is there creative writing in a level english language

We use cookies to personalise your experience.

A-level English Language – Everything You Need to Know

The A-Level English Language course offers an in-depth exploration of linguistic structures, examining the complexities and nuances of language in various contexts. This academic pursuit delves into the evolution of English, its diverse uses across different cultures and media, and the intricate ways in which language shapes and is shaped by society. With an emphasis on both analytical and creative aspects, this course not only fosters a deeper understanding of the English language but also equips students with critical thinking skills that are highly valued in higher education and beyond.

A-level English Exam

How many papers are in the a-level english exam.

The A-Level English exam typically consists of two main papers. Each paper is designed to assess different skills and knowledge areas within the subject. These papers collectively evaluate the students’ understanding of various aspects of English Language, including both its use and analysis. The structure and focus of each paper may vary depending on the specific syllabus and exam board.

Overview of Paper 1

Paper 1 of the A-Level English Language exam typically focuses on language, its variations, and contexts. It often includes analysis of various forms of language use across different social and demographic groups. This paper may also involve exploring language change over time, understanding how English adapts and evolves. Students are expected to demonstrate their analytical skills, showing an understanding of linguistic theories and applying them to diverse language data. This paper lays a foundational understanding of the complexities of English language use in society.

Overview of Paper 2

Paper 2 in the A-Level English Language exam generally focuses on language diversity and change. It invites students to explore how English varies in different social and geographical contexts, and how it has changed over time. This paper often includes tasks related to text analysis, where students may examine language use in various genres, modes, and registers. It also encourages a critical understanding of attitudes towards language diversity and change. Students typically analyse and compare texts, and may also engage in discursive writing, demonstrating their ability to articulate informed opinions on language issues.

Exam Assessment Criteria

The assessment criteria for A-Level English Language exams typically involve evaluating a student’s ability to analyse and interpret language data, their understanding of linguistic concepts and theories, and their proficiency in articulating informed arguments. The criteria also assess how well students can compare and contrast different aspects of language use, their ability to provide evidence-based analysis, and the clarity and effectiveness of their written communication. These criteria are designed to gauge both the depth and breadth of a student’s understanding of the English language.

Key Topics in A-level English Language

A-level English Language covers a broad spectrum of topics that offer an enriching exploration of language use in society. While different exam boards may vary slightly, the key topics are generally divided into three core modules. Let’s dive in and take a closer look at each of them.

Language, the Individual and Society

This module is all about how language varies from person to person and how society influences the way we use language. Key topics covered include:

Textual Variations and Representations

This area looks at how language varies in written and spoken texts. It includes:

Language and Gender

An exploration of how language can differ between genders.

Language and Occupation

A look at the unique language used in various professions.

Children’s Language Development

This part of the course delves into how children acquire language skills, exploring both spoken and written development.

Language Diversity and Change

This module is a fascinating look at the evolution of language and how it changes across time and place.

Language Diversity

Here, students will learn about how English varies around the world, including regional and social variations.

Language Change

This section investigates how English has evolved over time, considering factors such as technology, society, and cultural change.

Language in Action

This module is about language research and investigation. It enables students to apply what they’ve learned to real-world contexts.

Language Investigation

In this component, students conduct their own research project on a language topic of their choice, applying their understanding of language concepts and methods.

Original Writing

This part of the module allows students to express their creativity by producing two pieces of original writing, accompanied by a commentary reflecting on their writing process and language use.

Each of these modules provides a distinct perspective on language use, creating a comprehensive picture of English Language as an A-level subject. Understanding these topics is crucial for mastering the subject and achieving a high grade.

Common Difficulties in A-level English Language

Despite the intriguing exploration of how we use language, A-level English Language comes with its fair share of hurdles. Let’s delve into some of the common roadblocks that students often encounter.

Understanding Complex Concepts

The subject matter in A-level English Language goes far beyond standard grammar and vocabulary. It dives deep into advanced theories and concepts about language use and structure, which can often be difficult for students to fully comprehend and apply.

Language Analysis

A significant aspect of A-level English Language is analysing a variety of texts. Students often find it challenging to not only identify different language features but also understand their function and effect in the given context.

Conducting Independent Research

The “Language in Action” component requires students to carry out an independent research project, which can be a tough task. From choosing an appropriate topic to collecting and analysing data, and then effectively presenting findings, it’s a demanding process that can overwhelm many.

Time Management

The pressure of time in an A-level English Language exam is another stumbling block. The multifaceted nature of the exam questions can sometimes make it challenging for students to effectively manage their time and fully articulate their responses within the set time limit.

Writing Skills

The subject demands a broad range of writing skills. Students are expected to demonstrate proficiency in various forms of writing, from in-depth analytical essays to creative writing tasks. Tailoring their writing style to suit different tasks and audiences can be a hurdle for many.

While these challenges might seem daunting, they are not insurmountable. With the right strategies and support, these obstacles can be transformed into opportunities for learning and growth.

Sample A-level English Language Exam Questions

Getting familiar with the type of questions asked in an A-level English Language exam can give students a significant advantage. So, let’s delve into a sample question that mirrors the kind you might see on an actual paper.

Question 1: Textual Variations and Representations

“The city was a whirlwind of excitement. Could there be a more exciting time? From the carnival’s vibrant colours, resonating music to the animated laughter of children, everything was pulsating with life. In the heart of the city, as if beating in rhythm with the celebrations, the newly elected mayor delivered a compelling speech. Packed with promises of progress and prosperity, it was a beacon of hope for the future.”

Question: Identify three examples of language features used in this article and analyse their effect on the reader.

• Metaphor : The author describes the city as “a whirlwind of excitement.” This metaphor helps to evoke strong emotions in the reader, making the event seem thrilling and fast-paced.
• Rhetorical question : By asking, “Could there be a more exciting time?”, the author encourages the reader to engage with the text and reflect on the significance of the event.
• Formal register : The use of formal language, particularly in the description of the mayor’s speech, establishes the author’s authority and credibility, making the news report appear more reliable and professional.
• Make sure to identify a variety of language features, such as figurative language, syntax, and register.
• Don’t just identify the feature – also explain its effect on the reader or the message of the text.

Common Mistakes:

• Only identifying language features without analysing their effect. Remember, analysis is crucial in these types of questions.
• Being too vague in your analysis. Be specific about how the feature influences the reader’s perception or understanding of the text.
• Not using technical terminology. Ensure you use the correct terms for the language features you’re discussing.

Question 2: Children’s Language Development

Conversation between a three-year-old child and her mother.

Mother: “What did you do at nursery today, Ellie?”

Ellie: “I drawed a big cat. It’s purple!”

Mother: “Wow, that sounds fantastic! You drew a big, purple cat.”

Ellie: “Yes, I did drawed it!”

Question: Analyse two features of the child’s language use and discuss how they reflect her stage of language development.

• Overgeneralisation : Ellie uses the past tense “drawed” instead of the irregular past tense, “drew.” This is a common feature in children’s language development known as overgeneralisation, where children apply regular grammatical patterns to irregular cases.
• Use of Adjectives : Ellie uses the adjective “big” and the colour “purple” to describe her drawing. This shows that she has started to use adjectives to provide more detail, which is a typical development at this age.
• Look for key characteristics of children’s speech, such as overgeneralisation, telegraphic speech, or the use of certain types of vocabulary.
• Discuss how these features relate to theories of language development.
• Not providing specific examples from the insert. Always refer back to the text to support your points.
• Discussing features without relating them to the child’s stage of language development. Make sure to explain what each feature suggests about the child’s linguistic progress.

A-level English Language Marking Scheme

Understanding the A-level English Language marking scheme is crucial for success in the exams. The scheme serves as a blueprint for how marks are awarded, so let’s demystify it.

In this component, the marks are split between two areas: ‘Textual variations and representations’ and a ‘Methods of language analysis’. The former assesses students’ understanding of textual variations and their ability to analyse texts. The latter focuses on language exploration and involves a directed writing task linked to the studied theme or idea.

Here, students are assessed on their understanding of language diversity and change over time. They will need to write an evaluative essay on language issues and a piece of original writing, both of which carry an equal weight of marks.

In this non-exam assessment, marks are divided between a language investigation and a piece of original writing. The investigation assesses students’ abilities to conduct independent research and present findings, while the original writing task evaluates their creativity and technical control of language.

Each component is marked according to specific criteria, which generally include:

• Content: The relevance and depth of your answer.
• Technical Accuracy: Grammar, punctuation, and spelling.
• Analysis: How well you analyse language features and their effects.
• Evaluation: Your ability to form and express an informed, personal response to the text.
• Organisation and Structure: How well your answer is structured and your points coherently developed.

It’s important to note that different exam boards might have slight variations in their marking scheme, so always ensure to check the specific requirements of your board. Remember, the marking scheme is your guide to what examiners are looking for, so make sure to use it to your advantage!

Effective Revision Resources for A-level English Language

Preparing for A-level English Language requires more than just reading through your class notes. Using a variety of resources can provide different perspectives and ways of understanding the material. Here are some effective revision resources you might want to consider:

Revision Guides

There are numerous revision guides available specifically designed for A-level English Language. They summarise key topics, provide exam tips, and usually include practice questions. Some popular choices include the CGP A-Level English Language Complete Revision & Practice and the Collins A-Level Revision – AQA A-Level English Language .

Past Papers and Marking Schemes

Past papers and their marking schemes are invaluable resources. They give you an insight into the types of questions asked, the level of detail required in responses, and how marks are allocated. Find A-level English language past papers here.

Online Learning Platforms

Websites such as Khan Academy , Seneca Learning , and BBC Bitesize offer comprehensive online courses and resources for A-level English Language. They offer interactive quizzes, videos, and revision notes which can make studying more engaging.

Language Textbooks

Textbooks such as ‘English Language and Linguistics’ by Angela Goddard or ‘The Study of Language’ by George Yule offer in-depth knowledge on many of the core topics in the A-level English Language curriculum.

Private Tuition

Private tuition can provide personalised feedback and targeted support. It can be especially beneficial for students who are struggling with particular topics or need extra help with exam techniques.

Remember, what works best for one person might not work as well for another. Experiment with different types of resources to find what suits your revision style best.

The Benefits of A-level English Language Tuition

When it comes to tackling the complexities of A-level English Language, private tuition can be an invaluable resource . Here are some key benefits that A-level English Language tuition can offer.

Individualised Attention and Learning

One of the major advantages of tuition is that it allows for a one-on-one learning experience. Tutors can tailor their lessons to the specific needs of the student, focusing on areas of difficulty and reinforcing understanding of key concepts. This personalisation often leads to more effective learning than can be achieved in a typical classroom setting.

