creative writing year 12 examples

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

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

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

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

What Is Creative Writing (Long Description)?

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

Table of Contents

Let’s expand on that definition a bit.

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

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

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

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

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

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

Types of Creative Writing

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

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

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

Short stories are known for their brevity.

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

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

Novels (The Long Journey)

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

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

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

Readers get an immersive experience.

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

Poetry (The Soul’s Language)

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

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

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

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

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

Plays (The Dramatic Dialogue)

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

This format uniquely explores human relationships and societal issues.

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

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

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

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

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

Memoirs (The Personal Journey)

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

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

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

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

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

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

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

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

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

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

Creative nonfiction includes biographies, essays, and travelogues.

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

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

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

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

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

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

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

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

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

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

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

Clarity makes your writing understandable and accessible.

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

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

Coherence ensures your writing flows logically.

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

Conciseness

Conciseness is about expressing ideas succinctly.

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

Creativity is the heart of creative writing.

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

Consistency

Consistency maintains a uniform tone, style, and voice.

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

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

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

Exploring complex characters and themes is also key.

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

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

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

What Does a Creative Writer Do?

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

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

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

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

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

They may navigate the publishing world with agents and editors.

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

How to Get Started With Creative Writing?

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

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

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

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

Final Thoughts: What Is Creative Writing?

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

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

Read This Next:

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

How to Write a Band 6 Creative?

HSC Module B: Band 6 Notes on T.S. Eliot’s Poetry

Full mark band 6 creative writing sample.

• Uncategorized
• creative writing
• creative writing sample

Following on from our blog post on how to write creatives , this is a sample of a creative piece written in response to:

“Write a creative piece capturing a moment of tension. Select a theme from Module A, B or C as the basis of your story.”

The theme chosen was female autonomy from Kate Chopin’s The Awakening (Module C prescribed text).

This creative piece also took inspiration from Cate Kennedy’s Whirlpool .

Summer of 2001

For a moment, the momentum she gained galloping in the blossoming garden jolted, and she deflated like a balloon blown by someone suddenly out of breath. A half-smile, captured by the blinking shutter.

Out spluttered the monochrome snapshot. A bit crumpled. A little too bright.

Two dark brown braids, held by clips and bands and flowers, unruliness constrained. The duplicate of her figure came out in the Polaroid sheltered between a stoic masculine figure, and two younger ones just as unsmiling as their father. The mother stood like a storefront mannequin, the white pallor of her skin unblemished by her lurid maroon blush.

Father told the children that their mother was sick. That’s all. Having nightmares about their grandmother who left mother as a child. “Ran off,” he had said, and his nose twitched violently. “Left a family motherless, wifeless.”

I run, too, the girl had thought excitedly. When she ran, she could see the misty grey of the unyielding lamp-posts, and hear the same grunts and coos of pigeons unable to sing, melodies half-sang, half-dissonant. Why don’t they ever sing? Like the parrots and the cockatoos and lorikeets?

Out spluttered another photograph.

Void of the many distresses as analogous to adulthood, her face brimmed with childlike innocence, untroubled by the silhouettes of her father and brothers. 

Spring of 2012

“Can you take a picture for us?”

She was on the other side of the camera, and for a moment she was lost in a transitory evocation of her childhood. The soft blush of the children and the hardened faces of the adults. The forced tightness of their figures. They too looked happy, she supposed, amidst the golden sand and waves that wash the shore.

Away from the flippancy of clinking wine glasses and high-pitched gossip, she felt could almost hear the ticking seconds of each minute, each hour.

She returned the phone to the family.

How still they stood! The unmoving figures on the compact screen. A snapshot of the present that has instantaneously become the past. If only her childhood could extend infinitely to her present, and future, then she would again experience that luscious happiness that seemed to ebb with age. The warm embrace by her mother. The over-protectiveness of her father. How strange it was, to think that she had once avoided both.

But no matter.

She can’t return to the past. All she could do is reminisce about it. It was futile, she knew. The physician had told her so.

“Think about the present!” he had said. “You live too much in the past! Talk to your family! Your husband!”. After a glance at the confounded face, he added, “You grew up with caring brothers, I believe?”.

She nodded.

“Surely,” he elongated the word so that it extended into the unforeseeable future, “they must understand.”

No, they didn’t, she thought. Not after their Marmee left.

She remembered how perfect  her family had been, captured undyingly on that monochrome photograph. Her brothers and her, mother and father. Yes, what a perfect family. Oh, how the opened eye of the camera would watch apathetically as they fastened together, to perfection.

