the body of Hector as revenge. Despite Achilles refusal to give up Hector’s body, Priam is convinced there must be a way of reclaiming the body – of pitting new ways against the old, and forcing the hand of fate. Malouf’s fable reflects the epic themes of the Trojan war, as fatherhood, love, grief and pride are expertly recast for our times.

Malouf and Eastwood both depict societies on the brink: Troy faces annihilation by the Greeks, while South Africa faces an uncertain future as it emerges from the injustices of the apartheid era, both worlds are in dire need of true heroes to bridge the great divide. Together, these two texts echo the significance of hope in the enactment of change. To learn more, head over to our full Ransom Study Guide (covers themes, characters, chapter summaries, quotes and more).

The power of shared human experiences

Both texts are centrally concerned with the significance of the universal experiences of love, loss, grief and hope to unite a divided people. Both Invictus and Ransom explore how societal forces divide people into different, often conflicting groups – whether this be race, history, culture, or war. Each text appeals to the universal experiences that define the human condition, and emphasise the significance of opportunities to cross-cultural divides.

In ‘Ransom’, Malouf is centrally concerned with the theme of fatherhood. This concept links the mortal and godly realms, which King Priam straddles over the course of his journey. The relationship between Priam and Somax illustrates this complex theme most clearly. The two men, despite being deeply separated by their class, education and power, share their common familial experiences. Priam confronts the poignancy of their shared experience of losing sons, questioning whether it “meant the same for him as it did for the driver”. Malouf thus presents Priam as initially lacking in terms of his understanding, Somax’s friendship and stories are the catalyst for Priam to engage in deeper, empathetic understanding. Somax’s trivial yet symbolically significant story about the griddle-cakes represents a moment of anagnorisis for Priam, wherein the shared bond of humanity in fatherhood allows Priam to obtain insight, and progressively grow as a human and as a leader. This incident fuels the journey to appeal to Achilles “man to man”, Priam’s insight into the power of empathy allows him to appeal to their shared bond as suffering fathers.

Just as Priam goes to Achilles “as a father”, using their common quality, fatherhood, to further understand each other, Mandela, too, emphasises the point that you must “know [your] enemy before [you] c[an] prevail against him” and thus he “learned their language, read their books, their poetry”. Mandela attempts to unite Black and white South Africans, despite the mutual animosity and distrust fostered by decades of apartheid. Black and White South Africans share almost nothing in common, with significant cultural and societal barriers to their reconciliation, including different dialects. Rugby emerges as the most poignant manifestation of this divide as the White South Africans support their national team, but the black south Africans barrack for the opposing side. The scene wherein Pienarr and Mandela meet over tea is symbolic of this sentiment of fostering unity amongst deep divisions. President Mandela literally hunches over to pour the tea for Pienaar, this inversion of status demonstrates his willingness to reduce his dignity as a superior and speak with Pienarr, and by extension, white south Africans, on an equal level, modelling an example of how race relations in his nation should be carried out. This equality is also symbolised by the passing of the tea to Pienaar, the close up shot where both arms of the individuals are depicted on an equal level reinforces this sense of mutual equality and respect, extolling the virtues of empathy and integrity as a uniting force.

Leadership and Sacrifice

Mandela and Priam symbolise how leadership must inevitably entail familial sacrifices. Both leaders self-identify with their nation and people. Priam embodies Troy itself, his body is the ‘living map’ of the kingdom.  The ‘royal sphere’ he embodies is constrained by customs and tradition, full of symbolic acts that separate him from the mortal world. To an extent, these royal obligations and ritual suffocate Priam’s individuality and he is unable to show his true nature, or connect with his family in the way he would desire to. He regards intimate relationships with his children as “women’s talk” that “unnerves him” as it is not “his sphere”. This articulation of the disassociation of the “royal sphere” with natural human bonds of family reveals the secondary role that family and love must take when one’s role as a leader is paramount. Similarly, Mandela claims “I have a very big family. Forty-two million people”. Unlike Priam, Mandela seeks human connection, predicating his leadership on democratic ideals. This takes a physical and emotional toll, as shown by Mandela’s collapse in his driveway. The cost of leadership here is evident, as Mandela has effectively sacrificed his family for the good of his nation. His strained relationship with his daughter Zindzi further reinforces this, as she disapproves of Mandela reaching out to Pienarr, likening him to one of the white “policeman who forced (her) out of her home”, showing the disconnect between father and daughter due to the sacrifices necessitated by Mandela’s life of leadership, including his 27 year imprisonment.

Fatherhood and Masculinity

In ‘Ransom’ Malouf presents an enclosed, limited and unemotional masculine world, with particularly stringent expectations for men’s behaviour. This is a world characterised by war, wherein the expectations of violent masculinity are paramount. In presenting Achilles inside of “a membrane stretched to a fine transparency”, Malouf reveals the constant tension between the emotional, domestic human nature inside Achilles and the hierarchical violent external society that he is expected to abide by, revealing the constricting nature that the society has on defining men’s actions. Malouf uses words like “knotted” and “rope-like” when describing Achilles’ muscles, implying that his conventional great strength, the source of his fearsome reputation, represents a confinement that the society enforces on him and other men. Further, through a degree of compassion, Priam is able to touch the “sore spot whose ache he has long repressed” in Achilles, a symbol of the emotions that have been supressed by the dominant patriarchal nature of this society.

Whilst the world of ‘Invictus’ is less overtly masculine and patriarchal, the narrative of the film is primarily focused on the male experiences, with female characters assuming a largely secondary role. Zindzi’s strained relationship with her father exemplifies the sacrifices involved in leadership. Whilst Mandela is seen to have sacrificed a close connection with his daughter, this is suggested to be in service of the nation, “I have a big family. Forty two million people”.

Character analysis and comparison

Character analysis/comparison.

- aging king of troy

- individuality has been subsumed by the ceremonial functions of his high position

- self-identifies with nation

- life of obligation

- foregoes convention and embraces chance with his proposal to offer ransom for his son’s body

- becomes more attuned to the natural world

- gains a greater appreciation of his true self as a man, rather than a symbolic figurehead

- historic figure, symbol of peace

- spent 27 years in prison for sabotage and conspiracy to overthrow the government while he was trying to gain civil rights for all south Africans

- tackled institutionalised racism, poverty and inequality

- suffered under apartheid

- pursues reconciliation, prepared to face down calls for retribution

- in his speech to the sports council, he defends the traditions of the people who persecuted him

- interacts easily with people of all social standings

- charismatic, in touch with the people

 Comparison

- embody essential role that leadership plays in achieving just resolutions to conflict

- sacrifice family for leadership

- illustrate that effective leadership takes a toll on the individual

- exemplify that reconciliation requires unexpected and difficult acts. Such as Mandela’s embrace of the Springboks and Priam’s appeal to Achilles “man to man”

- both show effective leadership involves expressing empathy and understanding the humanity of your enemies

Literary and cinematic techniques

- In one of the first scenes in Mandela’s office after he is elected President, Eastwood strategically frames the racial segregation and tension between the two groups via the mise-en-scene; they stand on separate sides of the room, wearing distinctly different clothing and calling Mandela either “Mr President” or “Madiba”, representative of their own identity. The lingering tension between the two groups permeates the entirety of the film, and the microcosm of the bodyguards acts as a symbol of the chasm within the wider nation.

- The deeply symbolic scene wherein Mandela and Pienaar have tea, Eastwood strategically uses a close up shot to frame the passing of the tea cup so that both arms of the individuals are depicted on the same level, reinforcing this sense of mutual equality and respect. It is this sharing of hope that ignites Pienaar to reciprocate Mandela’s egalitarian actions. As Pienaar brings a ticket for Eunice, recognising that “there’s a fourth” family member, he mimics Mandela’s value that “no one is invisible”. Consequently, it is demonstrated that regardless of skin colour, characters reciprocate Mandela’s empathy and compassion, revealing the limitless power such human qualities to reach across the boundaries of division.

- The wide shot of the passing of the trophy from Mandela to Pienaar is framed against the large crowd, metaphorically representing South Africa’s support with the unity of the black and whites, reflecting Mandela’s desire to “meet black aspirations and quell white fears”. Their diegetic cheers work to create the idyllic depiction of the lasting power of this change, implying the true limitless nature of hope in their society.

Learn more through Caleb (English study score 47) about Invictus Film Technique Analysis - How Can I Write About It?

- Priam’s moment of anagnorisis in which he discovers the concept of “chance”, marks the beginning of his enactment of change through the power of hope. Despite his family who wishes that he would “spare [himself of] this ordeal”, Priam’s vision guides him to overcome familial and societal obstacles in pursuit of reconciliation.

- Symbol: Griddlecakes – represent pleasure in common things, but also the growing realisation within Priam of his distance from such pleasures. The love and care with with Somax’s daughter cooked the cakes has a value that surpasses the conventional riches associated with the ruling elite. This is a catalyst for a moment of realisation for Priam.

Charlie’s Country  is an Australian drama film directed by Rolf de Heer, starring David Gulpilil. The linear film, co-written by de Heer and Gulpilil, tells the story of Charlie, a middle-aged Aboriginal man living in the town of Ramingining. The audience follows Charlie as he sets off to reconnect with his Indigenous origins; choosing to abandon urbanised society, Charlie flees into the bush to live by his “Mother country”. Much to his demise, Charlie subsequently becomes ill and is admitted to hospital in Darwin. After discharging himself from the hospital, Charlie is quickly arrested for assaulting a policeman. Charlie serves time in prison for his crime and the film’s final scenes show Charlie, free and mentoring young Aboriginal boys in their native cultural traditions. As the audience follows Charlie’s everyday encounters, they gain insight into the harsh realities faced by Aboriginals in modern-day Australia. Through his individual plight for survival amidst illness and poverty, de Heer presents profound political commentaries on this very pertinent social issue, spanning decades in Australian history.

The film's critical acclaim upon its release in 2013 was the impetus in prompting conversations and debates about the politics of Indigenous Australians. De Heer’s depiction of this remote community grappling with issues as a result of government-imposed law serves to capture the oppression and deeply ingrained racism that continues to persist.

Tracks  is one Australian woman’s survival narrative. The 1980 autobiographical memoir by Robyn Davidson, recounts her courageous 1700 miles trek across Australia, beginning from Central Australia towards the Indian ocean. In the effort to escape the monotony of her daily life, Davidson travels to her first destination -- Alice Springs -- in 1973 to start preparations. In the 2 years she spends there, she learns how to train camels and live minimally, the former proving to be a challenge. Despite her vehement will to refuse any kind of donation or financial help, Davidson eventually accepts a writing deal in partnership with National Geographic, providing the much-needed funds to confirm her departure. It's through this deal that she meets Rick Smolan, whom under the conditions of her deal has been recruited to photograph this journey - an unsettling compromise for Davidson which she ruminates on frequently in the novel. With her beloved dog Diggity and her camels, Davidson traverses the Australian landscape, discovering more about herself, her country and the people. 