Understanding Complex Linguistic Concepts

A-level English Language can be challenging due to the complex theories and linguistic concepts it covers. A tutor can help explain these in an easy-to-understand way, using relatable examples and effective teaching strategies. They can clarify doubts, deepen understanding and cultivate an appreciation for the subject.

Guidance with Language Analysis

Tutors can provide detailed instruction on how to approach language analysis, a key component of the course. They can demonstrate effective techniques for identifying language features and explaining their effects, using a range of practice texts. This guidance can significantly improve a student’s analytical skills.

Help with Independent Research

Tutors can provide valuable assistance with the “Language in Action” component, where students conduct their own language investigation. They can help students choose appropriate topics, guide them through the data collection and analysis process, and provide feedback on their written report.

Exam Technique and Practice

Private tuition is an excellent way to refine exam techniques. Tutors can provide insights into the marking scheme, advice on time management, and help students understand what examiners are looking for. Regular practice with past papers under the tutor’s guidance can boost students’ confidence and performance in the actual exam.

Flexible Learning

Unlike traditional schooling, tutoring can be done at a time and pace that suits the student. This flexibility can help keep stress levels low and make learning more enjoyable.

With these advantages, private tuition could be the additional support your child needs to excel in their A-level English Language. It’s about unlocking potential, boosting confidence and paving the way for academic success.

As we’ve navigated through the maze of A-level English Language together in this article, it’s evident that mastering this subject can seem like a colossal task. However, the journey becomes less daunting with the right tools, strategies, and support.

While A-levels indeed necessitate independent work, the assistance of a tutor doesn’t invalidate this. On the contrary, it fosters autonomy by equipping students with the tools and techniques they need to study more effectively on their own. Even the highest achievers can benefit from this. After all, learning is not just about overcoming obstacles – it’s about striving for excellence.

This is where Edumentors comes into play. As an online tutoring platform, it’s a powerful ally in your child’s educational journey. What sets Edumentors apart is its tutors. These are not just any tutors, but a dedicated group of high-achievers from top UK universities, including Oxford and Cambridge. Their first-hand experience with the rigours of A-levels and the university application process puts them in a unique position to impart invaluable insights – from mastering exam techniques to acing university interviews.

Tutoring isn’t a sign of weakness or an easy way out. It’s about making a strategic investment in your child’s education. It’s about giving them the opportunity to learn from those who’ve walked the path they’re embarking on and succeeded.

So, as we draw this exploration to a close, let’s redefine success. Success is not merely about overcoming challenges – it’s about unlocking potential, boosting confidence, and embracing continuous learning. And with Edumentors, your child is well on their way to doing just that.

• A-level English
• A-level English Language
• English Language

GCSE Biology – Everything You Need to Know

A-level Biology – Everything You Need to Know

Find a tutor.

Online tutors from top UK universities

By submitting this form you agree to be contacted by Edumentors

Recent Posts

We are educating children from 11 different countries

Fill out this form to get matched with a tutor & book a free trial

Get matched with a tutor & book a free trial.

Consult with expert and request free trial session

Request was sent

Thank you for submitting the form. One of our team members will be in touch with you soon

OCR homepage

Administration

• Active Results
• Interchange
• Submit for Assessment
• Teach Cambridge
• ExamBuilder
• Online Support Centre

Main navigation

Creative writing in english in exams and in the classroom.

Hints and Tips - 7 minute read

Isobel Woodger, OCR English Subject Advisor

Reading as a writer, writing as a reader

Our approach tries to marry students’ experiences as readers and writers. This is why the creative component for Language and Literature is called “Reading as a writer, writing as a reader”, to emphasise that students should see elements they’ve explored in their texts not just as inspiration, but as a set of tools they can use in their work.

Equally, as I saw during a recent English and Media Centre (EMC) course on teaching The Bloody Chamber , creative writing can create powerful, conceptual responses to texts as well as deepen understanding of the author’s process.

What is our approach to creative writing tasks?

Crucial to our approach, at all levels, is the dual focus on narrative and choice. We believe in offering students a choice in which narrative they are asked to create to enable better, more authentic responses. It’s important that students feel they are involved in the assessment as opposed to simply sitting it.

Additionally, we focus on narrative over pure descriptive writing as we think this helps generate truly creative, imaginative work. In Component 2 of our GCSE English Language course , students are asked to write a creative response to one of two prompts, like those below from the 2018 June series .

One is narrative based, e.g. giving a title as a prompt for a story; the other is more of a personal, reflective response, giving a scenario to develop.

From June 2018, GCSE English Language Component 2:

This links neatly to the tasks we set in A Level Language & Literature course which we co-developed with EMC. In the second part of Component 3, students choose one of two narrative prompts like these from the 2018 June series:

Students should write approximately 500 words of an opening to a narrative, clearly using some of the bullet points provided. They are, in the next question, asked to write a commentary on their work.

What are our examiners saying?

Our examiners are aware that writing creatively on demand is a complex brief to fulfil. We also know that what we respond to as readers is often the author’s control: how they guide our responses to places, people and topics, as well as play with our assumptions and expectations.

At GCSE, the mark scheme talks about Level 6 students adapting the form of their writing “to position the reader” as a way to demonstrate “sophisticated control of purpose and effect” alongside “skilfully control[ing] overall structure.” Ultimately, whatever their level, students should aim to write a piece that demonstrates a sense of narrative control over its style and is structured to direct their reader’s response.

Without taking the time to plan a response, it can be hard to demonstrate this control. As the June 2018 GCSE Examiners’ Report says, “The best work has been carefully planned and builds to a clear and effective conclusion.” Knowing what and how they want to write offers students more control over their work and gives them greater scope for inventiveness.

A crucial way to approach students’ ability to plan is to build their understanding of structural choices. Being able to choose what narrative voice they wish to use, where the story should open and close, how the story ought to progress – these are structural decisions that can enable students to write more imaginatively, without a dependence solely on vocabulary extension. Naturally, exposing students to a wide range of texts of different kinds is what aids this understanding.

Some consideration of time can be a great way for students to be more formally and structurally inventive, as outlined in the same report: “The use of flashback, flash forward, starting at the linear conclusion and working back to the beginning […] can all bring a great deal of creative originality to straightforward or even rather mundane content.”

Creative writing strategies for the classroom and the exam:

Use analogies both as instructions and models. For example, ask students to think of perspective as being like directing a film scene, where your decisions about where the camera should be and who it should focus on can change how the audience feels.

Don’t be afraid to use creative writing as tool for understanding other texts or ideas. Teaching students to write creatively only in response to examination prompts isn’t the way to broaden their ideas. Instead, use creative writing as a way for them to respond to a Literature text; use it as a way for them to express their thoughts about a concept like inequality, or relationships.

Using style models is underrated. Get students to write in the style of a range of authors, so they can learn from the inside out how voice is constructed in different ways depending on the writer.

Exploratory writing could form part of the planning process. Often students think planning means coming up with a list straight away. It’s worth asking students to write in an exploratory way about a text or a task before getting them to consider which of those ideas might form a road map for their own writing.

Effective description moves beyond modifiers. Adjectives and adverbs are important but should be used with judgement. Having a wider range of descriptive, precise verbs will give students more control over their work.

Plan to write something ‘real’. This isn’t a plea for realist fiction, but rather, responses that have a sense of emotional reality. This can help ground writing, giving it depth and direction. This can be easy to miss when trying to plan for something dramatic or surprising.

In short, we want students to write pieces that demonstrate control and consideration, which show they can choose words with care to craft a planned narrative. We think the more students are aware that their experiences as readers can be used or adapted for themselves in their own work, the wider range of tools students have at their fingertips.

Stay connected

Have you got any creative writing strategies you’d like to share? Or perhaps there’s a particular area of the subject you’d like us to talk about. In either case, do submit your comments below or email us at [email protected] . You can also sign up to receive email updates or follow us on Twitter at @OCR_English .

About the author

Isobel joined OCR as a member of the English subject team, with particular responsibility for A and AS Level English Literature and A and AS Level English Language and Literature (EMC).

She previously worked as a classroom teacher in a co-educational state secondary school, with three years as second-in-charge in English with responsibility for Key Stage 5. In addition to teaching all age groups from Key Stage 3 to 5, Isobel worked with the University of Cambridge’s Faculty of Education as a mentor to PGCE trainees. Prior to this, she studied for an MA in film, television and screen media with Birkbeck College, University of London while working as a learning support assistant at a large state comprehensive school.

By the same author

• Clarifying context in GCSE and A Level English Literature
• English: Tips and tricks for tackling the A Level Literature NEA
• English ‘subject terminology’ - precision or complication? How might it help rather than hinder?

Descriptive Writing A-Level Example: The Mountain

This is a piece completed recently by one of my students for the Cambridge (CIE) A-Level English exam (Paper 2: Writing). It is suitable for anyone studying creative writing at a higher level — GCSE (10th Grade) and above, particularly on the following exam boards: AQA, CIE, OCR, Edexcel, WJEC / Eduqas, CCEA.

The piece attained a B grade, but it has great potential and with a bit of work could have achieved an A. I asked the student to write feedback below to give a sense of the grade, as well as suggested improvements for how to attain a higher level next time. You’ll see a breakdown of his writing process and thoughts behind how he uses language.

Thanks for reading! If you find this page useful, you can take a look at our full Basic Descriptive Writing course ; Advanced Descriptive Writing course , and other English Language and Literature courses

The Question:

Write a descriptive piece called The Mountain. In your writing, create a sense of atmosphere, and focus on colors and sounds to help your reader imagine the scene.

The Answer: (Descriptive Writing A-Level Example)

The mountain.

It had been a long hard trek across the sludgy path, my footfalls producing rhythmic squelches. A warm pitiful breath escaped my mouth and struggled against the unrelenting breeze. My eyes wept from the wind, without sadness, the tears quickly drying but no less pained. I had managed to stray unwittingly from the path. My mind blank, I had chanced upon a vast expanse of open land. Vaguely, I recalled how I had got there, how I awoke in perspiration merely hours earlier, my T-shirt soaked through. If I had wrung it, I’m sure water would have trickled out, so sodden it was.

When I eventually peeled myself off the bed, it was then the idea had taken root, to venture out for a spirited walk. Grabbing my staff and closing the door after me, I walked on mechanically, permitting the crisp air to enter my lungs and liven my senses. For a long time, I gazed listlessly at my traipsing feet, neglecting to survey the path ahead. Soon, when I glanced up, I had drunk in the formidable sight of a tall mountain stood gargantuan in the distance.

The sky, slate grey and heavy, bore the promise of rain. A knot of cloud hung low and obscured the mountain’s peak. It should have unnerved me, but it didn’t. I was Ill-dressed and ill-prepared, yet a dogged stubbornness coursed through my every fibre. I firmly decided I would task myself to climb it. It was as though I forged onward like a weary soldier, going into battle for the very first time.