It all fell apart five weeks afterwards, as they listened her father’s monotonous voice reading the last remnant of their mother – a note declaring how their perfection had compromised her, been too stifling, just as that Summer’s humidity had been. Wasn’t that what it meant to be a family, she had thought, to let give you to others willingly for the happiness of the entire family?

Absentmindedly, the grown woman picked up a bayberry branch and drew circles upon circles on the siliceous shore. Where it touched, the sand darkened and lightened again as the water rose.

The ultimatum of my life, she proposed to herself, a rebellious dive at sea! Amused by her dramatism, she continued to muse. How simple it would be, washed away and never coming back. Her family now was perfect enough. Big house. Big car. Big parties. Big dreams. But happiness? She thought of the riot of colour and flashing cameras that her husband loved. Oh, how they caused her migraines! And his insistence for her to abandon those childhood passions of hers, strolling amidst sunny afternoons amidst the greenery, only embody their “Marmee” and his “Honey”. How ridiculous!

Her hand halted to a stop.

For a fleeting moment, the continuum of her oblivion terminated, the angular momentum her hand gained by drawing those perfect circles on the shore jolted. She inflated with the sudden realisation of what she had written on the sand.

Short, and incomplete without the usual Jennings that followed it. But her name nonetheless.

Yes, those ephemeral imprints of her name will be washed away by the infinite rise and fall of the tide. But she still watched. So that when the present became the past, she would still have a snapshot in her memory to hold on to.

She knew she could not go, just like her name. Into the ocean and never come back. She could not possibly go like her mother, who when she was eleven, left a family without a mother and husband without a wife. She could not possibly go like her mother, who left a daughter crushed by the milliseconds of perfection that succumbs so soon after the click of a camera.

With a long sigh, she turned back and the sea becoming a reverberating picture of her past. Intangible, yet outrageously glorious…

11th March, 2015

The mother, on her phone, manicured fingernails swiping the screen absentmindedly. Across the room, the father looked concerned at both the inattentiveness of his wife and the sounds of clanking metal emanating from the cameramen.

“We’re ready, Mrs Jennings,” said one of them, “Please get into position for the family photo!”

The opened eye of the camera watched as the family fastened itself together, the rosy-cheeked daughter and son, the unison of the family creating the epitome of perfection. They smiled vibrant smiles, posed jovially at the flashing lights.

But immediately after the click of the shutters, they all fell apart, insubstantial as a wish.

• Amy #molongui-disabled-link How our ex-student and current tutor transferred to a Selective School
• Amy #molongui-disabled-link HSC Module B: Band 6 Notes on T.S. Eliot's Poetry
• Amy #molongui-disabled-link How to Write a Band 6 Creative?
• Amy #molongui-disabled-link How to Write a Band 6 Discursive?

Related posts

When to start preparing for OC exam and why is it important to prep early

Top Selective School Graduate’s Tips on the English section of the OC exam

JP English Student Successes: How Andy scored 99.95 ATAR and Band 6 in English Advanced

VIDEO COURSE

Finish your draft in our 3-month master class. Sign up now to watch a free lesson!

Learn How to Write a Novel

Finish your draft in our 3-month master class. Enroll now for daily lessons, weekly critique, and live events. Your first lesson is free!

Guides • Perfecting your Craft

Last updated on Feb 14, 2023

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

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

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

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

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

Here are a few examples:

“Ozymandias” by Percy Bysshe Shelley

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

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

“Trying to Raise the Dead” by Dorianne Laux

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

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

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

Song Lyrics

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

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

“Hallelujah” by Leonard Cohen

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

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

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

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

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

Plays and Screenplays

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

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

All My Sons by Arthur Miller

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

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

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

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

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

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

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

Personal essays

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

Here are a couple of fantastic examples:

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

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

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

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

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

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

Short Fiction

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

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

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

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

“Flowering Walrus” by Scott Skinner (Reedsy)

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

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

Want to give short story writing a go? Give our free course a go!

FREE COURSE

How to Craft a Killer Short Story

From pacing to character development, master the elements of short fiction.

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

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

Convenience Store Woman by Sayaka Murata

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

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

Erasure by Percival Everett

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

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

Creative Nonfiction

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

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

Men We Reaped by Jesmyn Ward

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

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

Cork Dork by Bianca Bosker

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

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

Illustrated Narratives (Comics, graphic novels)

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

Calvin & Hobbes by Bill Watterson

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

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

From Hell by Alan Moore and Eddie Campbell 

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

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

Video Games and RPGs

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

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

80 Days by inkle studios

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

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

What Remains of Edith Finch by Giant Sparrow

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

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

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

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

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

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

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

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

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

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

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

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

Join a community of over 1 million authors

Reedsy is more than just a blog. Become a member today to discover how we can help you publish a beautiful book.