Fundamentally, this book is as much about Davidson’s internal transformation and personal frontiers as it is about exposing the colonial and masculine ethos that permeates Australian history.

Themes (Similarities and Differences)

At LSG, we use the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out my How To Write A Killer Comparative . I use this strategy throughout my discussion of themes here and in a later section, Sample Essay Plan.

Isolation and Alienation

Charlie, drawing on Gulpilil's own experiences, becomes profoundly alienated from his Ramingining community to the extent where he serves no major function in the community life. Charlie is alienated both physically and figuratively, not only does he live in a makeshift hut on the outskirts of town, but he is separated from the Aboriginal community in this town and resents the fact that white Australians have assumed power over his land. He is evidently neglected from the wider society, which causes much of the internal and external conflict he experiences in the film, an ordeal which many within the Indigenous minorities can empathise with. 

In his efforts to escape his life within the confines of the intervention, Charlie sees isolation and social rebellion as a mechanism to rediscover his Indigenous roots, spending time in nature to fulfil his journey for self-discovery and to gain the freedom he’s lost. Removing himself from a town permeated by imperial powers provides him with an opportunity to restore his lost sense of self-autonomy. De Heer is intending to reveal the difficulty of assimilation for Aboriginal Australians. He also highlights the importance of human connection and relational harmony for individuals.

“Do you mind if I call you Charlie? I have difficulty pronouncing foreign names.” “Now I’m a foreigner?” (Charlie and the Darwin doctor) 

“It's isolated, it's remote.” (Policeman Luke on Ramingining)

“I work for them catching criminals, they don’t pay me.” (Charlie)

“I don’t know what’s wrong with him… shaming us.” (Pete on Charlie)

Robyn Davidson views complete isolation as a way to detach herself from the commercialism and expectations of modern-day Australia, to connect with nature and to challenge her own beliefs of herself. For her, complete solitude in this journey is a private and personal gesture designed to intentionally preserve the sanctity of the trip. While Rick Smolan’s company appears benign, Davidson’s abrasive attitude towards him as well as her reluctance in ‘selling’ her story is particularly revealing of her attempt to maintain the subjectivity of the trip. The act of breaching this solitude is what Davidson sees as an egregious debasement of the sacredness of the journey, allowing it to be objectified by the eyes of the public. In addition to this, isolation signifies liberation and freedom from a society laden with rigid expectations, Smolan acts as a constant reminder of these external responsibilities. Davidson experiences alienation from the wider society, being a confident, decisive woman trekking independently and defying the limitations imposed on her sex. She also repeatedly expresses her sense of alienation when entering Aboriginal communities and although she is sensitive to the impression she gives, she acknowledges her persistent feeling as an outsider. Davidson is aware of the divide between these two cultures that have resulted from a history of inequality and oppression. In  Tracks , Davidson also demonstrates the need for meaningful connections, however she sources this from her animal companions and nature.

“My aloneness was a treasure which I guarded like a jewel... but like everything [it] had to follow the laws of change.” (p. 40)

“No more loved ones to care about, no more ties, no more duties, no more people needing you to be one thing or another, no more conundrums, no more politics, just you and the desert baby.” (p. 94)

“I could never enter their reality, [I] would always be a whitefella tourist on the outside looking in.” (p. 146)

“I could not be with the Aboriginal people without being a clumsy intruder.” (p. 146)

Charlie’s displacement from his community is the driving force behind his decision to return to the Aboriginal way of life. De Heer uses this depiction of Charlie, to serve as a wider embodiment of the difficulty for the Indigenous people to assimilate and conform to the western lifestyle. After witnessing the limitations he faces under the ‘whitefella’ laws in Ramingining, it is Charlie who first attempts to escape his community. He repeatedly rejects the life of subordination and compliance under the government laws, which as shown in the film has forced many of the Indigenous people to neglect their own traditions and way of life (for example, they must now eat unhealthy fast foods to survive and go through school). Charlie’s individualistic expressions seen through crafting a spear and going hunting are actively suppressed by the white authority, leaving him to conclude that the only way to fully exercise his personal agency is to live in the Australian wilderness, alone. His act of abandoning the car with his belongings and parting with almost nothing in his possession is significant in demonstrating his defiance of the imposition of western culture and his journey for self-reliance. De Heer depicts how conforming to an oppressive society is detrimental and praises the self-transformative effects of embracing individualism rather than blindly conforming.

"Live the old way… …going to my Mother Country.’"(Charlie)

“F--- those thieving…white bastards.” (Charlie)

“The kids go to school now. They don’t care.” (Charlie)

“Why did you come here? From far away… stealing people’s stuff! Is this your land?... F---ing bastards.” (Charlie)

“I’m free now. I have my own supermarket! And this is my country! I can dance with it!” (Charlie)

Robyn Davidson’s decision to leave her normal life in Queensland to cross the Australian desertland is one that becomes the subject of much scrutiny and doubt. Her bold, dauntless approach towards pursuing this journey, specifically as a single, young woman was radically counter-cultural to the perception of women in the 1970s as delicate and docile individuals. Davidson’s indifference and somewhat dismissive attitude towards the derogatory remarks and reductive characterisations are indicative of her acknowledgement of the unjustified prejudice that permeates Australian culture. Additionally, Davidson’s assertive personality and commitment to travelling in the wilderness alone is ultimately an establishment to herself as an autonomous woman, rebelling against the traditional conventions of marriage, motherhood and domesticity that was previously expected of her. Ultimately, Davidson strongly asserts the need for resistance, particularly where there is the expectation for conformity, as well as her experience, is revealing of the cleansing and liberating feelings of embracing individualism rather than conforming.

“(Dropping eyes to chest level). "Where’s yer old man?" "I don't have an old man." (p. 5)

“I was self-protective, suspicious and defensive and I was also aggressively ready to pounce on anyone who looked like they might be going to give a hard time.” (p. 34)

“It was essential for me to develop beyond the archetypal female creature who from birth had been trained to be sweet, pliable, forgiving, compassionate and door-mattish.” (p. 34)

“I wanted to… unclog my brain of all extraneous debris, not be protected, to be stripped of all social crutches, not to be hampered by any outside interference.” (p. 91)

Belonging and Identity

The laconic and monotonous pace of the film is suggestive of a more deeply rooted issue surrounding the identity distortions experienced by Aboriginals, even to the present day. This depiction acts as a personification of the widespread troubles of Indigenous Australians -- the deep struggle between submitting to the institutions of the ‘whitefella’ intervention and clinging to what is left of their traditional heritage, often rendering them feeling separated from both cultures. The mundane nature of his daily activities conveys the social incongruence between Charlie’s struggle to live sufficiently as a ‘traditional’ elder or as a ‘modern’ Australian, finding himself disconnected from both. This internal battle is psychologically taxing for Charlie, as he encounters many contradictions: receiving welfare payments, only to have to give them away to his family, and so he goes without food and later becomes hungry, only to be denied the opportunity to hunt for his own food. Fulfilling one culture means rejecting the other, and freedom in one means rebellion in the other. Thus, Charlie sees social transgression as his only choice of refashioning his own identity. De Heer reveals how freely establishing a secure sense of identity and belonging in their culture is critical in the lives of these individuals, however, the long-term damage that western society has inflicted has made this almost impossible.

“You’ve got a job, and you’ve got a house…on my land. Where’s my house? Where’s my job?” (Charlie)

“We need to teach them… the traditional ways.” (Charlie’s friend) 

“I’ve been away fishing, now I’m home. I’m eating well. It’s my own supermarket.” (Charlie)

In  Tracks , Davidson’s attempt to escape the responsibilities and social pressures to immerse herself in nature is ultimately a journey of self-discovery; to define her own identity irrespective of the expectations imposed on her by the 1970s society. As a solitary female, challenging the restrictions of her sex and exposing herself to unpredictable surroundings, she can curate her own identity as a progressive, post-colonial feminist, seizing and capitalising on the autonomy she has. This endeavour allows Davidson to undergo a form of self-transformation, a search for meaning for herself and others, what she describes as a “desocializing process -- the sloughing of, like a snakeskin”. Furthermore, Davidson is determined to rediscover her place in respect to the desertland, educating herself about the native biodiversity and most importantly, the native people. Although Davidson recognises that she will always be considered a ‘whitefella’, she finds a sense of fulfilment and belonging in engaging with and observing the rural Aboriginal communities. She demonstrates a deep understanding of the distorted identity and loss of belonging for the Aborigines at the hands of imperial white forces and is sensitive to the damage that has been inflicted. Above all, Davidson gains a renewed, stable sense of identity and belonging through her resistance to the imperial Australian racist mentality, challenging the male-orientated culture. However, she is also confronted by the reality of this breakdown of identity within the Aboriginal communities.

“This was my first home, where I felt such a sense of relief and belonging that I needed nothing and no one.” (p. 40)

“From the day the thought came into my head ‘I’m going to enter a desert with camels’, to the day I felt the preparations to be completed, I had built some intangible but magical for myself…” (p. 95)

“I wanted to understand so much… I melted into a feeling of belonging. They were letting me into their world. They asked me if I wanted to dance.” (p. 145)

“Once dispossessed of this land, ceremonial life deteriorates, people lose their strength, meaning and identity.” (p. 167) ‍ ‍

Connection to Nature

The significance of nature to the Aboriginal people is at the core of this film. Charlie embodies this connection through his escape to the Australian wilderness. This first acts as a fresh alternative to the restrictive, repressive lifestyle within his government-intervened community, given. It's an opportunity to rebel against the western lifestyle and restore his traditional way of life, which leaves him feeling free, happy and powerful. However, his struggle to adjust to this change is indicative of the corruption of the intrinsic link between the people and the land. The harmonious, symbiotic relationship that the Indigenous people once had with the land has deteriorated; having been essentially poisoned through the introduction of a progressive white society. As much as Charlie tries to balance elements of both cultures by hunting and quitting smoking, it becomes apparent to him returning to where ‘[he] was born’, is the only way to rediscover his sense of self and truly experience freedom. Ultimately, like much of the wider Indigenous people, Charlie’s unable to fully abandon the constraints of white society and has become dependent. De Heer confronts the audience with the consequences of this irreversible separation through the illness and poverty that the Aboriginal people must endure.