As I neared the foot of the mountain, such was its mass I could no longer see sky. Pausing at the base of it, I noticed that the wind had abated somewhat, and I felt a brief flash of renewed confidence. Glancing up its steep face my eyes scanned the wild, rocky terrain, peppered with tufts of grass and high reeds.

No discernible path appeared to etch through it, which led me to believe that nobody of sound mind would be foolish enough to scale it. Nobody as foolish as me at least. Warding off the temptation to turn back, I placed my trusty staff before me and carefully distributed my weight across the unstable ground. With no visible path to speak of I lunged forward and begun to climb, praising each successfully placed step as I slowly advanced. Reaching roughly a meter high, I felt the first cool drop of rain blotch my forehead. It caused me to glance up instantly at the sky with trepidation, but before I would be greeted by an onslaught of raindrops, I decided to forge on undeterred.

A violent rush of wind suddenly rose beneath me, causing the hood of my coat to blow clean over my head. Maybe it was a sign, I thought. Nature’s way of telling me that I should prepare for the inevitable drenching. But I did my best to not entertain such thoughts. Instead, my mind cast back to the days of my youth. I recollected the numerous occasions I had ventured into the woods with my older brother. Together we would seek out the tallest climbable tree. He would goad and pressure me to reach the furthest branch no matter the risk of danger. His voice  was always close behind, providing a safety net in case I fell. I never did, but where was his voice now?

When the rain came, it had been roughly an hour since I last looked down. The terrain had gotten steeper, so much so that my staff was rendered useless and left me all but hugging onto the slope for dear life. There were times when I froze, clutching myself to the earth, breathing in mud and stone, feeling as though I had tasted time itself. The rain came down in sheets, muddying the very soil my hands struggled to claw into as I ascended. Why had I bothered? I asked myself. Don’t worry just keep going, keep climbing. I imagined my brother’s voice not that far behind.

Student’s Feedback:

There are two examples in this passage where the language draws visual depictions. Firstly, in describing the colour of the sky as ‘slate-grey’, likening it to a shade taken from a type of stone, successfully transmits the image of a dark sky into the reader’s mind. Furthermore, the adjective ‘slate’ has connotations of hardness and coldness, create an intense atmosphere and a sense of difficulty for the protagonist. The use of compound adjectives through the hyphen also enhances the intensity of the visual image.

The second refers to the protagonist’s determination. He ‘forged onward like a weary soldier, going into battle for the very first time.’ This conjures a feeling of vulnerability for the reader. It presents the idea that the protagonist is venturing into the unknown, with unforeseen dangers ahead, creating palpable suspense.

Voice/Tone:

An underlying sense of foreboding runs consistently throughout the passage. There is a distinct atmosphere enveloping the language that is earthy and rich. Much of this is derived from the detailed scene description. This places the reader directly into the mood and atmosphere of the text. This is portrayed in the depiction of physical hardship, endured by the protagonist. For example, ‘My eyes wept from the wind, without sadness, the tears quickly drying but no less pained.’ The line also contains a subtle hint of irony, the association between tears being linked to sadness. However, in this case it is the harshness of nature that is bringing about the shedding of tears.

Another example of ‘mood’ and ‘feel’ evident in the text can be found in the following line: ‘There were times when I froze, clutching myself to the earth, breathing in mud and stone, feeling as though I had tasted time itself.’ While ‘mud’ and ‘stone’ represent nature, they are also symbolically linked to the ancient age of the mountain and present the idea ‘tasting time’ as though it were a tangible thing. These linguistic techniques of tying nature to feeling, exist to immerse the reader within the voice and tone of the text.

The continuous verbs ‘clutching’ and ‘breathing’ … continuous motion / enduring difficulty / dynamic and physical enhance the sense of struggle / highlight the fragility of man in comparison to all-powerful nature.

Perspective/Structure:

The narrative uses first-person through the featured protagonist and unfolds in past-tense. It describes events in a continuous stream of action. However, there are two moments where the action shifts to a series of flashbacks. In the first one, we learn of the protagonist awaking from his bed: ‘I awoke in perspiration merely hours earlier, my T-shirt soaked through,’. In the second, he revisits thoughts of childhood: ‘I recollected the numerous occasions I had ventured into the woods with my older brother.’ Despite these two time-shifts, the throughline of the story commences from the moment the protagonist witnesses the mountain upon his travels, along the path, to lastly attempting to scale it, finding himself stuck upon its steep face.

Features to include for my next creative piece:

• Multiple characters
• A variation of sentences, including one word.
• A specific moment of conflict
• Range of paragraph lengths
• Range of punctuation > ! ? : ; ‘ “” ‘ () …

Teacher Feedback:

GRADE: 18/25

72 % > B grade

Mark scheme used .

• Effective expression, with a range of language, including some complex structures and less common lexis
• A few minor errors which do not impede communication
• Logical organisation of text; developed ideas in an effective manner
• Good achievement of text; content is relevant

Overall, I believed the last 2 sentences could have been more refined, more poignant, and expressive. The story at this point ends rather abruptly in comparison to the rest. This demonstrates better fluency and reads more elegantly.

However, the earlier paragraphs clearly demonstrate strong use of language. This is visually expressive, symbolic/poetic, and carries a distinct tone. There is much intrigue and suspense to be enjoyed, which in turn engages the reader.

Read more descriptive writing tips here: https://scrbblyblog.com/2022/10/26/spooky-atmosphere-writing/

Thanks for reading! If you find this page useful, you can take a look at our full Basic Descriptive Writing course ; Advanced Descriptive Writing course , and other English Language and Literature courses .

Or subscribe to scrbbly and access all of our courses for as little as £5 a month, related posts.

The Theme of Morality in To Kill A Mockingbird

Unseen Poetry Exam Practice – Spring

To Kill A Mockingbird Essay Writing – PEE Breakdown

Emily Dickinson A Level Exam Questions

How to Get Started with Narrative Writing

What do I need to do for AQA Language Paper 2?

Fleance Character Analysis + Quotations

How to do well in the AQA GCSE Paper 2 Exam!

Cambridge IGCSE Poetry Mark Scheme

How to Write a Perfect Essay on The Crucible by Arthur Miller

© Copyright Scrbbly 2022

All about A level English Language and Literature – course information

What's a level english language and literature about.

The coverage of A level English Language and Literature is broader than that of English Literature A level since, in addition to the study of novels, poetry and plays, it includes the study of non-fiction spoken and written texts as well as providing exciting opportunities for creative writing.

In the first year of the  A level English Language and Literature course you study non-fiction written and spoken texts and the language of literary texts. You study both prose and poetry this year.

In the second year you continue to broaden your understanding of  non-fiction and spoken texts through emphasis on how language is used in context. You also continue the exploration of the language of poetry and plays.  Finally, both through an examined unit and a coursework component, you work on creative writing exercises - often the most stimulating aspect of the whole course.

Re-visiting texts you have studied previously is a very satisfying aspect of the course giving you a real sense of how far you have traveled intellectually over the course of two years and enabling you to write with genuine authority.

The study of non-fiction and spoken texts from across different time periods and contexts in the second year requires responses that are comparative and contextual; there is also an unseen element to second year A level study.

What sort of work is involved?

As in the case of its more straightforward English Literature counterpart, this is an essay-based subject. Unlike English Lit, A level English Language and Literature has a creative element that you will either find very  attractive or potentially off-putting.

The other strength of the subject is in the variety of tasks the course offers in the analysis of fictional and non-fictional material. It can be challenging to develop an analytical framework for such a wide range of 'texts',  but it is the very variety of this A level that makes it a compelling one.

As in the case of English Lit you will be guaranteed lessons in which discussion and debate are major features.

Students who enjoyed literary analysis at GCSE but are worried about the extent to which medieval writers like Chaucer and early modern writers such as Shakespeare dominate English Lit A level often feel much happier with the more modern choices of texts that feature on A level English Language and Literature. Shakespearean plays are set but they are not compulsory; on all English Lit A level syllabuses the study of a Shakespeare play is mandatory!

What background do I need?

Students who have studied, enjoyed and done well in English Language and English Literature GCSE are natural candidates for this A level. With  GCSE grade 6 or above you should certainly cope.

You do need to appreciate that the skills being tested in the language components of this A level are somewhat different from those tested at GCSE. Nonetheless, A level English Language and Literature holds obvious attractions for those who enjoyed the creative aspects of English Language GCSE and the opportunities it afforded to consider non-literary forms of writing.

Creative writing and engagement with non-fictional texts form no part of any current English Lit A level and for some students this a lack only to be remedied by opting for this particular A level. Those equally daunted by the linguistic demands of the English Language A level or troubled by the purely literary emphasis of the English Literature syllabus should regard this A level as an excellent compromise!

You cannot take A level English Language and Literature alongside English Literature or English Language A levels.

Where can it lead?

It is quite possible to study this subject and end up reading English Literature at degree level (but do check university entrance requirements). On the other hand, A level English Language and Literature is perfect preparation for degree courses in English Language or Linguistics. A science-based student might well be attracted to this A level as a fourth subject option to be retained or jettisoned at the end of year 12. The subject leads naturally into all degree courses in the Humanities and is a particularly attractive option for those interested in Journalism or Creative Writing courses.

One year course?

A one year course in this subject is entirely feasible though any student contemplating this accelerated option needs to have A level experience in this or other A levels. It might well suit a student who had not enjoyed their year 12 studying English Literature but has an analytical skills base they wish redeploy in a more varied programme of study.

The OCR A level syllabus (H474) comprises four units, the first three of which are assessed through written exams.

• ‘Exploring non-fiction and spoken texts’ is a closed text paper. Its duration is an hour and it worth 16% of the total award.
• The second unit, ‘The language of poetry and plays’ is also a closed text examination and is two hours in duration. It is worth 32% of the total award.
• The third and final examined unit is ‘Reading as a writer, writing as a reader’. This is an open text paper; its duration is 2 hours and it is worth 32% of the total award.

Finally, the fourth unit, ‘Independent study: analysing and producing texts’ is an assessed coursework unit, worth 20% of the total award.

Pearson and AQA offer comparable syllabuses in which the same combination of creative, linguistic and literary skills are developed and tested.

This article was written by Richard Martin of  MPW College, London

The data entered on this form will be used only for the purpose of responding to your enquiry. It will not be used for sales/marketing, nor shared with any third party unless required to respond to your query (i.e. with one of our partner colleges).