“There’s lots of food in the bush… It's like a supermarket out there.” (Charlie’s companion)

“Then you’ll die in the wrong place… a long way from your country… They’ll be no one with you, no one to look after you.” (Charlie to a friend)

“I was born in the bush. They didn’t find me in the bush.” (Charlie)

“I want to go home now......back to my own country......where my place is...” (Charlie)

The connection to nature seen in  Tracks  serves several functions for Davidson. Contrary to the majority of attitudes of the time, Davidson can recognise the sanctity of the Australian land and is determined to learn about and experience this connection between the Aboriginal people and their environment. Like in  Charlie’s Country , Davidson’s encounter with the rural, minimalist Aboriginal communities is a distinct contrast to the urban society which she leaves behind. It’s a sobering reminder to Davidson of the persisting racism and colonialist mentality which pervades Australian history and confirms the serious consequences that have occurred from the loss of connection between land and people. Even further, her battle to survive and adapt to the unpredictability of the desert is the ultimate test of endurance, which Davidson acknowledges enables lasting self-transformation and consolidates to her the true majesty and reverence of nature. Therefore, this escapism into the desertland is Davidson’s own challenge for personal change and a chance to experience true liberation like Charlie, as well as finding peace with the natives by means of acknowledging the usurpation of their traditional land and rights.

“All around me was magnificence. Light, power, space and sun. And I was walking into it. I was going to let it make me or break me.” (p. 101)

“It is difficult to describe Australian desert ranges as their beauty is not just visual. They have an awesome grandeur that can fill you with exaltation or dread, and usually a combination of both.” (p. 122)

“Besides, no amount of anthropological detail can begin to convey Aboriginal feeling for their land. It is everything -- their law, their ethics, their reason for existence.” (p. 167)

“And just as Aborigines seem to be in perfect rapport with themselves and their country, so the embryonic beginnings of that rapport were happening to me.” (p. 193)

Author Views and Values

Aboriginal rights and the intervention.

Like in any comparison, it is important to understand some of the key events that were occurring at the time of both the text and the film. While  Tracks  and  Charlie Country  are set more than 3 decades apart, the issue of Aboriginal rights is still equally as important in both settings.

In  Tracks , the 1970-80s saw many progressive milestones in Aboriginal history. Just years prior to Davidson’s departure, Australians voted for change in the constitution officially recognising Aboriginal people in the national census. Later, 1976 saw the Aboriginal Land Rights Act, which allowed the Indigenous people to assume ownership of land that was acknowledged to be rightly theirs. Many of these legislative changes were indicative of a larger-scale shift in attitudes towards the fairer treatment of Aborigines. While the oppression and racism continued, it was individuals like Robyn Davidson who pioneered the way for greater change and equality. Davidson ultimately intends to highlight the devastation that has occurred to the Aboriginal people following colonisation and aims to shine the light on the persisting issues these individuals face in an ostensibly ‘post-colonial’ Australia.

• Despite some advancements of Indigenous rights in the 1970s, Davidson is firmly opposed to the ongoing racist attitudes held by white Australians.
• Davidson sympathises with the deep hardship endured by the Aboriginal people, which was characteristic of the evolving attitudes towards racial equality in 1970s Australia.

In addition to this, was the 2007 ‘intervention’.  Charlie’s Country  is set some years following the introduction of the Northern Territory National Emergency Response. Following reports of child sexual abuse and neglect, the Howard Government unleashed national forces to remote Indigenous communities in the effort to act as law enforcement and impose alcohol and drug restrictions. De Heer examines the consequences of what was described as a ‘last-ditch’ attempt to maintain power; an act that was widely criticised and showed to further exacerbate the suffering of the Indigenous people. Hence, de Heer’s film provides a personal insight into the difficulty of navigating life for Indigenous citizens as a result of the Intervention, and how Charlie’s struggles are representative of the anguish of the wider Aboriginal community.

• Drawing parallels with the time of 2007 Northern Territory Intervention, de Heer intends to reveal the identity distortions that Indigenous individuals suffered due to the enforcement of westernised laws.
• De Heer’s depiction of Charlie’s alienation from Ramingining was indicative of the wider Aboriginal population in the time following the 2007 Intervention, which saw the introduction of new restrictions into rural communities in the Northern Territory.

Women's rights in Australia

The 1970s was a critical time for women's rights in Australia. At this point in time, after the first wave enabled women to vote, the second wave of feminism was moving through the nation. Women all across Australia were now fervently advocating for their own autonomy and freedom in the workplace and at home; their efforts directed more to dismantle the rigid social structures and expectations that were demanded from them. Davidson is an avid proponent for this cause and demonstrates a tactful and astute understanding of her image as a white, middle-class woman. She openly reiterates her distaste for the sexist remarks and misogynistic caricatures she faces and is determined to confound the restrictions placed on her sex of being a domesticated and weak female. Overall, Davidson is promoting the principles of breaking through societal expectations, however, also reveals the many challenges she encounters in doing so.

• Davidson’s defiance of the traditional female image is indicative of the progressive attitudes regarding women's rights in 1970s Australia.
• Davidson’s embodiment of feminist ideas was synonymous to the 1970s second wave of feminism, where women in Australia were fighting for more freedoms at work and at home.

Comparing metalanguage and film techniques

It can be a bit daunting trying to compare techniques in a novel to those in a film. In this instance, it is crucial to first look at the idea you are comparing. For example, we can observe that both  Tracks  and  Charlie’s Country  show the liberating and cathartic feeling that comes from escaping social pressures. Now, let's look at  how  Robyn Davidson and Rolf de Heer achieve this, albeit in different manners. In  Tracks , Davidson uses  imagery  to describe the desertland she meets, when she says, “It is like a vast unattended communal garden, the closest thing to earthly paradise I can imagine”. De Heer communicates this premise of freedom, however, does this by featuring a variety of  diegetic sounds  of the biodiversity in which Charlie finds himself.

Another example is how intimacy with protagonists is edified. De Heer uses sustained, intimate close up shots and at many times breaks the fourth wall by having Gulpilil look directly at the camera. On the other hand, Davidson employs colloquial language and is liberal with her use of expletives in order to convey a casual, conversational mood between herself and the reader.

Other aspects to consider:

Anthropomorphism  in  Tracks  is   the act of attributing human traits or behaviours to a god, animal or object. Davidson’s use of anthropomorphism to describe the animals around her (specifically the camels and her dog Diggety) is suggestive of the necessity for companionship for humans; the need to establish meaningful connections with others. For Davidson, companionship with animals comes easier than with humans (presuming this stems from her perception of society as problematic and grossly flawed).

• Davidson on camels: “They are haughty, ethnocentric, clearly believing they are god’s chosen race. But they are also cowards and their aristocratic demeanour hides delicate hearts. I was hooked.” (p. 14)
• “[The camels] hung around me like flies, shuffling their feet, looking embarrassedly at the ground or coyly through their elegant lashes, acting apologetic and loving and remorseful…” (p. 80)
• “Diggity had become a cherished friend rather than simply a pet.” (p. 227)
• “[Diggity] combined all the best qualities of god and human and was a great listener." (p. 207)

Cinematography, specifically types of cinematic shots  in  Charlie’s Country .   Those commonly seen in the film include wide shots (camera captures a wide view of the context or setting), close up shots (camera captures events from a short distance away; involves a character’s facial features and expressions), as well as panoramic shots (camera pans around horizontally, showing surroundings). Directors are intentional in the type of cinematography they employ; therefore it is crucial to observe the context in which these shots take place in order to enrich the analysis. 

• Several wide angle, landscape shots of nature, both at the beginning of the film and when Charlie first enters the Australian wilderness.
• Close up shots of Charlie sitting by the fire, and when he is in prison.
• Panoramic shots of Aboriginal art that Charlie discovers in the wild.
• Panoramic shot also in the courtroom where Charlie is on trial.

Remember! When analysing, you  must  consider where these occur in the context of the film’s narrative, and the effect they have on enhancing the events/themes/broader ideas being presented in the scene. (i.e. How are the characters portrayed compared to their surroundings? Compared to others? How are they interacting with these elements? Why has the director chosen this angle/shot?)

Sample Essay Plan

Compare how Tracks and Charlie’s Country present the importance of Individualism.

Sample Introduction:

Set amidst an era of significant social and political change, Robyn Davidson’s autobiographical memoir ‘ Tracks’  and Rolf de Heer’s film ‘ Charlie’s Country’  explores the plight of individuals who embrace individualism. Both Davidson and de Heer assert that individualism is necessary for the protagonists, who find themselves marginalised from the wider population. Through their respective journeys to independence, Robyn and Charlie achieve  a sense of empowerment through identity self-refashioning , as well as they express  their disapproval of   the toxic institutions of society . However, the text and the film also demonstrate how at times,  embracing individualism can present challenges to those who pursue it . Ultimately, Davidson and de Heer commend those who do not fully conform to society.

Paragraph 1: Charlie and Robyn gain empowerment through independently establishing their own identity.

Robyn sees the trip as a demonstration to herself of the shedding of the traditional image of white, middle class woman: 

• “Am I an individualist because I believe I can take control of my own life? If so, then yes, I was definitely that.” 
• “I had… been sick of carrying around the self-indulgent negativity which was so much the malaise of my generation, my sex and my class.”
• Describes the experience as a “gentle catharsis” and that “[She] was happy”.

Charlie’s abandonment of the Ramingining community is an attempt to resolve the identity ambiguity he feels as a result of the Government intervention.

• Charlie appears to receive government benefits only to have to give it away to family, later divulging that “I have no money left… or food. I’m hungry”. When he tries to source food by traditional means, he is punished. All this demonstrates his struggles in balancing two cultures.
• Going back into his “Motherland” he is joyful, dancing and eating again. Recognises a sense of security in going back -- “That’s what I want”, “now I’m home”.

Paragraph 2: Embracing individualism for the protagonists means resisting toxic societal constructs.

Robyn adamantly condemns the deeply entrenched racism of Australian culture and sympathises with the Aborigines and their hardship. Her determination to learn about the Aboriginal people is an attempt to overcome the wedge that has been driven between the two communities: 

• “Racism is a daily experience for blacks in Alice Springs. It reinforces their own feelings of worthlessness and self-hate.”
• “Large mining corporations… lusting after Aboriginal Reserve land.”
• The dependency of the Aboriginal people termed as a “handy PR stunt” for government and policies equated to “apartheid in South Africa”.

Charlie becomes increasingly resistant against the traditions and policies of the government institutions.

• Many times he is seen throwing cigarettes into the fire -- his resentment towards the introduction of white customs. "You come from far away and bring us alcohol, ganja, tobacco... all bad!"
• Charlie rejects the white lifestyle by refusing to eat the food in the community, recognising its detrimental properties. Charlie on illness: “It’s all that… white man junk food we eat."

Paragraph 3: Resisting conformity is challenging for Robyn and Charlie, particularly in an oppressive society.

Robyn is met with harsh opposition and derogatory depictions in the media: 

• Labelled “the next town rape case.” 
• Discovers feces on her pillow one night in Alice Springs -- “let my presence be known as if I were a trespasser.”
• “‘Camel lady’ had that nice patronising belittling ring to it.”

Charlie is constantly shut down when embracing the ways of his culture; ultimately submitting to individualism also unveils his dependency on white society.

• He is charged with ‘recreational shooting’, and his hunting spear is considered "a dangerous weapon."
• Charlie’s confession earlier about his false teeth: “I can’t eat with them… I can eat without them” alluding to this dependency on society.
• The irreversible damage of white intervention is evident in Charlie’s poor health as a consequence of going back to “the old way” -- must go to the hospital.

Additional essay topic and prompts:

‘Resistance to conformity is at the forefront of Tracks and Charlie’s Country ’. To what extent do you agree?

Discuss the ways in which the environment assists the protagonists in their journey for self-discovery.

‘The connection to the land is significant for the characters of both Charlie’s Country and Tracks ’. Discuss.

‘The stories of Charlie and Robyn represent the plight of many others’. To what extent do you agree?

Compare the ways in which characters in Tracks and Charlie’s Country seek to discover what really matters to them.

‘Despite their deep hardship, Charlie and Robyn find transformation in their journeys’. Discuss.

Useful Resources

How to Write a Killer Comparative

Reading and Comparing Tracks into the Wild

Compare the Pair- A guide to structuring a reading and comparing essay

The link between your contention and topic sentences in relation to the prompt

Master Reading and Creating

If you are anything like me, the thought of standing up in front of a classroom, or even a small panel of teachers, having to hold the floor for five minutes, and being assessed on your performance is just about as terrifying as it gets. Where other students thrived on the oral presentation SAC, embracing its change of pace in comparison to the other written tasks, I dreaded it. I knew the feeling all too well: legs jelly-like and quivering, breath short and rapid, palms sweating, tongue uncomfortably heavy as the words tumble out too fast to keep up with…essentially (as I, a true master of the English language, would put it) the absolute worst. 

Fast forward to the present day and, I hate to break it to you, I am still not a fan of public speaking. But guess what? I did my oral presentation and I’m still alive to tell the tale. Plus, as a bonus, it did not involve me passing out, and as a double bonus, I still ended up with a great result. So I am here, my fellow members of the ‘Might Go Ahead and Drop Out of VCE so I Don’t Have To Do My Oral’ club, as proof that it can be done and to help you get through it. 

What Do We Mean by ‘Overcoming’?

As I have already mentioned, emerging triumphant from your oral does not require you to magically become a public speaking fanatic. Let me manage your expectations right now: that probably isn’t going to happen overnight, and likely never will. But you can still be good at public speaking, perhaps great at it, even if it scares you. Trying to figure out a magical formula of preparation that will have you breezing through the oral in total zen-mode is not only going to waste your time, but will likely also make you more frightened when you realise that you can’t completely shake the nerves. So, by accepting the reality that the fear probably isn’t going to go away any time soon we can start to learn how to manage it, at least succeed in spite of it, and hopefully even use it to our advantage. 

Selecting a ‘WOW’ Topic

Arguably the best way to improve the delivery, and overall quality, of your oral presentation is to choose a topic and contention that you actually care about. In our eBook How to Write a Killer Oral Presentation we cite the first pillar of the process as being to choose a ‘WOW’ topic and contention . As Lisa says,

“an inherently interesting topic means that you’ll showcase your opinions in an authentic way, which is incredibly important when it comes to presentation time.”

This becomes particularly significant for someone dealing with a fear of public speaking because of this basic principle: when you care about something it is easier to talk about, even in front of other people. This means that you don’t just need to choose a topic that will engage your audience, but also one that you yourself find engaging. 

Fear is an intense emotional response to a situation, and as we know it can easily consume us in the moment. If your oral topic is boring and does not interest you on a personal level then what is going to be the strongest emotion you feel when delivering it? Fear. However, passion is another intense emotional response, and so if you are passionate about the arguments you are making then, although your fear will still be there, you will feel another strong emotion that can balance it out. 

So how do you find a contention that you care about? Often the best place to start is to think about the things that affect your life. We know that your topic has to have been in the media since September of last year, but lots of things are on the news and they don’t only matter to the older generations. Think about issues that relate to schools, jobs, climate change, animals, drug-taking, fashion – these are all aspects of our lives that you might be able to form a personal connection to, and that personal connection will help you find the passion you need to get through the speech, and also get through to your audience. Check out our 2021 Oral Presentation Topics for some topic inspiration, and then learn how to create a killer contention here . 

More About the Voice, Less About the Words

It is quite likely that if you know you struggle with the delivery of oral presentations, you might try to compensate by overreaching with your script. For someone who feels more comfortable with written assessments, it can be easy to try to make the oral as close to one as possible by writing it almost as you would an essay – using lots of impressive vocabulary, complex sentences and a formal structure. This approach is all well and good until you try to say it all out loud. This isn’t to say that your command of language isn’t important to the oral, but by trying to craft a safety net of eloquent, written words you are simply distracting yourself from what makes this SAC unique; you can’t avoid the fear by avoiding the task altogether. So, you need to write a speech that you can say, not just one that sounds good on paper. Writing with the wrong sense of tone is one of the points we touch on in 5 Common Oral Presentation Mistakes.

During the writing process, you need to make your speech work for you rather than make yourself work for it. This means constantly thinking about what the words will sound like in front of an audience, and not making the performance unnecessarily hard for yourself before you even start practicing. When you’re already nervous about speaking in front of other people, the last thing you want to have to worry about is tripping over difficult language to make convoluted arguments. So, simplicity and punch is always better than verbosity and pretence. Here are some ideas of how to use this strategy:

• Make your arguments short, sharp, and to the point. Avoid going off on any tangents, and just stick to the main points you need to get across. You are trying to persuade your audience, not confuse them. 
• Use a mixture of long and short sentences, because a script that uses varied sentence structures is easier to say out loud without stumbling due to nerves. Short, bold statements are both less prone to being mangled by nerves and more memorable for your listeners – just make sure you don’t only use short sentences and prevent your oral from flowing. 
• Think about where you can schedule in pauses for emphasis, because these will give you space to stop and catch your breath without revealing your nervousness. 
• Write like you speak! Of course you want your tone to be assertive and intelligent, but it is possible to maintain this whilst also incorporating some relaxed language. You are allowed to use the first person in this task, so take the opportunity to personalise what you say, which will help you appear more comfortable and also form a personal connection with your audience. Remember that an oral is essentially a conversation with your audience, even if they don’t get to speak back, and this means that as long as you don’t use slang you can have some fun with your delivery. 
• Don’t rely on an essay-like structure. Your audience won’t know when a paragraph ends, so the way the script looks on the page is largely irrelevant. Make it easy for yourself to follow. 

Remember, when you struggle with a fear of public speaking it is difficult to make what you say in the spotlight sound natural. To overcome this, you want to prepare yourself to almost sound unscripted (as ironic as that sounds). Without slipping into an overly casual or informal voice, it is best if you sound comfortable and relaxed when addressing your audience. This is of course the exact opposite of how you might feel going into the assessment, so you write a speech that will make you seem like you aren’t worried about passing out. The ancient adage ‘fake it ‘til you make it baby’ definitely rings true here. However, that said, really believing what you are saying and caring that the audience believes it too, as we advised earlier, will also help you avoid sounding forced and uncomfortable. 

Preparation and Memorisation

Another mistake often made when attempting to compensate for a fear of public speaking is to rely too heavily on cue cards in the oral. Having your entire speech on hand when you complete the assessment just in case you get lost might seem like a good idea, but it is most likely actually going to hold you back from giving your best performance. Ideally, you want to have done enough preparation so that you do not need to look at your notes at all. As we discussed earlier, having a script that is as simple as possible, and that mimics your speech patterns, will help you sound less fearful – and will also be easier to memorise.

Memorise your speech by practicing it as much as possible. Make sure to get your script written as far in advance as you can, so you have plenty of time to practice without stressing yourself out further. When you do practice, do so standing up, envision an audience in front of you (or practice in front of friends or family), and rehearse how you might move around the space as you talk. You can start by having your whole script with you, but eventually you should work up to only needing a few dot points for each section that can jog your memory if you forget. This strategy might seem to make the speech even scarier, but in reality not reading off a script will help you relax into the performance, and allow you to focus on your movements and voice. Practicing enough to have the speech memorised will also help build your confidence. 

Making the Most of Your Nerves

As much as I would love to tell you that you can be ‘cured’ of your fear of public speaking, it is best to accept that the nerves are going to be there and learn how to succeed in tandem with them, rather than just hoping that they go away. Instead of being convinced that fear is going to be your downfall, try to think about how, as impossible as it sounds, you can use the nerves to your advantage. Apart from making you jittery and uncomfortable, nerves also boost your energy and adrenaline, and with the right attitude you can turn this energy into confidence. Instead of letting your nerves cause you to close up, you can use them to help you open up. Often those of us who fear feeling exposed in front of a crowd have quiet, reserved personalities that we might think of as preventing us from being able to perform. However, when our bodies are flooded with nerves this ‘wired’ feeling can be used to help us project our voices and to take up space, therefore driving us to appear more outgoing. Instead of just making you feel ‘on edge’, a manageable amount of nervous energy can give you an edge that will amp up your performance. 

Even if all of this sounds completely different to your experience of fear, what I am trying to communicate is that the way you frame the oral, and the nerves that come with it, in your mind makes all the difference. If you convince yourself that you are too scared of public speaking to ever succeed with this task, you are severely limiting your chances of achieving a positive outcome. So, focussing on retraining your mindset in the lead up to delivering your speech is very important. Try not to think of this one assessment task as being a make or break five minutes, and instead view it as a learning experience that you can use to your advantage. After all, public speaking is something most of us will have to deal with multiple times over the course of our lives, so you may as well work on getting better at it. That said, my number one piece of advice about the oral presentation is to…*drumroll please*...not take it too seriously! This might sound unrealistic, and I am definitely not telling you to put in less effort, but the more pressure you put on yourself the more nervous you are going to be. Choose a topic that interests you, believe in your contention, make use of humour and personal anecdotes, and just have fun with what you say! Your fear is probably going to be your biggest obstacle, so make it as easy as you can on yourself and the rest should fall into place…as long as you put in the work. 

Finally, our Ultimate Guide to Oral Presentations is a must-read for anybody who is doing an Oral Presentation!