• A level Art
• A level Biology
• A level Business
• A level Chemistry
• A level Classical Civilisation
• A level Computer science
• A level Drama and Theatre
• A level Economics
• A level English Language
• A level English Language and Literature
• A level English Literature
• A level Film Studies
• A level Geography
• A level History
• A level History of Art
• A level Law
• A level Maths/Further Maths
• A level Media Studies
• A level Modern Languages
• A level Music
• A level Philosophy
• A level Physics
• A level Politics
• A level Psychology
• A level Religious Studies
• A level Sociology

Return to the list of A level subjects

Interested in studying A level English Language and Literature?

cife independent sixth form colleges offer:

• Traditional A level English Language and Literature two year A level courses combining independent schools' small class sizes and emphasis on exam success with the student-centred outlook of the best state state sixth-form colleges
• Intensive, focussed and effective A level English Language and Literature one year A level courses
• Help starting your revision with English Language and Literature A level Easter revision courses
• All the benefits of small-group teaching, focus on the individual and a more adult environment to help you achieve better results from English Language and Literature A level resit courses

Further advice articles

• FAQs about A-level retakes and options for resitting
• Exam remarks - what to do, and when - updated for 2023
• Appealing against your A-level or GCSE results in 2023
• One year A-levels courses at CIFE colleges
• Sixth-form advice articles about university entrance...
• Sixth-form advice articles about study skills...
• Advice articles about sixth-form choices...

Need any help?

Name (required): Please leave this field empty. Email (required): Phone number: Tell us how we can help: Confirm acceptance of Privacy Policy

Courses at cife colleges

GCSE courses Two-year A level courses Final-year A level courses One-year A level courses A level retake courses University Foundation courses Easter A level & GCSE revision courses

Advice articles

FAQs about retakes Revision UCAS personal statement Tips for a top UCAS application For international students Choosing the right A levels Oxbridge and medicine interviews All advice articles

More about cife FAQ about colleges News Why colleges join cife Useful links Fees at cife colleges Contact us

Home › University › A Level Requirements For Popular University Degrees (An A-Z) › A Level Requirements for Creative Writing

A Level Requirements for Creative Writing

• Published October 31, 2022

Table of Contents

Are you trying to figure our what a-levels to take for creative writing? There are so many combinations of A-Levels that it can be hard to know which one is right combo for you. 

And if you get it wrong, you might miss your dream university course.

That’s why we ensure that our creative writing summer course students have 1:1 personalised tutorials with world-renowned tutors. So they’ll have the best guidance in deciding their next steps in education. 

We’ve also done the research for you and have come up with the A-Level requirements of the best Creative Writing universities in the UK. Plus, we’ve given practical tips to help you become a better Creative Writer. 

Read on to find out more!

What Is Creative Writing?

Creative writing is a form of writing that expresses emotions, feelings, and thoughts in an imaginative way. Types of creative writing include:

• Short stories
• Screenplays
• Television scripts
• Personal Essays
• Journals/Personal memoirs

It’s different from academic or technical writing, which requires one to stick to the facts without personal additions.

When writing stories, creative writers use the elements of creative writing, such as:

• Plot – series of events consisting of the introduction, rising action, climax, falling action, and resolution.
• Setting – the time and place of the story
• Characters – the ones who experience the plot and the setting 
• Point of View – the lens through which the reader experiences the story
• Theme – the idea or message the author wants to relate to the reader

Creative writers use strong verbs and adjectives to describe their characters and settings. They also use figurative language such as metaphors and similes to appeal to the readers’ emotions and imagination. 

If you want to learn more about creative writing, check out our full what is creative writing guide. 

Why Study Creative Writing?

Because when you want to persuade or entertain by appealing to the readers’ thoughts and emotions, Creative Writing is a powerful medium. When was the last time you were moved to tears when reading a character’s tragedy in a novel? What song did you listen to recently that gave you strong nostalgia, bringing up memories of a time long gone? 

In Creative Writing, the author shares their human experience that the readers can relate to. You can move hearts and minds by sharing your experiences following Creative Writing principles. 

What are real-world examples that call upon you to exercise Creative Writing?

• During university applications, when you need to submit your personal statement
• Sharing what you’ve learned from a module in an essay format as part of academic assessments in the university
• Writing a letter to your family, friend, or loved one to greet them during important milestones
• Encouraging potential customers to avail of your products or services
• Making a cover letter to convince a company to recruit you as part of the team
• Composing a song to woo a lover or attract listeners to buy your music.
• Creating a Youtube script for your vlogs
• Writing a book to promote your personal brand

Do you see how Creative Writing is everywhere?   Here are some of the many benefits of learning creative writing:

• Enhances your written communication skills for improved confidence and self-expression 
• Sharpens your critical thinking and reasoning skills
• Increases your chances of career success because many job positions require creative written work, especially in marketing and customer service
• Deepens your empathy because Creative Writing requires you to think from another person’s shoes
• Expressive writing, especially about painful life events, is a therapeutic tool. That’s why therapists encourage patients to write in their journals daily. 
• Strengthens your imagination and encourages you to think outside the box, which improves your problem-solving skills

Creative Writing is an essential skill you must learn to thrive in the hyper-information age we live in today.

Is There an A-Level for Creative Writing?

There isn’t an official A-Level for Creative Writing as there is for Maths or Chemistry. But there is an A-Level for: 

• English Language
• English Language and Literature
• English Literature

Are you looking for an A-Level for Creative Writing because you want to get a feel of what Creative Writing study is like in a school setting? Do you want to experience Creative Writing at the university level before studying it in higher education? Consider taking the Immerse Education Creative Writing summer course for 13-18 years old at the University of Cambridge, Oxford, or Sydney. 

You’ll gain 1:1 personalised tutorials from expert Creative Writing tutors from Oxford and Cambridge. So you can make well-informed decisions for your next steps in education.

Is Creative Writing an English Major? 

Yes, Creative Writing can be an English Major. You’ll often encounter it as “English Literature with Creative Writing BA” or “BA English and Creative Writing.” Top schools that offer such Creative Writing degrees include:

• English Literature with Creative Writing – University of Leeds , University of Warwick , Newcastle University , University of East Anglia UEA
• English and Creative Writing – University of Strathclyde , University of Birmingham , Royal Holloway University of London , Lancaster University , University of Nottingham  

But some universities offer Creative Writing as a standalone BA course, such as the University of Plymouth .

What Creative Writing Degrees Can You Study?

We’ve previously mentioned these undergraduate Creative Writing degrees:

• English Literature with Creative Writing
• English and Creative Writing
• Creative Writing

Others include:

• American Literature with Creative Writing – University of East Anglia UEA
• Journalism and Creative Writing – Falmouth University , University of Leicester , University of Lincoln , 
• Theatre: Writing, Directing and Performance – University of York

What A-Levels Do You Need To Apply For a Creative Writing Degree?

To determine what A-Levels you need to apply for a Creative Writing degree, let’s take a look at the entry requirements of the Top Universities for Creative Writing : 

• University of Strathclyde English and Creative Writing – ABB-BBB, with English Language or English Literature at B
• University of Birmingham English and Creative Writing – AAB with B for English Literature
• University of Leeds English Literature with Creative Writing –  AAA with English Language, or English Literature, or English Language and Literature
• University of Warwick English Literature with Creative Writing – AAA or A*AB, with A in English Literature or English Language and Literature
• Newcastle University English Literature with Creative Writing – AAB, with English Language or English Literature

Based on what the top UK Universities for Creative Writing require, English Language or English Language and Literature are common requirements. What should you take for the remaining two subjects? Anything from science/maths and arts. Taking a wide range of A-Level subjects is most preferred by a majority of schools and by a vast range of courses. It’s best to keep your options open!

What Topics Does a Creative Writing Degree Cover?

The usual topics a Creative Writing degree covers include:

• Creative Writing foundation
• English studies
• Mediaeval and Early Modern literature
• Contemporary cultures
• Modern fiction
• Poetry writing
• Prose writing
• Drama and Media Writing
• Drama, Theatre, and Performance

Creative Writing with English Literature often involves reading literature in various styles and eras, from the middle ages to modern times. 

How Will You be Assessed?

The specifics of assessments differ from one university to another. But here are the common ways Creative Writing students are assessed:

• Written work, including essays, poetry, plays, fiction, and short fiction
• Oral presentation
• Individual and group presentations
• Formal exam
• Research project
• Assignments

How To Do Creative Writing

Do you want to start your Creative Writing journey but are unsure how? We know exactly what you’re looking for. Here are 4 practical tips to help you get started:

1. Read, read, and read some more!

There’s a reason why English and Creative Writing courses require you to read tons of material. How else will you learn how to write if you do not have the inspiration to draw from? Reading gives you a wellspring of ideas. It serves as the fuel for your imagination and creativity. 

When you read something that captivates you, take note of it. Dissect it! What words and sentences made the most impact on you? What are the very first words of the text? How did it catch your attention? Study each chapter and examine how it begins and ends. What strategies did the author use to make you want to read the next chapter? 

Do you see where we’re going? You don’t have to develop a new and untried formula when doing Creative Writing. All you need to do is choose a formula that has worked throughout the centuries, tweak it according to your intention and audience, and double down on making each sentence valuable and imaginative. 

Let’s look at storytelling, for instance. Take Romeo and Juliet. Is forbidden love a new concept? Nope. Forbidden love has been a repeated theme throughout human history. But it’s the way Shakespeare crafted the characters that captured the readers’ hearts and made them feel the intense tragedy of the star-crossed lovers. 

So when you read, remember to gather notes and inspiration. And when you feel like there’s zero creativity going on, look at the writings you’ve included in your collection. You’d be surprised at how it can revive your imagination! 

2. Never Stop Writing

The classic adage “practice makes perfect” especially rings true in Creative Writing. Do you know expert writers have a habit of daily writing? They may use Creative Writing prompts and exercises to practice turning thoughts into the right words. 

Do you dream of having the ability to write in a smooth flow? Start by doing the 10-minute free-flow writing. It’s called “free-flow” because the rule is to write everything that comes to mind immediately.

It doesn’t have to make sense. And for 10 minutes, you can throw the spelling and grammar rules out the window. The goal is to remove the fear of the blank page by writing without self-judgment. Try out our creative writing prompts if you’re lacking creativity – there are over 300 of them!

You’ll be more comfortable writing when you practice this simple exercise daily. Once you reach a certain level of comfortability, begin recording random ideas that pop into your head. Maybe you had thought of writing a mystery story in a World War II setting. Perhaps you witnessed an exceptionally breathtaking sunset that inspired you to write a poem. 

It doesn’t matter if you think it’s a bad idea. Put it in your writing journal! Who knows? You might come back to it later, and it’ll become one of the most remarkable pieces of writing you’ll have the pleasure of creating.

3. Try Out Writing Courses

What better way to hit the ground running than to learn from experts who’ve been where you want to be? There are many Creative Writing courses you can try. 

Check out our creative writing summer courses . You’ll have world-class tutors from prestigious universities such as Oxford and Cambridge who are eager to share their expertise with you. 

Why is it an excellent idea to take courses? Because it’ll accelerate your learning process and boost your confidence.