We’ve explored historical context, themes, essay planning and essay topics over on our Like a House on Fire by Cate Kennedy blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

[Video Transcription]

Hey guys, welcome back to Lisa's Study Guides. So this week I have another essay topic breakdown for you. So eventually I'm going to get through all of the VCAA texts that are on the study design, but we're slowly going to get there and are just want to say yet again, even though this one is like a house on fire, I am really glad if you've clicked on this video and you're not necessarily studying it because as always with all my videos, I try to give you an overall message for you to take away that can be applied to any single text. So that is the same for this particular text today. And so even though the takeaway message for this video is quite specific to short stories, it's still an important consideration for any text that you're studying. Ideally, you want to use a diverse range of evidence for any text, but in particular, for short stories, you don't just want to rely on a small handful, but to try and make links between the different short stories. So let's see what that means on the other side of this quick overview of the text. Like a House on Fire is a collection of short stories by the author, Cate Kennedy, and unlike a lot of other texts on the study design, this book portrays a lot of very domestic situations, which seems fairly boring compared to some of the other texts that other students might be doing. However, I'm really excited about this text because the short stories are great. Not because they have groundbreaking premises, which they don't, but because of how effortlessly and deeply emotive they are. So the domestic scenarios actually help us relate to the characters in the stories and empathize with the complexity of their experiences. The essay topic we'll be looking at today is in Like a House on Fire, Kennedy finds strength in ordinary people. Discuss. Here, the term which you really have to think about is strength. We already know that she depicts the story of ordinary people, of people like you or me, or even just people we may know, but does she find strength in them? It could be physical strength, but more often than not, it might be other types of strength. For instance, the mental strength it takes to cope with intense pressure or the emotional strength it takes to make a difficult choice or action. It's important to think about how they might actually apply throughout the book. In this sense, our essay will have essentially two halves. The first two body paragraphs we'll look at scenarios of intense pressure, be it through the loss of control in one's life or a domestic situation which has become emotionally tense. The last two body paragraphs will then consider the types of strength that Kennedy evinces in these stories. And we'll contend that she does find strength in the characters who face a difficult decision, but that she also finds a lot more strength in the characters who managed to cope with their situation and grapple with the tensions in their lives.

Paragraph one

In many of her stories, Kennedy portrays characters who experience powerlessness. This loss of power can come a number of ways. For instance, both Flexion and Like a House on Fire tell the story of men who have injured their previously reliable bodies and have thus been rendered immobile. But they also tell the story of their respective wives who have lost some control over their lives now that they have to care for their husbands. On the other hand, there are the kids in Whirlpool whose mother insists that they dress a certain way for a Christmas photo. Her hand on your shoulders, exerting pressure that pushes you down. Kennedy's use of second person really makes you feel this pressure that keeps you from going out to the pool you so desperately desire to be in. Evidently powerlessness is an experience that comes in many shapes and forms in several stories.

Paragraph two

In addition to this, Kennedy explores other emotional tensions across the collection, subverting the idea that the home is necessarily a safe sanctuary. This is where she really goes beyond just the idea of powerlessness, but actually jumps into scenarios that are much more emotionally complex. In Ashes for instance, we see the homosexual protagonist struggle with feeling useless and tongue tied, embarrassed by the floundering pause between his mother and himself. There is a significant emotional hurdle there, which is particularly poignant given that mothers are usually considered a source of safety and comfort for their children. Kennedy's story of domesticity actually subvert or question what we might think of the domestic space shared by family members. If you have the Scribe edition of the book, the artwork on the cover would depict a vase of wilting flowers, an empty picture frame, and a spilt cup of coffee. These are all visual symbols of an imperfect domestic life. A similar rift exists between husband and wife in both Five Dollar Family and Waiting, the women find themselves unable to emotionally depend on their partners. While Michelle in Five Dollar Family despises her husbands startled, faintly incredulous expression, an inability to care for their child, the protagonist in Waiting struggles to talk about her miscarriages with her husband who is already worn down as it is. Kennedy takes these household roles of mother, son, husband, wife, and really dives into the complex shades of emotion that lies within these relationships. We realize through her stories that a mother can't always provide comfort to a child and that a husband isn't always the dependable partner that he's supposed to be.

Paragraph three

However, Kennedy does find strength in some characters who do take a bold or courageous leap in some way. These are really important moments in which she is able to show us the strength that it takes to make these decisions. And she triumphs however small or insignificant that can be achieved. A moment that really stands out to me is the ending of Laminex and Mirrors, where the protagonist rebelliously smuggles a hospital patient out for a smoke only to have to take him back into his ward through the main entrance and therefore get them both caught. She recounts this experience as the one I remember most clearly from the year I turned 18. The two of us content, just for this perfect moment. And their success resonates with the audience, even though the protagonist would have lost her job and therefore the income she needed for her trip to London, Kennedy demonstrates her strength in choosing compassion for an elderly patient. Even the sister in Whirlpool, who wasn't exactly kind to the protagonist in the beginning, forms an unlikely alliance with her against their mother, sharing a reckless moment and cutting their photo shoot short. Bold leaps such as these are ones that take strength and therefore deserve admiration.

Paragraph four

However, more often than not, Kennedy's stories are more about the strength needed to simply cope with life, one day at a time. She explores the minutiae of her characters lives in a way that conveys the day to day struggles, but also hints at the underlying fortitude needed to deal with these things on a daily basis. In Tender, the wife feels as if everything at home is on the verge of coming apart since her husband is only able to cook tuna and pasta casserole for their kids. However, when she must get a possibly malignant tumor removed, her concern of whether there'll be tuna and pasta in the pantry just in case, demonstrates her selfless nature. Kennedy thus creates a character who is strong for others, even when her own life at home is disorderly and her health may be in jeopardy. The strength of gritting one's teeth and getting on with things in spite of emotional tension is a central idea across this collection, and many other examples are there for you to consider as well. And so we come to the end of our essay. Hopefully going through this gives you an idea of how to cover more bases with your evidence. Remember that you don't have to recount lots and lots of events, but it's more important to engage with what the events are actually telling us about people. This is particularly important for prompts like this one, where it heavily focuses on the people involved. That is it for me this week, please give this video a thumbs up. If you wanted to say thanks to Mark, who has been helping me write these scripts up for a lot of the text response essay, topic breakdowns. If you enjoyed this, then you might also be interested in the live stream coming up next week, which will be on Friday the 25th of May at 5:00 PM. I'll be covering the topic of analyzing argument for the second time, just because there's so much to get through. I'll also be announcing some special things during that particular live stream. So make sure you're there so you're the first to hear it. I will see you guys next week. Bye.

Like a House on Fire by Cate Kennedy

How To Get An A+ On Your Like A House On Fire Essay

Close Analysis Of 'Cake' From Like A House On Fire

Text Response can be difficult because there are many different aspects of the text you need to discuss in an intellectual and sophisticated manner. The key points you need to include are stated in the VCAA Text Response criteria as shown below:

• the ideas, characters and themes constructed by the author/director and presented in the selected text
• the way the author/director uses structures, features and conventions to construct meaning
• the ways in which authors/directors express or imply a point of view and values
• the ways in which readers’ interpretations of text differ and why.

We have explored some of the different criterion points in past blog posts, but this time we’ll be focusing on number 3,

the ways in which authors/directors express or imply a point of view and values.

Views: How the author  sees  something

• Perspective
• Way of thinking
• Observation

Values: How the author  thinks  about something

In VCE, simply exploring themes and character development is not enough to score yourself a higher-graded essay. This is where discussion on ‘views and values’ comes in. Essentially this criterion urges you to ask yourself, ‘what are the author’s beliefs or opinion on this particular idea/issue?’ All novels/films are written to represent their author’s views and values and, as a reader it is your job to interpret what you think the author is trying to say or what they’re trying to teach us. And it’s not as hard as it seems either. You’ve instinctively done this when reading other books or watching movies without even realising it. For example, you’ve probably walked out of the cinemas after thoroughly enjoying a film because the ideas explored sat well with you, ‘I’m glad in  Hunger Games  they’re taking action and rebelling against a totalitarian society’ or, ‘that was a great film because it gave insight on how women can be just as powerful as men!’ Therefore, it is possible in this case that the author of this series favours the disintegration of tyrannical societies and promotes female empowerment.

Views and values are also based on ideas and attitudes of when it was written and where it was set – this brings both social and cultural context into consideration as well. Issues commonly explored include gender roles, racial inequality, class hierarchy, and more. For example, Margaret Atwood’s  Cat’s Eye , is set during the 20th century and explores feminism through women’s roles during World War II while Emily Bronte’s Wuthering Heights  depicts the divide between social classes and challenges the strict Victorian values of how society condemns cross-class relationships, in particular between Catherine and Heathcliffe.

Questions to ask yourself when exploring views and values:

• Is the author supporting or condeming/critising this idea?
• Through which literary devices are they supporting or condemning/critising the idea?
• Which characters represent society’s values? Which ones oppose them? Do we as readers favour those that represent or oppose society’s values?
• Does the author encourage us to support the morals and opinions displayed by the characters or those supported in that setting/time?

Here’s a sample discussion on the author’s views and values:

‘…Dickens characterises Scrooge as being allegorically representative of the industrial age in which he lived. Scrooge describes the poor as ‘surplus population’, revealing his cruel nature as he would rather they die than having to donate money to them. Dickens critiques the industrial revolution whereby wealth lead to ignorance towards poor as the upperclassmen would easily dismiss underclassmen, feeling no responsibility to help them as they believed they were of no use to society. ‘ ( A Christmas Carol,  Charles Dickens)

Here’s a list of some sample essay prompts you may get in regards to exploring ‘views and values’:

• ‘Cat’s Eye shows us that society’s expectations are damaging to women.’ To what extent do you agree? ( Cat’s Eye , Margaret Atwood)
• ‘Bronte criticises the social class conventions of her time as she demonstrates that those in the lower classes can succeed.’ ( Wuthering Heights,  Emily Bronte)
• ‘Social criticism plays a major role in A Christmas Carol.’ ( A Christmas Carol,  Charles Dickens)
• ‘Hamid shows that it is difficult to find our identity in modern society, with the ever-changing social and politics surrounding us.’ ( The Reluctant Fundamentalist , Mohsin Hamid)
• ‘In  Ransom  Malouf depicts war as the experience of grief, loss and destructive waste. The event of war lacks any heroic dimension. Discuss.’ ( Ransom,  David Malouf)

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Learning resources

Use art to inspire poetry and creative writing

KS3 (ENG) , KS4 (ENG) , KS3 (NI) , KS4 (NI) , CfE L4 (SCO) , CfE L3 (SCO) , KS3 (WAL) , KS4 (WAL) , KS5 (ENG) , KS5 (NI) , CfE Sen. (SCO) , KS5 (WAL)

Cubism , Pre‐Raphaelitism , Post‐Impressionism , Figurative art , Abstraction

Reading and writing , Literature , Self portraits

Cubist Head (Portrait of Fernande) c.1909/1910

Pablo Picasso (1881–1973)

About this resource

How can we use art for creative writing inspiration?

This resource suggests ideas for using artworks as the starting point or inspiration for a poetry or creative writing project. 

Use it to explore:

• poets and poetry inspired by art
• artworks on Art UK to use as a starting point for creative writing projects
• suggestions for looking closely at an artwork
• ideas for planning a creative written response to an artwork

The resource offers opportunities for cross-curricular study across English and Art & Design. The examples of artworks, related poems and activity ideas included in the resource can be used together as a lesson plan or as individual components to integrate into your own scheme of work. The resource is devised for KS 3/CfE Level 3 & Level 4 students but could also be suitable for Key Stage 4 and CfE senior phase students and 16+ learners.

See also our related resource: How can poetry be used to inspire art?

Curriculum links

Art and design

- Evaluate and analyse creative works - Actively engage in the creative process of art - Know about great artists and understand the historical and cultural development of their art forms

Reading Pupils should be taught to:

read and appreciate the depth and power of the English literary heritage through:

- reading a wide range of high-quality, challenging, classic literature. The range should include works from the 19th, 20th and 21st centuries; poetry since 1789.

understand and critically evaluate texts through:

- reading in different ways for different purposes, summarising and synthesising ideas and information, and evaluating their usefulness for particular purposes - drawing on knowledge of the purpose, audience for and context of the writing, including its social, historical and cultural context and the literary tradition to which it belongs, to inform evaluation  - identifying and interpreting themes, ideas and information - seeking evidence in the text to support a point of view, including justifying inferences with evidence - distinguishing between statements that are supported by evidence and those that are not, and identifying bias and misuse of evidence - analysing a writer’s choice of vocabulary, form, grammatical and structural features, and evaluating their effectiveness and impact - make an informed personal response, recognising that other responses to a text are possible and evaluating these.

Pupils should be taught to:

write accurately, fluently, effectively and at length for pleasure and information through:

- adapting their writing for a wide range of purposes and audiences - selecting, and using judiciously, vocabulary, grammar, form, and structural and organisational features, including rhetorical devices, to reflect audience, purpose and context, and using Standard English where appropriate - make notes, draft and write, including using information provided by others [e.g. writing a letter from key points provided; drawing on and using information from a presentation]

Grammar and vocabulary

consolidate and build on their knowledge of grammar and vocabulary through:

- studying their effectiveness and impact in the texts they read - drawing on new vocabulary and grammatical constructions from their reading and listening, and using these consciously in their writing and speech to achieve particular effects - analysing some of the differences between spoken and written language, including differences associated with formal and informal registers, and between Standard English and other varieties of English - using linguistic and literary terminology accurately and confidently in discussing reading, writing and spoken language.

KS 4 - Develop ideas through investigations, demonstrating a critical understanding of sources - Record ideas, observations and insights relevant to intentions as work progresses - Present a personal and meaningful response that realises intentions and demonstrates an understanding of visual language

English literature

Students should be able to:

- read and understand poetry - respond to poems critically and imaginatively - select and evaluate relevant textual material - use details from poems to illustrate interpretations - explain and evaluate the ways in which the poets express meaning and achieve effects - relate the poems to their social, cultural and historical contexts English Language Writing for purpose and audience Students should be able to: - write accurately and effectively - use an appropriate writing form - express ideas and/or information precisely and accurately - select vocabulary to persuade and/or inform the reader - use accurate grammar, spelling and punctuation Speaking and listening Students should be able to: - communicate clearly and effectively - present information and ideas - use standard English as appropriate - structure and sustain talk - choose and adapt language appropriate to an audience - respond appropriately to questions and views of others - interact with others - make a range of effective contributions - express ideas clearly, accurately and appropriately - listen and respond to others' ideas and perspectives - challenge what they hear where appropriate and shape meaning through asking questions and making comments and suggestions

Studying spoken and written language

Students should be able to: - understand the characteristics of spoken language - understand influences on spoken language choices - explore the impact of spoken language choices - understand how language varies in different contexts; - read and understand texts - understand how meaning is constructed - recognise the effect of language choices and patterns - evaluate how texts may be interpreted differently depending on the reader's perspective - explain and evaluate how writers use linguistic and presentational features to sustain the reader's interest Personal creative writing

Students should be able to: - write clearly and fluently (as well as imaginatively, if appropriate) - organise ideas to support coherence - use an appropriate writing form - select vocabulary appropriate to the task to engage the reader - use a range of sentence structures for effect - use accurate grammar, spelling and punctuation Reading Literary and Non-fiction Texts Students should be able to: - read and understand texts - understand how meaning is constructed - recognise the effect of language choices and patterns - select material appropriate to purpose - evaluate how texts may be interpreted differently depending on the reader's perspective - explain and evaluate how writers use linguistic and presentational features to sustain the reader's interest.

Level 4 - I can analyse art and design techniques, processes and concepts, make informed judgements and express considered opinions on my own and others' work (EXA 4-07a)

Literacy and English

Listening and talking

- When I engage with others I can make a relevant contribution, ensure that everyone has an opportunity to contribute and encourage them to take account of others’ points of view or alternative solutions. I can respond in ways appropriate to my role, exploring and expanding on contributions to reflect on, clarify or adapt thinking (LIT 4-02a) - As I listen or watch, I can clearly state the purpose and main concerns of a text and make inferences from key statements; compare and contrast different types of text; gather, link and use information from different sources and use this for different purposes (LIT 4-04a) - As I listen or watch, I can make notes and organise these to develop thinking, help retain and recall information, explore issues and create new texts, using my own words as appropriate (LIT 3-05a / LIT 4-05a) - I can show my understanding of what I listen to or watch by giving detailed, evaluative comments, with evidence, about the content and form of short and extended texts (LIT 4-07a) - When listening and talking with others for different purposes, I can: communicate detailed information, ideas or opinions; explain processes, concepts or ideas with some relevant supporting detail; sum up ideas, issues, findings or conclusions (LIT 4-09a)

- Through developing my knowledge of context clues, punctuation, grammar and layout, I can read unfamiliar texts with increasing fluency, understanding and expression (ENG 2-12a / ENG 3-12a / ENG 4-12a) - I can make notes and organise them to develop my thinking, help retain and recall information, explore issues and create new texts, using my own words as appropriate (LIT 3-15a / LIT 4-15a) - To show my understanding, I can give detailed, evaluative comments, with evidence, on the content and form of short and extended texts, and respond to different kinds of questions and other types of close reading tasks (ENG 4-17a) - I can: discuss and evaluate the effectiveness of structure, characterisation and/or setting using some supporting evidence; identify how the writer’s main theme or central concerns are revealed and can recognise how they relate to my own and others’ experiences; identify and make a personal evaluation of the effect of aspects of the writer’s style and other features appropriate to genre using some relevant evidence and terminology (ENG 4-19a)

- I enjoy creating texts of my choice and I am developing my own style. I can regularly select subject, purpose, format and resources to suit the needs of my audience (LIT 3-20a / LIT 4-20a) - As appropriate to my purpose and type of text, I can punctuate and structure different types of sentences with sufficient accuracy, and arrange these to make meaning clear, showing straightforward relationships between paragraphs (LIT 3-22a / LIT 4-22a) - Throughout the writing process, I can review and edit my writing independently to ensure that it meets its purpose and communicates meaning clearly at first reading (LIT 4-23a) - I can justify my choice and use of layout and presentation in terms of the intended impact on my reader (LIT 4-24a) - I can use notes and other types of writing to generate and develop ideas, retain and recall information, explore problems, make decisions, or create original text. I can make appropriate and responsible use of sources and acknowledge these appropriately (LIT 4-25a) - By considering the type of text I am creating, I can independently select ideas and relevant information for different purposes, and organise essential information or ideas and any supporting detail in a logical order. I can use suitable vocabulary to communicate effectively with my audience (LIT 3-26a / LIT 4-26a) - I can engage and/or influence readers through my use of language, style and tone as appropriate to genre (ENG 3-27a / ENG 4-27a) - I can create a convincing impression of my personal experience and reflect on my response to the changing circumstances to engage my reader (ENG 4-30a) - Having explored and experimented with the narrative structures which writers use to create texts in different genres, I can: use the conventions of my chosen genre successfully and/or; create an appropriate mood or atmosphere and/or; create convincing relationships, actions and dialogue for my characters (ENG 4-31a)

Art and design - Students use their knowledge about the work of other artists to enrich and inform their work through analysis and evaluation - Students evaluate their work through discussion

Learners should be given opportunities to:

- respond orally to continuous and non-continuous texts - respond orally to a variety of stimuli and ideas, including written and dynamic texts, e.g. paintings, music, film, still and moving images  - communicate for a range of purposes, e.g. recount and present information, instruct, argue and explain a point of view, discuss an issue, persuade, question and explore interpretations, convey feelings - speak and listen individually, in pairs, in groups and as members of a class - present, talk and perform in formal and informal contexts and for a variety of audiences including teachers and peers - engage in activities that focus on words, their derivation, meanings, choice and impact - listen and view attentively, responding to a wide range of communication, e.g. written and dynamic texts, theatre and poetry performance, visiting speakers, explanations, instructions - speak clearly, using intonation and emphasis appropriately, e.g. recitation, oral storytelling - use appropriate vocabulary suitable for the situation or purpose - use appropriate vocabulary and terminology to discuss, consider and evaluate their own work and that of others, e.g. authors, peers

read a wide range of continuous and non-continuous texts, in printed and dynamic format, as a basis for oral and written responses. These should include:

– extracts and complete texts – traditional and contemporary poetry and prose – texts written by Welsh authors, texts with a Welsh dimension and texts from other cultures – texts that have challenging subject matter, which broaden perspectives and extend thinking – texts with a variety of structures, forms, purposes, intended audiences and presentational devices – texts that demonstrate quality and variety in language use – texts with a variety of social, historical and cultural contexts – texts that extend learners’ intellectual, moral and emotional understanding – texts with a variety of tone, e.g. irony, parody, word play, innuendo and satire

read individually and collaboratively, e.g. paired reading, guided group reading, shared reading

read for different purposes, e.g. for personal pleasure; to retrieve, summarise and synthesise key information; to interpret and integrate information; to verify information; to deepen understanding through re-reading; to identify language devices used by the writer to analyse purpose; to identify alternative readings of a text

develop appropriate vocabulary and terminology to discuss, consider and evaluate their own work and that of others, e.g. authors, poets, peers, in written and dynamic texts.

write for a variety of purposes, including to: – recount – inform – explain – argue/persuade – discuss/analyse – evaluate – narrate – describe – empathise

write in a range of continuous and non-continuous texts in a variety of forms

produce poetic writing, using imagery and poetic devices, e.g. rhyme and form

use a wide range of written and dynamic stimuli, e.g. stories, picture books, images, poems, experiences, film, paintings, music

use appropriate vocabulary and terminology to discuss, consider and evaluate their own work and that of others, e.g. authors, peers.

Expressive Arts

Exploring the expressive arts is essential to developing artistic skills and knowledge and it enables learners to become curious and creative individuals.

Progression step 5:

- I can investigate and analyse how creative work is used to represent and celebrate personal, social and cultural identities.

- I can independently research the purpose and meaning of a wide range of creative work and consider how they can impact on different audiences.

Responding and reflecting, both as artist and audience, is a fundamental part of learning in the expressive arts. 

- I can critically and thoughtfully respond to and analyse the opinion and creative influences of others in order to independently shape and develop my own creative work.