4. Join Writing Communities

There’s nothing like having a group of like-minded people enthusiastic about Creative Writing as much as you are, and even more so! When you join Creative Writing communities, you’ll have the opportunity to hear other peoples’ writing stories and strategies.

In addition, you can share your struggles to receive the support you need to keep going! Some even go as far as reading each other’s works and giving constructive feedback.

What Are the Postgraduate Opportunities For Creative Writing?

Here are the common postgraduate opportunities available for Creative Writing:

• MA in Creative Writing
• MA Screenwriting
• PhD in Creative Writing

Not interested in postgraduate education? Learn about creative writing career choices that have high paying salaries.

What Are Similar Subjects to Creative Writing?

Similar subjects to Creative Writing include:

If you’re pursuing a career in creative writing, it’s important to take the right A-Levels. English Language and English Literature a-level are two of the most common subjects for aspiring writers, but other options are also available.

Creative Writing courses can be found in several prestigious universities, so it’s important to have a strong foundation in your chosen subject. Taking the right A-Levels will set you up for success in your future writing career.

Related Content

165 work experience ideas for year 12.

Real Alumni Stories

Learn more about our alumni through their success stories.

• Real stories about our Alumni
• Students share their programme experiences
• Case studies from Alumni heading to Oxbridge
• Alumni insights and stats

Empower Your Child's Future: Book Your Complimentary Consultation Now

• Receive tailored advice to match your child's interests and goals.
• Gain insights from our experienced programme consultants.
• Get answers in real-time, making your decision-making process smoother and more informed.

* Terms and Conditions may apply

• First Name *
• Family Name *
• Phone Number
• Country * Afghanistan Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bonaire, Sint Eustatius and Saba Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory Brunei Darussalam Bulgaria Burkina Faso Burundi Cabo Verde Cambodia Cameroon Canada Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos Islands Colombia Comoros Congo Congo, Democratic Republic of the Cook Islands Costa Rica Croatia Cuba Curaçao Cyprus Czechia Côte d'Ivoire Denmark Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Eswatini Ethiopia Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Holy See Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Korea, Democratic People's Republic of Korea, Republic of Kuwait Kyrgyzstan Lao People's Democratic Republic Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macao Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar Namibia Nauru Nepal Netherlands New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Macedonia Northern Mariana Islands Norway Oman Pakistan Palau Palestine, State of Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Poland Portugal Puerto Rico Qatar Romania Russian Federation Rwanda Réunion Saint Barthélemy Saint Helena, Ascension and Tristan da Cunha Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Sweden Switzerland Syria Arab Republic Taiwan Tajikistan Tanzania, the United Republic of Thailand Timor-Leste Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkmenistan Turks and Caicos Islands Tuvalu Türkiye US Minor Outlying Islands Uganda Ukraine United Arab Emirates United Kingdom United States Uruguay Uzbekistan Vanuatu Venezuela Viet Nam Virgin Islands, British Virgin Islands, U.S. Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Åland Islands
• School Name *
• I'm a Parent
• I'm a Student

Would you like to receive anything else?

• Prospectuses
• Residential Syllabus Overviews (ages 13-15)
• Residential Syllabus Overviews (ages 16-18)
• Online Syllabus Overviews (ages 13-18)
• Immerse Education Prospectus 2024
• Career Insights - London Course Guide
• Career Insights New York
• Career Insights San Francisco
• Online Insights Prospectus
• Online Research Programme Prospectus
• Academic Insights - Cambridge & Oxford Prospectus
• Academic Insights Sydney
• Academic Insights Toronto
• Female Future Leaders
• Dates & Fees
• Architecture
• Artificial Intelligence
• Business Management
• Business Management (Sydney)
• Business Management (Career Insights)
• Computer Science
• Creative Writing (Sydney)
• Creative Writing & Film (Career Insights)
• Earth Sciences
• Engineering
• Engineering (Career Insights)
• Engineering (Sydney)
• Film Studies
• International Relations
• International Relations (Sydney)
• Medicine (Career Insights)
• Medicine (Sydney)
• Natural Sciences
• Psychology (Sydney)
• Veterinary Studies (Sydney)
• Banking & Finance (New York)
• Business Management (London)
• Data Science & Analytics (San Francisco)
• Creative Writing & Film (London)
• Entrepreneurship (San Francisco)
• Engineering (London)
• Fashion & Design (New York)
• Health Tech & Biotechnology (San Francisco)
• Marketing & Entertainment (New York)
• Medicine (London)
• Law (New York)
• Software Development & AI (San Francisco)
• Architecture & Design (Career Insights)
• Biotechnology
• Business Management (Toronto)
• Computer Science & AI (Toronto)
• Criminology
• Engineering (Toronto)
• Fine Art (Career Insights)
• Game Design (Career Insights)
• Law (Career Insights)
• Mathematics
• Medicine (Toronto)
• Nanotechnology
• Online Research Programme
• Online Insights
• Computer Science & AI
• Sustainability

Complete Your Request

• Yes. See Privacy Policy.

Choose Your Test

Sat / act prep online guides and tips, the 31 literary devices you must know.

General Education

Need to analyze The Scarlet Letter or To Kill a Mockingbird for English class, but fumbling for the right vocabulary and concepts for literary devices? You've come to the right place. To successfully interpret and analyze literary texts, you'll first need to have a solid foundation in literary terms and their definitions.

In this article, we'll help you get familiar with most commonly used literary devices in prose and poetry. We'll give you a clear definition of each of the terms we discuss along with examples of literary elements and the context in which they most often appear (comedic writing, drama, or other).

Before we get to the list of literary devices, however, we have a quick refresher on what literary devices are and how understanding them will help you analyze works of literature.

What Are Literary Devices and Why Should You Know Them?

Literary devices are techniques that writers use to create a special and pointed effect in their writing, to convey information, or to help readers understand their writing on a deeper level.

Often, literary devices are used in writing for emphasis or clarity. Authors will also use literary devices to get readers to connect more strongly with either a story as a whole or specific characters or themes.

So why is it important to know different literary devices and terms? Aside from helping you get good grades on your literary analysis homework, there are several benefits to knowing the techniques authors commonly use.

Being able to identify when different literary techniques are being used helps you understand the motivation behind the author's choices. For example, being able to identify symbols in a story can help you figure out why the author might have chosen to insert these focal points and what these might suggest in regard to her attitude toward certain characters, plot points, and events.

In addition, being able to identify literary devices can make a written work's overall meaning or purpose clearer to you. For instance, let's say you're planning to read (or re-read) The Lion, the Witch, and the Wardrobe by C.S. Lewis. By knowing that this particular book is a religious allegory with references to Christ (represented by the character Aslan) and Judas (represented by Edmund), it will be clearer to you why Lewis uses certain language to describe certain characters and why certain events happen the way they do.

Finally, literary techniques are important to know because they make texts more interesting and more fun to read. If you were to read a novel without knowing any literary devices, chances are you wouldn't be able to detect many of the layers of meaning interwoven into the story via different techniques.

Now that we've gone over why you should spend some time learning literary devices, let's take a look at some of the most important literary elements to know.

List of Literary Devices: 31 Literary Terms You Should Know

Below is a list of literary devices, most of which you'll often come across in both prose and poetry. We explain what each literary term is and give you an example of how it's used. This literary elements list is arranged in alphabetical order.

An allegory is a story that is used to represent a more general message about real-life (historical) issues and/or events. It is typically an entire book, novel, play, etc.

Example: George Orwell's dystopian book Animal Farm is an allegory for the events preceding the Russian Revolution and the Stalinist era in early 20th century Russia. In the story, animals on a farm practice animalism, which is essentially communism. Many characters correspond to actual historical figures: Old Major represents both the founder of communism Karl Marx and the Russian communist leader Vladimir Lenin; the farmer, Mr. Jones, is the Russian Czar; the boar Napoleon stands for Joseph Stalin; and the pig Snowball represents Leon Trotsky.

Alliteration

Alliteration is a series of words or phrases that all (or almost all) start with the same sound. These sounds are typically consonants to give more stress to that syllable. You'll often come across alliteration in poetry, titles of books and poems ( Jane Austen is a fan of this device, for example—just look at Pride and Prejudice and Sense and Sensibility ), and tongue twisters.

Example: "Peter Piper picked a peck of pickled peppers." In this tongue twister, the "p" sound is repeated at the beginning of all major words.

Allusion is when an author makes an indirect reference to a figure, place, event, or idea originating from outside the text. Many allusions make reference to previous works of literature or art.

Example: "Stop acting so smart—it's not like you're Einstein or something." This is an allusion to the famous real-life theoretical physicist Albert Einstein.

Anachronism

An anachronism occurs when there is an (intentional) error in the chronology or timeline of a text. This could be a character who appears in a different time period than when he actually lived, or a technology that appears before it was invented. Anachronisms are often used for comedic effect.

Example: A Renaissance king who says, "That's dope, dude!" would be an anachronism, since this type of language is very modern and not actually from the Renaissance period.

Anaphora is when a word or phrase is repeated at the beginning of multiple sentences throughout a piece of writing. It's used to emphasize the repeated phrase and evoke strong feelings in the audience.

Example: A famous example of anaphora is Winston Churchill's "We Shall Fight on the Beaches" speech. Throughout this speech, he repeats the phrase "we shall fight" while listing numerous places where the British army will continue battling during WWII. He did this to rally both troops and the British people and to give them confidence that they would still win the war.

Anthropomorphism

An anthropomorphism occurs when something nonhuman, such as an animal, place, or inanimate object, behaves in a human-like way.

Example: Children's cartoons have many examples of anthropomorphism. For example, Mickey and Minnie Mouse can speak, wear clothes, sing, dance, drive cars, etc. Real mice can't do any of these things, but the two mouse characters behave much more like humans than mice.

Asyndeton is when the writer leaves out conjunctions (such as "and," "or," "but," and "for") in a group of words or phrases so that the meaning of the phrase or sentence is emphasized. It is often used for speeches since sentences containing asyndeton can have a powerful, memorable rhythm.

Example: Abraham Lincoln ends the Gettysburg Address with the phrase "...and that government of the people, by the people, for the people shall not perish from the Earth." By leaving out certain conjunctions, he ends the speech on a more powerful, melodic note.

Colloquialism

Colloquialism is the use of informal language and slang. It's often used by authors to lend a sense of realism to their characters and dialogue. Forms of colloquialism include words, phrases, and contractions that aren't real words (such as "gonna" and "ain't").

Example: "Hey, what's up, man?" This piece of dialogue is an example of a colloquialism, since it uses common everyday words and phrases, namely "what's up" and "man."

An epigraph is when an author inserts a famous quotation, poem, song, or other short passage or text at the beginning of a larger text (e.g., a book, chapter, etc.). An epigraph is typically written by a different writer (with credit given) and used as a way to introduce overarching themes or messages in the work. Some pieces of literature, such as Herman Melville's 1851 novel Moby-Dick , incorporate multiple epigraphs throughout.

Example: At the beginning of Ernest Hemingway's book The Sun Also Rises is an epigraph that consists of a quotation from poet Gertrude Stein, which reads, "You are all a lost generation," and a passage from the Bible.

Epistrophe is similar to anaphora, but in this case, the repeated word or phrase appears at the end of successive statements. Like anaphora, it is used to evoke an emotional response from the audience.

Example: In Lyndon B. Johnson's speech, "The American Promise," he repeats the word "problem" in a use of epistrophe: "There is no Negro problem. There is no Southern problem. There is no Northern problem. There is only an American problem."

A euphemism is when a more mild or indirect word or expression is used in place of another word or phrase that is considered harsh, blunt, vulgar, or unpleasant.

Example: "I'm so sorry, but he didn't make it." The phrase "didn't make it" is a more polite and less blunt way of saying that someone has died.

A flashback is an interruption in a narrative that depicts events that have already occurred, either before the present time or before the time at which the narration takes place. This device is often used to give the reader more background information and details about specific characters, events, plot points, and so on.

Example: Most of the novel Wuthering Heights by Emily Brontë is a flashback from the point of view of the housekeeper, Nelly Dean, as she engages in a conversation with a visitor named Lockwood. In this story, Nelly narrates Catherine Earnshaw's and Heathcliff's childhoods, the pair's budding romance, and their tragic demise.

Foreshadowing

Foreshadowing is when an author indirectly hints at—through things such as dialogue, description, or characters' actions—what's to come later on in the story. This device is often used to introduce tension to a narrative.

Example: Say you're reading a fictionalized account of Amelia Earhart. Before she embarks on her (what we know to be unfortunate) plane ride, a friend says to her, "Be safe. Wouldn't want you getting lost—or worse." This line would be an example of foreshadowing because it implies that something bad ("or worse") will happen to Earhart.

Hyperbole is an exaggerated statement that's not meant to be taken literally by the reader. It is often used for comedic effect and/or emphasis.

Example: "I'm so hungry I could eat a horse." The speaker will not literally eat an entire horse (and most likely couldn't ), but this hyperbole emphasizes how starved the speaker feels.

Imagery is when an author describes a scene, thing, or idea so that it appeals to our senses (taste, smell, sight, touch, or hearing). This device is often used to help the reader clearly visualize parts of the story by creating a strong mental picture.

Example: Here's an example of imagery taken from William Wordsworth's famous poem "I Wandered Lonely as a Cloud":

When all at once I saw a crowd, A host of golden Daffodils; Beside the Lake, beneath the trees, Fluttering and dancing in the breeze.

Irony is when a statement is used to express an opposite meaning than the one literally expressed by it. There are three types of irony in literature:

• Verbal irony: When someone says something but means the opposite (similar to sarcasm).
• Situational irony: When something happens that's the opposite of what was expected or intended to happen.
• Dramatic irony: When the audience is aware of the true intentions or outcomes, while the characters are not . As a result, certain actions and/or events take on different meanings for the audience than they do for the characters involved.
• Verbal irony: One example of this type of irony can be found in Edgar Allan Poe's "The Cask of Amontillado." In this short story, a man named Montresor plans to get revenge on another man named Fortunato. As they toast, Montresor says, "And I, Fortunato—I drink to your long life." This statement is ironic because we the readers already know by this point that Montresor plans to kill Fortunato.
• Situational irony: A girl wakes up late for school and quickly rushes to get there. As soon as she arrives, though, she realizes that it's Saturday and there is no school.
• Dramatic irony: In William Shakespeare's Romeo and Juliet , Romeo commits suicide in order to be with Juliet; however, the audience (unlike poor Romeo) knows that Juliet is not actually dead—just asleep.

Juxtaposition

Juxtaposition is the comparing and contrasting of two or more different (usually opposite) ideas, characters, objects, etc. This literary device is often used to help create a clearer picture of the characteristics of one object or idea by comparing it with those of another.

Example: One of the most famous literary examples of juxtaposition is the opening passage from Charles Dickens' novel A Tale of Two Cities :

"It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair …"

Malapropism

Malapropism happens when an incorrect word is used in place of a word that has a similar sound. This misuse of the word typically results in a statement that is both nonsensical and humorous; as a result, this device is commonly used in comedic writing.

Example: "I just can't wait to dance the flamingo!" Here, a character has accidentally called the flamenco (a type of dance) the flamingo (an animal).

Metaphor/Simile

Metaphors are when ideas, actions, or objects are described in non-literal terms. In short, it's when an author compares one thing to another. The two things being described usually share something in common but are unalike in all other respects.

A simile is a type of metaphor in which an object, idea, character, action, etc., is compared to another thing using the words "as" or "like."

Both metaphors and similes are often used in writing for clarity or emphasis.

"What light through yonder window breaks? It is the east, and Juliet is the sun." In this line from Romeo and Juliet , Romeo compares Juliet to the sun. However, because Romeo doesn't use the words "as" or "like," it is not a simile—just a metaphor.

"She is as vicious as a lion." Since this statement uses the word "as" to make a comparison between "she" and "a lion," it is a simile.

Need more help with this topic? Check out Tutorbase!

Our vetted tutor database includes a range of experienced educators who can help you polish an essay for English or explain how derivatives work for Calculus. You can use dozens of filters and search criteria to find the perfect person for your needs.

A metonym is when a related word or phrase is substituted for the actual thing to which it's referring. This device is usually used for poetic or rhetorical effect .

Example: "The pen is mightier than the sword." This statement, which was coined by Edward Bulwer-Lytton in 1839, contains two examples of metonymy: "the pen" refers to "the written word," and "the sword" refers to "military force/violence."

Mood is the general feeling the writer wants the audience to have. The writer can achieve this through description, setting, dialogue, and word choice .

Example: Here's a passage from J.R.R. Tolkien's The Hobbit: "It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube-shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats -- the hobbit was fond of visitors." In this passage, Tolkien uses detailed description to set create a cozy, comforting mood. From the writing, you can see that the hobbit's home is well-cared for and designed to provide comfort.

Onomatopoeia

Onomatopoeia is a word (or group of words) that represents a sound and actually resembles or imitates the sound it stands for. It is often used for dramatic, realistic, or poetic effect.

Examples: Buzz, boom, chirp, creak, sizzle, zoom, etc.

An oxymoron is a combination of two words that, together, express a contradictory meaning. This device is often used for emphasis, for humor, to create tension, or to illustrate a paradox (see next entry for more information on paradoxes).

Examples: Deafening silence, organized chaos, cruelly kind, insanely logical, etc.

A paradox is a statement that appears illogical or self-contradictory but, upon investigation, might actually be true or plausible.

Note that a paradox is different from an oxymoron: a paradox is an entire phrase or sentence, whereas an oxymoron is a combination of just two words.

Example: Here's a famous paradoxical sentence: "This statement is false." If the statement is true, then it isn't actually false (as it suggests). But if it's false, then the statement is true! Thus, this statement is a paradox because it is both true and false at the same time.

Personification

Personification is when a nonhuman figure or other abstract concept or element is described as having human-like qualities or characteristics. (Unlike anthropomorphism where non-human figures become human-like characters, with personification, the object/figure is simply described as being human-like.) Personification is used to help the reader create a clearer mental picture of the scene or object being described.

Example: "The wind moaned, beckoning me to come outside." In this example, the wind—a nonhuman element—is being described as if it is human (it "moans" and "beckons").

Repetition is when a word or phrase is written multiple times, usually for the purpose of emphasis. It is often used in poetry (for purposes of rhythm as well).

Example: When Lin-Manuel Miranda, who wrote the score for the hit musical Hamilton, gave his speech at the 2016 Tony's, he recited a poem he'd written that included the following line:

And love is love is love is love is love is love is love is love cannot be killed or swept aside.

Satire is genre of writing that criticizes something , such as a person, behavior, belief, government, or society. Satire often employs irony, humor, and hyperbole to make its point.

Example: The Onion is a satirical newspaper and digital media company. It uses satire to parody common news features such as opinion columns, editorial cartoons, and click bait headlines.

A type of monologue that's often used in dramas, a soliloquy is when a character speaks aloud to himself (and to the audience), thereby revealing his inner thoughts and feelings.

Example: In Romeo and Juliet , Juliet's speech on the balcony that begins with, "O Romeo, Romeo! Wherefore art thou Romeo?" is a soliloquy, as she is speaking aloud to herself (remember that she doesn't realize Romeo's there listening!).

Symbolism refers to the use of an object, figure, event, situation, or other idea in a written work to represent something else— typically a broader message or deeper meaning that differs from its literal meaning.

The things used for symbolism are called "symbols," and they'll often appear multiple times throughout a text, sometimes changing in meaning as the plot progresses.

Example: In F. Scott Fitzgerald's 1925 novel The Great Gatsby , the green light that sits across from Gatsby's mansion symbolizes Gatsby's hopes and dreams .

A synecdoche is a literary device in which part of something is used to represent the whole, or vice versa. It's similar to a metonym (see above); however, a metonym doesn't have to represent the whole—just something associated with the word used.

Example: "Help me out, I need some hands!" In this case, "hands" is being used to refer to people (the whole human, essentially).

While mood is what the audience is supposed to feel, tone is the writer or narrator's attitude towards a subject . A good writer will always want the audience to feel the mood they're trying to evoke, but the audience may not always agree with the narrator's tone, especially if the narrator is an unsympathetic character or has viewpoints that differ from those of the reader.

Example: In an essay disdaining Americans and some of the sites they visit as tourists, Rudyard Kipling begins with the line, "Today I am in the Yellowstone Park, and I wish I were dead." If you enjoy Yellowstone and/or national parks, you may not agree with the author's tone in this piece.

How to Identify and Analyze Literary Devices: 4 Tips

In order to fully interpret pieces of literature, you have to understand a lot about literary devices in the texts you read. Here are our top tips for identifying and analyzing different literary techniques:

Tip 1: Read Closely and Carefully

First off, you'll need to make sure that you're reading very carefully. Resist the temptation to skim or skip any sections of the text. If you do this, you might miss some literary devices being used and, as a result, will be unable to accurately interpret the text.

If there are any passages in the work that make you feel especially emotional, curious, intrigued, or just plain interested, check that area again for any literary devices at play.

It's also a good idea to reread any parts you thought were confusing or that you didn't totally understand on a first read-through. Doing this ensures that you have a solid grasp of the passage (and text as a whole) and will be able to analyze it appropriately.