- I can purposefully apply knowledge and understanding of context when evaluating my own creative work and creative work by other people and from other places and times.

- I can critically evaluate the way artists use discipline-specific skills and techniques to create and communicate ideas. 

Languages, literacy and communication

Understanding languages is key to understanding the world around us

- I can listen empathetically, respecting different people’s perspectives and can critically evaluate them to arrive at my own considered conclusions.

- I can employ a range of strategies to recognise and predict the meaning across a wide range of texts and from this enhance my own expression and communication.

- I can use  inference  and  deduction  to gain in-depth understanding of complex texts, and can evaluate the reliability, validity and impact of what I read.

- I can use my knowledge of word construction,  grammar , including  syntax , and text organisation to support my understanding of what I hear and read.

- I can read empathetically to respect and critically evaluate different people’s perspectives, using them to arrive at my own considered conclusions.

- I can listen and read to build an extensive range of general and specific vocabulary, and I can use them with precision in different contexts.

Expressing ourselves through languages is key to communication

- I can convey meaning convincingly in a range of contexts so that the audience is fully engaged.

- I can make informed choices about vocabulary and grammar to enhance my communication skills

- I can reflect critically on my use of language and can consider the effects of my spoken, written and  visual communication  objectively.

- I can evaluate and respond critically to what I have heard, read or seen.

Literature fires imagination and inspires creativity

- I can engage with a wide range of literary  genres  in depth in order to explore and craft my own work.

- I can experiment with and craft my own literature.

- I can critically evaluate key concepts and the impact of language choices and techniques on the reader/viewer using an assured selection of relevant textual detail.

- I can appreciate literature, showing empathy when evaluating different interpretations of literature, including my own.

How to use this resource

1. Explore paintings and poetry

The first section of this resource introduces poems inspired by portraits, narrative paintings and abstract artworks.

Choose one or two of the paintings with accompanying poems to explore with your students. Look at the painting first, encouraging students to discuss what it shows and their response to it.

Dante Gabriel Rossetti (1828–1882) 1853

William Holman Hunt (1827–1910)

You could think about:

• what does the artwork look like?
• is it an abstract arrangement of shapes and colours or has the artist represented something from the visible world?
• is there a story, meaning or message in the work?
• what is the mood of the work and how does this affect your response?
• how has the artist used techniques such as brushstrokes or chisel marks? What colours have they used?

Then discuss how the poet has responded to the painting.

• What aspects of the painting have they focused on?
• What type of language have they used?
• Have they used the painting as a starting point to discuss bigger ideas or themes or to reflect upon issues that are personal to them? 

2. Activity ideas and suggestions

The second section of the resource includes ideas and suggestions for responding through poetry or another form of creative writing to an artwork.

Did you know?

There is a dedicated term for poems inspired by artworks. Ekphrastic poetry is taken from the Greek word Ekphrasis , meaning to describe something in vivid detail.

Elizabeth Jennings and Rembrandt's late self-portraits

Rembrandt van Rijn was a seventeenth-century Dutch painter. During his long career, he painted over 90 self-portraits that record how he looked from youth to old age. (See additional self-portraits on the Rembrandt artist page on Art UK  and watch a video to find out more.)

Rembrandt's self-portraits from old age are brutally honest, showing melancholy eyes staring out from sagging features and dishevelled hair and clothing.

Self Portrait at the Age of 63 1669

Rembrandt van Rijn (1606–1669)

Poet Elizabeth Jennings  responds to the self-portraits that Rembrandt painted in later life.

You are confronted with yourself. Each year The pouches fill, the skin is uglier. You give it all unflinchingly. You stare Into yourself, beyond. Your brush's care Runs with self-knowledge. Here

Is a humility at one with craft There is no arrogance. Pride is apart From this self-scrutiny.

Read the whole poem and listen to a recording of Elizabeth Jennings reading her poem

Explore an analysis of the poem

Raza Hussain and Holman Hunt's portrait of Dante Gabriel Rossetti (1828–1882)

In 2017, we challenged five young poets to create an original piece inspired by a painting of their choice from Art UK.

Birmingham-based spoken word artist and rapper Raza Hussain chose an 1853 portrait of Pre-Raphaelite artist Dante Gabriel Rossetti by William Holman Hunt . 

Hussain sees the Pre-Raphaelites as rebels who wanted to implement change and Rossetti as 'an iconic and profound symbol of passionate creative madness – the kind to change perspectives – the kind to change the world'.

Find out more about the portrait and Raza Hussain's response to it .

Rowan MacCabe and Ethel Wright's 'Bonjour, Pierrot'

Rowan McCabe is another young poet commissioned to respond to a painting on Art UK as part of the Art Speaks challenge.

Bonjour, Pierrot is an imagined portrait, made in the early 1890s, of the character of Pierrot from French literature. Pierrot has held a fascination for many artists including Jean-Antoine Watteau and Pablo Picasso . The poet Rowan McCabe responds to this depiction of Pierrot by British portrait painter  Ethel Wright and sees Pierrot in the painting as a sad figure, despite his clownish appearance.

McCabe has been affected by mental health issues and, for him, the painting is a reminder that people might seem silly and fun on the surface but can, in fact, be hiding issues relating to their mental health.  

Find out more about the painting and Rowan McCabe's response to it

Explore more paintings by Ethel Wright

Narrative painting

A narrative painting  is a painting that tells a story. The story could be from religion, literature, myth and legend or history. Or it could be a story of everyday life (often referred to as genre painting .)

Poetic responses to Titian's Diana and Actaeon

In 2012, The National Gallery in London invited 13 leading poets to respond to three paintings by Titian (c.1488–1576): Diana and Actaeon   (1556–1559);  The Death of Actaeon  (about 1559–1575); and Diana and Callisto   (1556–1559).   The paintings depict stories from the epic poem Metamorphoses   by the Classical poet  Ovid , who lived   from 43 BC to 17/18 AD.

Diana and Actaeon 1556-1559

Titian (c.1488–1576)

The myth of Diana and Actaeon recounted in  Metamorphoses tells the sad story of the hunter Actaeon who comes across Diana, the Roman goddess of hunting, while she is bathing with her escort of nymphs. The nymphs try to cover the naked Diana who, in a state of shock and embarrassment, splashes Actaeon. This splash turns Actaeon into a deer and he flees the scene. Tragically, however, his own hunting dogs don't recognise their master and attack and kill Actaeon.

Find out more about the paintings in the HENI Talks video on this artwork page

Patience Agbabi on Titian's 'Diana and Actaeon'

In this video poet Patience Agbabi reads her poem About Face inspired by Titian's painting Diana and Actaeon  (1556–1559).

She imagines the thoughts and response of a Black nymph who is depicted standing beside Diana in the painting and helps to cover Diana from the gaze of Actaeon. 

Hear more poets' responses to Titian's paintings on The National Gallery website

Sabrina Mahfouz and Ludolf Backhuysen's 'Boats in a Storm'

Ludolf Backhuysen 's painting,  Boats in an Upcoming Storm with the Church of Zandvoort  (1696) depicts a large sailing vessel, being buffeted by strong winds as it enters a harbour. Men on shore are pulling on a rope to steady her stern while other smaller boats come to the assistance of the distressed passengers. 

British Egyptian poet Sabrina Mahfouz was drawn to the painting by its depiction of a storm, struck by the fact that something as still as a painting is able to capture such ferocious movement and activity.

Abstract art

E. E. Cummings and Cubism

American avant-garde poet E. E. Cummings  was profoundly influenced by early twentieth-century art movements and the experiments with abstract style that Cubists and other modern artists were conducting. In 1913 he visited the International Exhibition of Modern Art in New York  (also known as the Armory Show) where he saw work by artists including Pablo Picasso , Georges Braque , Henri Matisse , Paul Cézanne and Marcel Duchamp . 

Pablo Picasso and Georges Braque's Cubist experiments revolutionised painting. In attempting to suggest the three-dimensionality of objects, landscapes and people by showing them simultaneously from different viewpoints they created fragmented, abstracted images. 

E. E. Cummings was inspired by these fractured artworks and began to explore similar experimentation in his poetry. His poems became visual as well as verbal as he experimented with the form and arrangement of his words. (His poem r-p-o-p-h-e-s-s-a-g-r  is a good example of this.)

Cummings begins his poem, Picasso , with the words:

'Picasso you give us Things which bulge: grunting lungs pumped full of thick sharp mind you make us shrill presents always shut in the sumptuous screech of simplicity'

The poem ends with:

'you hew form truly'

Read the full poem here

Anne Sexton and Vincent van Gogh's The Starry Night

Artist Vincent van Gogh is best known for his powerful portraits, flowers and landscapes painted using bold colours and loose brushstrokes that seem to whirl around the surface of his canvases.

The Starry Night, painted in 1889, shows the view from Van Gogh's room in the Saint-Paul-de-Mausole asylum where he was placed after a breakdown (during which he self-mutilated his ear). The view was painted just before sunrise and as well as the trees and hills and starry sky that he could see, Van Gogh added an imaginary village to the landscape.

The Starry Night

1889, oil on canvas by Vincent van Gogh (1853–1890)

In her response to The Starry Night,  poet Anne Sexton has managed to convey the powerful emotions as well as the loose abstracted style of Vincent van Gogh's painting.

'The town does not exist except where one black-haired tree slips up like a drowned woman into the hot sky The town is silent. The night boils with eleven stars. Oh starry starry night!'

Ann Sexton researched Van Gogh and read his letters before writing the poem and includes, as an epigraph  to her poem, a line from a letter that Vincent van Gogh wrote to his brother.

'That does not keep me from having a terrible need of – shall I say the word – religion. Then I go out at night to paint the stars.'

In creating her response to the painting she imagines Vincent van Gogh thinking about religion and mortality.

Read the full poem here

See an analysis of the poem

Activity: write a poem inspired by an artwork

Now that you have explored a range of poems inspired by paintings, have a go at writing a poem or piece of creative writing inspired by an artwork.

This activity includes tips and suggestions for finding, looking at and creating a written response to an artwork.

Step 1: find an artwork to inspire you

If you are a teacher, task students with finding an artwork that inspires them as a homework project in advance of the class. They could choose an artwork from a local collection or find one on Art UK.

Use the tips below to find artworks on Art UK.

Search by artist

Look for an artist on Art UK. Start typing the artist's name into the search box on the Art UK artworks search page .

A list of artists will appear. Select the artist that you are interested in.

Screenshot of Art UK's artwork search page

You will be shown a list of artworks on Art UK by your selected artist. Browse these and choose an artwork to inspire your creative writing project.

Screenshot of Art UK's artworks search page, showing art by Sonia Boyce

• Go to the artworks search page to search by artist

Search by theme

You can also type a subject or theme into the search box. This could be anything from 'holiday' to 'celebrity' to 'football'. Once you've typed your theme, click the search icon or press return.