Tip 2: Memorize Common Literary Terms

You won't be able to identify literary elements in texts if you don't know what they are or how they're used, so spend some time memorizing the literary elements list above. Knowing these (and how they look in writing) will allow you to more easily pinpoint these techniques in various types of written works.

Tip 3: Know the Author's Intended Audience

Knowing what kind of audience an author intended her work to have can help you figure out what types of literary devices might be at play.

For example, if you were trying to analyze a children's book, you'd want to be on the lookout for child-appropriate devices, such as repetition and alliteration.

Tip 4: Take Notes and Bookmark Key Passages and Pages

This is one of the most important tips to know, especially if you're reading and analyzing works for English class. As you read, take notes on the work in a notebook or on a computer. Write down any passages, paragraphs, conversations, descriptions, etc., that jump out at you or that contain a literary device you were able to identify.

You can also take notes directly in the book, if possible (but don't do this if you're borrowing a book from the library!). I recommend circling keywords and important phrases, as well as starring interesting or particularly effective passages and paragraphs.

Lastly, use sticky notes or post-its to bookmark pages that are interesting to you or that have some kind of notable literary device. This will help you go back to them later should you need to revisit some of what you've found for a paper you plan to write.

What's Next?

Looking for more in-depth explorations and examples of literary devices? Join us as we delve into imagery , personification , rhetorical devices , tone words and mood , and different points of view in literature, as well as some more poetry-specific terms like assonance and iambic pentameter .

Reading The Great Gatsby for class or even just for fun? Then you'll definitely want to check out our expert guides on the biggest themes in this classic book, from love and relationships to money and materialism .

Got questions about Arthur Miller's The Crucible ? Read our in-depth articles to learn about the most important themes in this play and get a complete rundown of all the characters .

For more information on your favorite works of literature, take a look at our collection of high-quality book guides and our guide to the 9 literary elements that appear in every story !

Want to improve your SAT score by 160 points or your ACT score by 4 points? We've written a guide for each test about the top 5 strategies you must be using to have a shot at improving your score. Download it for free now:

Hannah received her MA in Japanese Studies from the University of Michigan and holds a bachelor's degree from the University of Southern California. From 2013 to 2015, she taught English in Japan via the JET Program. She is passionate about education, writing, and travel.

Student and Parent Forum

Our new student and parent forum, at ExpertHub.PrepScholar.com , allow you to interact with your peers and the PrepScholar staff. See how other students and parents are navigating high school, college, and the college admissions process. Ask questions; get answers.

Ask a Question Below

Have any questions about this article or other topics? Ask below and we'll reply!

Improve With Our Famous Guides

• For All Students

The 5 Strategies You Must Be Using to Improve 160+ SAT Points

How to Get a Perfect 1600, by a Perfect Scorer

Series: How to Get 800 on Each SAT Section:

Score 800 on SAT Math

Score 800 on SAT Reading

Score 800 on SAT Writing

Series: How to Get to 600 on Each SAT Section:

Score 600 on SAT Math

Score 600 on SAT Reading

Score 600 on SAT Writing

Free Complete Official SAT Practice Tests

What SAT Target Score Should You Be Aiming For?

15 Strategies to Improve Your SAT Essay

The 5 Strategies You Must Be Using to Improve 4+ ACT Points

How to Get a Perfect 36 ACT, by a Perfect Scorer

Series: How to Get 36 on Each ACT Section:

36 on ACT English

36 on ACT Math

36 on ACT Reading

36 on ACT Science

Series: How to Get to 24 on Each ACT Section:

24 on ACT English

24 on ACT Math

24 on ACT Reading

24 on ACT Science

What ACT target score should you be aiming for?

ACT Vocabulary You Must Know

ACT Writing: 15 Tips to Raise Your Essay Score

How to Get Into Harvard and the Ivy League

How to Get a Perfect 4.0 GPA

How to Write an Amazing College Essay

What Exactly Are Colleges Looking For?

Is the ACT easier than the SAT? A Comprehensive Guide

Should you retake your SAT or ACT?

When should you take the SAT or ACT?

Stay Informed

Get the latest articles and test prep tips!

Looking for Graduate School Test Prep?

Check out our top-rated graduate blogs here:

GRE Online Prep Blog

GMAT Online Prep Blog

TOEFL Online Prep Blog

Holly R. "I am absolutely overjoyed and cannot thank you enough for helping me!”

Programmes & Qualifications

Cambridge international as & a level english language (9093).

• Syllabus overview

Cambridge International AS and A Level English Language provides learners with the opportunity to study English language and its use in communication. Learners will be encouraged to respond critically to a wide variety of texts in a range of forms, styles and contexts, and to promote skills of communication, reading, research and analysis.

Through their study, learners will develop an ability to read and analyse material, gaining further knowledge and understanding of English language features and issues. Learners will also develop the skills of writing clearly, accurately, creatively and effectively for different purposes and audiences.

Changes have been made to this syllabus for first examination in 2021 onwards. Please see the 2021-2023 syllabus for detailed information.

The syllabus year refers to the year in which the examination will be taken.

• -->2021 - 2023 Syllabus update (PDF, 163KB)
• -->2024 - 2026 Syllabus update (PDF, 136KB)

Syllabus support

• -->Support for English Language (PDF, 1MB)

Syllabus updates

We worked with teachers, subject expert panels and universities around the world to update our Cambridge International AS & A Level English subject group as part of our on-going review process. We have made some changes to the syllabus for examination in 2021, 2022 and 2023.

Many teachers told us that they offer more than one English subject from this group, so we have made some changes so that the syllabuses work together regardless of whether a student is studying one or more subject from this group. To make it clearer for teachers, we have separated this syllabus from our other English Cambridge International AS & A Levels.

How has the syllabus changed?

• We have included a specific subject content section that sets out what students should study across the Cambridge International AS & A Level.
• After feedback from teachers, new content has been added within Paper 3 that focuses on the analysis and intrepretation of language data.
• We have increased the number of assessment objectives from three to five and have updated the wording so the expectations of each assessment objective is clearer.
• The levels of response mark schemes have changed based on feedback from schools to make sure we maintain valid and reliable assessments.
• Text and context
• Meaning and style
• We have added a list of command words and their meanings to help learners know what’s expected of them in the exam.

How has assessment changed?

• Changes to the papers have been made to update and retain the strengths of the current model. We are keeping the assessment model for English Language as a four component, exam only model.
• The A Level Paper 3 will have stimulus texts that will be accompanied by some quantitative language data, in graph and table form. This change is based on feedback from teachers who feel the skill of data analysis would be valuable for students and engage their interest.
• Language acquisition has been moved to Paper 3 from Paper 4 as this topic represents language analysis more than a language topic.
• English in the World - a new title for the current English as a global language
• Language and the self - a new topic that concentrates on the relationships between language and thought, and language and social identity. This change was made after consultation with centres, who felt the current topics in Paper 4 were not discrete enough.

When do these changes take place?

The updated syllabus will be assessed in June and November 2021, 2022 and 2023. It is also available in March 2021, 2022 and 2023 (India only). Please see the 2021-2023 syllabus above for full details.

Coming soon

We are developing a wide range of support to help you plan and teach the 2021-2023 syllabus. Visit our School Support Hub from April 2019 onwards.

Look out for our comprehensive support package to help you deliver the 2021-2023 syllabus including a Scheme of work, Example candidate responses and Specimen paper answers. There will also be Teacher and Learner guides from April 2019 onwards through our School Support Hub .

Endorsed resources

View the latest resources that are being developed for the Cambridge International AS & A Level English Language syllabus (9093).

Helps students gain an understanding of how language works for different audiences and purposes. Improve reading skills through analysis of different text types – from blogs to letters – and create imaginative, discursive and critical writing.

Read more on the Cambridge University Press website

Build skills and knowledge in a clear sequence and help students to apply skills to a range of language tasks, with up-to-date coverage of the syllabus topics and a stimulating range of international texts.

Read more on the Collins website

Important notices

Find out more about our range of English syllabuses to suit every level and ambition.

For some subjects, we publish grade descriptions to help understand the level of performance candidates’ grades represent.

We paused the publication of grade descriptions in response to the Covid-19 pandemic and the temporary changes to the awarding standard in 2020, 2021 and 2022.

As the awarding standard has now returned to the pre-pandemic standard, we are working to produce up-to-date grade descriptions for most of our general qualifications. These will be based on the awarding standards in place from June 2023 onwards.

School Support Hub

Teachers at registered Cambridge schools can unlock over 30 000 teaching and learning resources to help plan and deliver Cambridge programmes and qualifications, including Schemes of work, Example candidate responses, Past papers, Specimen paper answers, as well as digital and multimedia resources.

Schemes of work

Example responses, past papers, specimen paper answers.

Register your interest in becoming a Cambridge School

Stay up to date

Sign up for updates about changes to the syllabuses you teach

• Past papers, examiner reports and specimen papers
• Published resources

This website works best with JavaScript switched on. Please enable JavaScript

• Centre Services
• Associate Extranet
• All About Maths

AS and A-level English Language

• Specification
• Planning resources
• Teaching resources
• Assessment resources
• Introduction

Specification at a glance

• 3.1 Language and the individual
• 3.2 Language varieties
• 4.1 Language, the individual and society
• 4.2 Language diversity and change
• 4.3 Language in action
• Scheme of assessment
• Non-exam assessment administration (A-level only)
• General administration

These qualifications are linear. Linear means that students will sit all the AS exams at the end of their AS course and all the A-level exams at the end of their A-level course.

Subject content

• 3.1.1 Textual variations and representations
• 3.2.1 Language diversity
• 3.2.3 Writing skills
• Component 1 – 3.1.2 Methods of language analysis
• Component 2 – 3.2.2 Methods of language analysis

Assessments

• 4.1.1 Textual variations and representations
• 4.1.3 Children’s language development
• 4.2.1 Language diversity and change
• 4.2.3 Language discourses
• 4.2.4 Writing skills
• 4.3.1 Language Investigation
• 4.3.2 Original writing
• Component 1 – 4.1.2 Methods of language analysis
• Component 2 – 4.2.2 Methods of language analysis
• Component 3 – 4.3.3 Methods of language analysis

• International
• Schools directory
• Resources Jobs Schools directory News Search

Resources for Creative Writing in English Language A Level

Subject: English

Age range: 16+

Resource type: Lesson (complete)

Last updated

22 February 2018

• Share through email
• Share through twitter
• Share through linkedin
• Share through facebook
• Share through pinterest

Tes paid licence How can I reuse this?

Your rating is required to reflect your happiness.

It's good to leave some feedback.

Something went wrong, please try again later.

This resource hasn't been reviewed yet

To ensure quality for our reviews, only customers who have purchased this resource can review it

Report this resource to let us know if it violates our terms and conditions. Our customer service team will review your report and will be in touch.