You will be shown a list of artworks relating to the keyword.

• Go to the artworks search page to search by theme

Another way to search by theme is to explore Topics on Art UK. We have gathered together a selection of artworks related to a wide range of themes from 'home and family' to the 'natural world'.

• Browse Topics

Search by location

If you'd like to find artworks in museums or galleries near you, use our venue search.

This will allow you to search by UK country and region to find a local gallery or museum and see the artworks that they hold.

• Search by country, region and venue

Be inspired using the artwork shuffle

If you are not sure what you're looking for (but will know when you see it!), use our artwork shuffle.

The artwork shuffle shows a random selection of artworks in different media from collections around the country.

If you don't see anything you like, shuffle again to see another selection.

• Inspire me with the artwork shuffle

Step 2: look closely at your artwork

Once you have found an artwork to inspire you, look closely at it. Note down your thoughts about the work and your feelings in response to it.

• What does the artwork look like?
• Is it an abstract arrangement of shapes and colours or has the artist represented something from the visible world?
• Is there a story, meaning or message in the work?
• What is the mood of the work and how does it affect your response?
• How has the artist used techniques such as brush strokes or chisel marks? What colours have they used?

In this video, created by The Grampian Hospitals Art Trust , writer Shane Strachan shares some useful ideas for looking closely at an artwork.

Step 3: plan and write your creative response

How are you going to respond to the artwork in your creative writing piece?

Your response could be a poem, a text, a memory or a form of your own invention. As well as what you see in the artwork (the imagery, colours and mark-making or use of materials) think about your own interpretation and your response to it.

• What does the artwork make you feel?
• Does it make you think of other things such as memories, places or people?
• Does the artwork tell or suggest a narrative or story?
• Are there any details or imagery within the artwork that draws you in?
• What do the colours, shapes and marks remind you of?

Research and be inspired by others

You could also research the artwork to inform and inspire your approach. Find out more about the artist and their ideas and techniques or research the subject depicted.

Be inspired by the approach of other writers. Revisit the poetry included in the first part of this resource.

Or read creative responses to artworks written by young people for our  Write on Art competition.

• Write on Art: Ruby Langan-Hughes on The Broken Mirror by Jean-Baptiste Greuze
• Write on Art: Variaam Tratt on Preserve 'Beauty ' by Anya Gallaccio
• Write on Art: Aoife Hogan on Childen and Chalk Wall 3 by Joan Eardley

Writing art: inspiration and tips

In this second video from Grampian Hospitals Art Trust , writer Shane Strachan shares ideas and tips for responding to an artwork creatively in writing. He also shares his own poems inspired by artworks.

Watch the video and then get started on your own creative writing project!

Find out more

Do you know someone who would love this resource? Tell them about it...

More cubism resources.

• KS1 (ENG) KS2 (ENG) KS1 (NI) KS2 (NI) CfE L1 (SCO) CfE L2 (SCO) PS2 (WAL) PS3 (WAL)

More Reading and writing resources

• KS2 (ENG) KS2 (NI) CfE L2 (SCO) PS3 (WAL) KS3 (ENG) KS4 (ENG) KS3 (NI) KS4 (NI) CfE L4 (SCO) CfE L3 (SCO) KS3 (WAL) KS4 (WAL) KS5 (ENG) KS5 (NI) CfE Sen. (SCO) KS5 (WAL)

• KS4 (ENG) KS4 (NI) CfE L4 (SCO) KS4 (WAL) KS5 (ENG) KS5 (NI) CfE Sen. (SCO) KS5 (WAL)

• KS3 (ENG) KS3 (NI) CfE L4 (SCO) CfE L3 (SCO) KS3 (WAL)

• KS2 (ENG) KS2 (NI) CfE L2 (SCO) PS3 (WAL)

• KS2 (ENG) KS2 (NI) CfE L2 (SCO) PS3 (WAL) KS3 (ENG) KS3 (NI) CfE L3 (SCO) KS3 (WAL)

• KS1 (ENG) KS2 (ENG) KS1 (NI) KS2 (NI) CfE L1 (SCO) CfE L2 (SCO) PS2 (WAL) PS3 (WAL) KS3 (ENG) KS4 (ENG) KS3 (NI) KS4 (NI) CfE L4 (SCO) CfE L3 (SCO) KS3 (WAL) KS4 (WAL)

More Art UK resources

How to Critique Creative Writing

A Few Thoughts on Critiquing or One Size Doesn’t Fit All

One of the difficulties in trying to establish some guidelines for critiquing manuscripts in a creative writing class or feedback group is the vast array of differences we see from piece to piece.  One piece may be whole and nearly perfect as it is presented to us (whether from a lot of revision or because it sprang fully formed the first time) whereas another may be just struggling into existence, a virtual embryo compared to the full term birth above. Obviously we cannot approach these two manuscripts in the same way. Likewise, what a piece may need is a macro approach, where we talk about large issues such as themes or the overall structure; or it may need a micro-approach, attention to the language in the first paragraph, say, which establishes a certain voice and tone–or doesn’t.  It may be a combination of these two.  There is also our sense of the writer, whether she wants and need a lot of criticism or needs basically affirmation in order to proceed, or permission to engage in a lot more process as opposed to rushing a product.  And of course there’s the possibility that we feel either blank in terms of our own response or overwhelmed and disorganized about how to address the issues.  In other words, one size does not fit all.  We have to be sensitive and adjustable regarding every piece of writing.  At the same time, we need some general ideas and approaches to guide us.

What follows are my suggestions for how to go about critiquing:

1.  Read the piece through the first time as a pure consumer, for interest and hopefully enjoyment.  Try to give yourself over to the piece.  See what is there.  After finishing the piece note how you feel about it.  What is your overall feeling or impression?  What are the first things that come to your mind about the piece?  Write these first general impressions at the end of the piece for the writer.

2.  Now consciously read the piece through more critically.  Even though you may have been very enthusiastic about the piece initially, that doesn’t mean that now on the second pass, you can’t see some ways to improve it.  This second effort really requires critical thinking.  Some people take the word “critical” to mean something negative.  But it really just means that you’re applying a different way of thinking about the piece.  This way of thinking is still based in your feelings and responses, but now instead of simply consuming the piece, you’re actively looking for things which, now that you think about it, didn’t work so well for you.  Or it may be that your initial reading left you feeling very unsatisfied with the piece.  Now, on this second reading you try to figure out why.

Some people combine these two stages or steps, and process their response to a piece very quickly.  This certainly may be appropriate in some cases.  The danger it is that you may stop at the first stage and not want to do the harder work of actually critiquing a piece.  It may be that you don’t feel trained or qualified as a critic.  But you’re not being asked to be the final word on a piece or to write it for the writer.  You’re only being asked to be what you already are, a good reader.  The writer has reached the point where he or she can no longer “see” the piece, and so needs your eyes and ears and heart and mind to know what is really there.

One thing I always ask myself in responding to a piece of writing is What are the terms of this piece?   In other words, what is the writer trying to do?  What is the writer’s intent here?  It’s nearly impossible to have a helpful response if you don’t understand the terms of the piece.  For example, let’s say someone is writing a short story which tries to capture a character who is very analytical, very cold, someone who intellectualizes everything in his life.  The writer writes a first person story in this character’s voice using very abstract, intellectualized language throughout.  Unfortunately, because the language is so abstract and distanced, the story never engages you.  To critique this story, you go through step No. 1, noting your initial reactions, and then you move to step 2, in which you try to grapple with why the story doesn’t engage you and what might be helpful to the writer.  You have figured out what the writer’s intentions were, and determined that the technique didn’t work.  But because you know what the writer is after, you might have some useful ideas that go beyond simply saying It didn’t work for me .  In this case, the writer might need to try a different approach to the material, such as trying it in third person, rather than simply revise here and there.  In another case, you see, for example, that the writer is attempting to be humorous or lighthearted.  Those of the terms of the piece.  You need to address the piece in light of its terms.

So the questions become, What are the terms of this piece?  Does the writer meet them?  It’s not why not, or are the terms themselves off in some way?

Here are some useful questions to ask yourself as a reader:

1.  Did this engage me?  Why or why not?

2.  Did this hold my attention throughout?  Where was I most engaged and why?

3.  Are any things confusing to me?  Could I follow the piece, or were there gaps, or need for more information?  What else did I need to know?

4.   What about the opening?  Did the piece draw me in?  How effective is the first sentence and first paragraph and why or why not?  Did I want to keep reading?

5.  Do things move along?  What is the pace of the piece, and why?  Again, come back to the terms of the piece-what is it trying to do and how well does it succeed, and do you question the terms?

6.  What about language?  How would you describe it?  How does it function in terms of what you feel the writer is trying to do?

7.  What are you “getting” from the piece?  This could be any number of things, but it’s really helpful for you to feed back to the writer what is coming across for you, story or meaning or themes or emotional impact or enjoyment or whatever-wise.  The writer is really hungry to hear what is coming across.

This raises the question of how to receive criticism.  Let it be said that we all want to hear, “I loved it!”  That would be nice every time, wouldn’t it?  But sometimes, often in my case, I sense that my piece is not all it could be, but I’ve reached a point where I don’t know what to do to make it better.  At this point I ask for criticism.  I’ll probably be a little defensive, whether I want to or not.  I’ll certainly want to explain what I was trying to do, and maybe even what everyone is missing!  But I do better if I simply listen, at first, before I “pollute” the conversation about my piece with my explanations, apologies, defenses.  After I’ve heard some initial responses, I may want to enter into the dialogue about the piece.  I try keeping an open mind, and also not to react too strongly to things that are said.  I recognize that the dynamic of the workshop is oblique, mysterious, indirect, and I’m not to take suggestions too literally, at least a first.  I know from my own experience as a critiquer that I can’t really tell another person how to write his story or memoir. I have to trust my own feelings and authority ultimately, but I also recognize that other people can “unstick me” sometimes, give me new energy, open my eyes to something I’m blind to, or look at the piece much more objectively.  Usually it takes some time before the value of the criticisms sink in.  David Huddle puts it this way: “stories yearn towards a state of perfection. It is up to an author to give the story what it wants or needs, and it is up to a critic to help the author discern the story’s desires.”

Related Posts

A Writer Learns about Creative Process from Two Artists: Hopper and O’Keeffe

Examining a Passage from The Goldfinch

Vivian Gornick on Situation and Story

What the Reader Needs…

This list of considerations for critique work is helpful. I used it step by step in my review.

This is excellent. I would like to use it for my writing students who are new to the critiquing process.

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Ultimate Guide to Writing Your College Essay

Tips for writing an effective college essay.

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Student Stories

Student Story: Admissions essay about a formative experience

Get the perspective of a current college student on how he approached the admissions essay.

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Student story: admissions essay about a past mistake, how to write a college application essay, tips for writing an effective application essay, sample college essay 1 with feedback, sample college essay 2 with feedback.

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