Not quite what you were looking for? Search by keyword to find the right resource:

• Professional development
• Understanding learners

Creative writing for language learners (and teachers)

Creative writing normally refers to the production of texts which have an aesthetic rather than a purely informative, instrumental or pragmatic purpose.

Most often, such texts take the form of poems or stories, though they are not confined to these genres. (Letters, journal entries, blogs, essays, travelogues, etc. can also be more or less creative.) In fact, the line between creative writing (CW) and expository writing (ER) is not carved in stone. In general, however CW texts draw more heavily on intuition, close observation, imagination, and personal memories than ER texts.  

One of the chief distinguishing characteristics of CW texts is a playful engagement with language, stretching and testing its rules to the limit in a guilt-free atmosphere, where risk is encouraged. Such writing combines cognitive with affective modes of thinking. As the poet, R.S. Thomas once wrote, ‘Poetry is that which arrives at the intellect by way of the heart.’ The playful element in CW should not, however be confused with a lax and unregulated use of language. On the contrary, CW requires a willing submission on the part of the writer to the ‘rules’ of the sub-genre being undertaken. If you want to write a Limerick, then you have to follow the rules governing limericks. If not, what you produce will be something other than a limerick: obvious, perhaps, but important too. The interesting thing is that the very constraints which the rules impose seem to foster rather than restrict the creativity of the writer. This apparent paradox is explained partly by the deeper processing of thought and language which the rules require.

What are the benefits of CW for learners?

• CW aids language development at all levels: grammar, vocabulary, phonology and discourse. It requires learners to manipulate the language in interesting and demanding ways in attempting to express uniquely personal meanings. In doing so, they necessarily engage with the language at a deeper level of processing than with most expository texts. (Craik and Lockhart 1972) The gains in grammatical accuracy and range, in the appropriacy and originality of lexical choice, in sensitivity to rhyme, rhythm, stress and intonation, and in the way texts hang together are significant.
• As mentioned above, a key characteristic of CW is a willingness to play with the language. In recent years there has been a resurgence of interest in the role of play in language acquisition. (Carter 2004, Cook 2000, Crystal 1998) In some ways, the tsunami of the Communicative Approach has done a disservice to language teaching  by its insistence on the purely communicative functions of language. Proponents of ‘play’ point out, rightly, that in L1 acquisition, much of the language encountered by and used by children is in the form of rhythmical chants and rhymes, word games, jokes and the like. Furthermore, such playfulness survives into adulthood, so that many social encounters are characterized by language play (punning, spontaneous jokes, ‘funny voices’, metathesis, and a discourse which is shaped by quasi-poetic repetition (Tannen 1989)). These are precisely the kinds of things L2 learners are encouraged to do in CW activities. This playful element encourages them to play creatively with the language, and in so doing, to take the risks without which learning cannot take place in any profound sense.  As Crystal (1998) states, ‘Reading and writing do not have to be a prison house. Release is possible. And maybe language play can provide the key.’
• Much of the teaching we do tends to focus on the left side of the brain, where our logical faculties are said to reside. CW puts the emphasis on the right side of the brain, with a focus on feelings, physical sensations, intuition and musicality. This is a healthy restoration of the balance between logical and intuitive faculties. It also affords scope for learners whose hemisphere dominance or learning-style preferences may not be intellectual or left brain dominant, and who, in the normal process of teaching are therefore at a disadvantage.
• Perhaps most notable is the dramatic increase in self-confidence and self-esteem which CW tends to develop among learners. Learners also tend to discover things for themselves about the language… and about themselves too, thus promoting personal as well as linguistic growth. Inevitably, these gains are reflected in a corresponding growth in positive motivation. Among the conditions for promoting motivation, Dornyei (2001: 138-144) cites:  
• “5. Create a pleasant and supportive atmosphere.
•  6. Promote the development of group cohesiveness.
• 13. Increase the students’ expectation of success in particular tasks and in learning in general.
• 17. Make learning more stimulating and enjoyable by breaking the monotony of classroom events.
• 18. Make learning stimulating and enjoyable by increasing the attractiveness of tasks.
• 19. Make learning stimulating and enjoyable for learners by enlisting them as active task participants.
• 20. Present and administer tasks in a motivating way.
• 23. Provide students with regular experiences of success.
• 24. Build your learners’ confidence by providing regular encouragement.
• 28. Increase student motivation by promoting cooperation among the learners.
• 29. Increase student motivation by actively promoting learner autonomy.
• 33. Increase learner satisfaction.
• 34. Offer rewards in a motivational manner.”   
• All these conditions are met in a well-run CW class. The exponential increase in motivation is certainly supported by my own experience in teaching CW. Learners suddenly realize that they can write something in a foreign language that has never been written by anyone else before, and which others find interesting to read. (Hence the importance of ‘publishing’ students’ work in some form.)  And they experience not only a pride in their own products but also a joy in the ‘flow’ of the process. (Czsikszentmihaly 1997).  
• Finally, CW feeds into more creative reading. It is as if, by getting inside the process of creating the texts, learners come to understand intuitively how such texts function, and this makes similar texts easier to read.  Likewise, the development of aesthetic reading skills ( Kramsch  1993, Rosenblatt 1978), provides the learner with a better understanding of textual construction, and this feeds into their writing.

And teachers? I argued in the first article that teachers, as well as learners, should engage with extensive reading.  In the same spirit, I would argue that there are significant benefits to teachers if they participate in CW.

• There is little point in exhorting learners to engage in CW unless we do so too.  The power of the teacher as model, and as co-writer is inestimable.
• CW is one way of keeping teachers’ English fresh and vibrant.  For much of our professional lives we are in thrall to the controlled language of textbook English and the repeated low level error-laden English of our students.  As teachers of language, we surely have a responsibility to keep our primary resource alive and well.
• CW seems to have an effect on the writer’s level of energy in general.  This tends to make teachers who use CW more interesting to be around, and this inevitably impacts on their relationships with students.
• The experimental stance with regard to writing in general appears to fee back into the teaching of writing.  Teachers of CW tend also to be better teachers of writing in general                

My evidence for these assertions is largely anecdotal, backed by a survey of writing teachers I conducted in 2006.  One of the interesting facts to emerge was a widespread belief among teachers of writing that CW had a positive effect on students’ writing of Expository texts and helped them develop that much- desired but rarely-delivered ‘authentic voice’. Space does not allow me to expand on these findings, nor on some of the possible activities teachers might try.  I will attempt to make good these omissions in some of my blogs during the month of December. I will also make reference there to ways in which CW intersects with some of our major current concerns. Meantime, anyone interested could sample some of the books from the list below: Fry (2007), Koch (1990), Matthews (1994), Spiro (2004, 2007), Whitworth (2001) and Wright and Hill (2009)

• Carter, Ronald.  (2004)  Language and creativity: the art of common talk.  London: Routledge.
• Cszikszentmihalyi. M. ( 1997) Creativity: Flow and the psychology of discovery and invention.  New York: Harper Perennial
• Cook, Guy (2000)  Language Play: Language Learning.  Oxford: Oxford University Press.
• Craik, F.I.M  and R.S Lockhart   (1972)  ‘Levels of processing: a framework for memory research’  Journal of  Verbal Learning and Verbal Behaviour.  11.  671-685
• Crystal, David (1998) Language Play. London: Penguin
• Dornyei, Zoltan (2001)  Motivational Strategies in the Language Classroom.  Cambridge: Cambridge University Press.
• Fry, Stephen (2007)  The Ode Less Travelled.  London: Arrow Books.
• Koch, Kenneth. (1990)  Rose, where did you get that red?  New York: Vintage Books.
• Kramsch, Claire (1993)  Context and Culture in Language Teaching.  Oxford: Oxford University Press.
• Matthews, Paul (1994)  Sing Me the Creation.  Stroud: Hawthorne Press.
• Rosenblatt, Louise  (1978)  The Reader, the Text, the Poem. Carbondale, Illinois: Southern Illinois University Press.
• Spiro, Jane (2004)  Creative Poetry Writing.  Oxford: Oxford University Press.
• Spiro, Jane (2007)  Storybuilding. Oxford: Oxford University Press.
• Tannen, Deborah. (1989)  Talking Voices: Repetition, dialogue, and imagery in conversational discourse.  Cambridge: Cambridge University Press.
• Whitworth, John.  (2001)  Writing Poetry.  London: A and C Black.
• Wright, Andrew and David S.Hill.  (2009) Writing Stories.  Innsbruck: Helbling

By Alan Maley

Please note Alan's now finished writing on the site and will not be able to reply personally to your comments.

CW- not an easy task

• Log in or register to post comments

All about Creative writing

                         Thank you very much for your extremely useful and highly productive article On creative writing for learners and teachers. In fact I am looking for a great person of your stature who will guide me in my poetic and writing pursuits. I have already requested you to have a look at my poems and you have read them but not offered me suggestions or compliments. I hope you will read my other 2 poems The street children and the typical Indian railway journey and send your comments either to my e-mail or express them in your comments as response.

You have given a detailed information about creative writings and expository writings,how they are useful to the students and teachers,which books they should refer to and which activities they should attempt very clearly and lucidly. I hope you will talk more about in your ensuing blogs.

I believe in constructivism and so your articles appeal to my art. Language acquisition is the need of the hour in non native english speaking countries like India. Since I am text book writer for Andhrapradesh, I would like to interact with you further. I hope you will help me improve my poetic and creative writing skills.

With kind regards,

Yours sincerely,

JVL NARASIMHA RAO

Research and insight

Browse fascinating case studies, research papers, publications and books by researchers and ELT experts from around the world.

See our publications, research and insight

• Executive Committee
• #EnglishCreates Media Toolkit
• #EnglishCreates Campaign Resources
• #EnglishCreates Campaign Events
• #EnglishCreates Endorsements
• Spring Conference and AGM
• English Shared Futures
• Subject Leaders Networking
• UE Book Prize
• Consultations & Reports
• English Resources
• Public Statements

A Level Creative Writing

Chair Susan Bruce writes in defence of Creative Writing A Level in the Times Higher: ‘Creative writing is an increasingly important player in a suite of humanities disciplines that train our young people in the arts of communication and persuasion.’

Barbara Bleiman of the English & Media Centre on why the DfE decision to turn down the AQA submission for Creative Writing A Level (2017) is misguided: “The DfE’s rationales for axing it – that it is too close to English Literature and that it is too skills-based – both fail to understand its contribution as a subject and show little respect for its growth in H.E. and the respect with which it is regarded as a valid subject for study.”

Jonathan Taylor argues that the decision seems to be “based on an outmoded and prejudiced interpretation of the subject, on its (mis-)perception (by ministers and, potentially, the media), rather than on actual evidence.”

You can sign Maggie Butt’s petition to Nicky Morgan here

Related Posts