We made a writing app for you

Yes, you! Write. Format. Export for ebook and print. 100% free, always.

1 million authors trust the professionals on Reedsy. Come meet them.

Enter your email or get started with a social account:

Home › Study Tips › Creative Writing Resources For Secondary School Students

Creative Writing Examples: 9 Types Of Creative Writing

• Published July 28, 2022

Table of Contents

Creative writing takes a lot of brainpower. You want to improve your creative writing skills, but you feel stuck. And nothing’s worse than feeling dry and wrung out of ideas! 

But don’t worry. When our creative writing summer school students feel they’re in a rut, they expand their horizons. Because sometimes, all you need is to try something new . 

And this article will give you a glimpse into what you need to thrive at creative writing.

Here you’ll find creative writing examples to help give you the creative boost you’re looking for. Are you dreaming of writing a novel but can’t quite get there yet? 

No worries! Maybe you’d want to try your hand writing short stories first, or maybe flash fiction. You’ll know more about these in the coming sections.

9 Scintillating Creative Writing Examples

Let’s go through the 9 examples of creative writing and some of their famous pieces penned under each type.

There is hardly a 21st-century teenager who hasn’t laid their hands on a novel or two. A novel is one of the most well-loved examples of creative writing.

It’s a fictional story in prose form found in various genres, including romance, horror, Sci-Fi, Fantasy and contemporary. Novels revolve around characters whose perspectives in life change as they grow through the story. They contain an average of 50,000 to 70,000 words. 

Here are some of the most famous novels:

• To Kill a Mockingbird by Harper Lee
• Pride and Prejudice by Jane Austen
• Harry Potter by J.K. Rowling
• The Chronicles of Narnia by C.S. Lewis
• Lord of the Rings by J.R.R. Tolkien

2. Flash Fiction

Flash Fiction is similar to a novel in that it offers plot development and characters. But unlike novels, it’s less than 1000 words. Some even contain fewer than 100 words! Legend has it that the shortest story ever told was Ernest Hemmingway’s six-word story, which goes like this, “For Sale: Baby shoes, never worn.”

Do you know that there are sub-categories of Flash Fiction? There’s the “Sudden Fiction” with a maximum of 750 words. “Microfiction” has 100 words at most. And the “six-word story” contains a single-digit word count. 

Remarkable Flash Fiction include: 

• The Long and Short of It by Michael A. Arnzen
• Chapter V Ernest Hemingway
• Gasp by Michael A. Arnzen
• Angels and Blueberries by Tara Campbell
• Curriculum by Sejal Shah

3. Short Story

What’s shorter than a novel but longer than flash fiction? Short story. It’s a brief work of fiction that contains anywhere from 1,000 to 10,000 words. Whereas a novel includes a complex plot, often with several characters interacting with each other, a short story focuses on a single significant event or mood. It also has fewer characters. 

The best short stories are memorable and evoke strong emotions. They also contain a twist or some type of unexpected resolution.

Check out these famous short stories:

• The Lottery by Shirley Jackson
• The Cask of Amontillado by Edgar Allan Poe
• The Gift of the Magi by O. Henry
• The Sniper by Liam OFlaherty
• A Good Man is Hard to Find by Flannery O’Connor

4. Personal Essay

In a personal essay, you write about your personal experience. What lesson did the experience teach you? And how does it relate to the overarching theme of the essay? Themes can be about anything! From philosophical questions, political realizations, historical discussions, you name it.

Since writing a personal essay involves talking about actual personal events, it’s often called “autobiographical nonfiction.” Its tone is informal and conversational.

Have you observed that applications at universities and companies usually involve submitting personal essays? That’s because having the capability to write clear essays displays your communication and critical thinking skills.

Some of the most famous personal essays include:

• Self-Reliance by Ralph Waldo Emerson
• Once More To The Lake by E.B. White
• What I Think and Feel at 25 by F. Scott Fitzgerald
• Ticket to the Fair by David Foster Wallace

Memoirs and personal essays are autobiographical. But while you use your experiences in a personal essay to share your thoughts about a given theme, a memoir focuses on your life story. What past events do you want to share? And how has your life changed?

In a word, a memoir is all about self-exploration. 

Here are among the most famous memoirs:

• I Know Why the Caged Bird Sings by Maya Angelou
• West with the Night by Beryl Markham
• Personal Memoirs of Ulysses S. Grant by Ulysses Grant
• Night By Elie Wiesel
• A Long Way Gone By Ishmael Beah

6. Poetry 

Poetry is one of the oldest examples and types of creative writing . Did you know that the oldest poem in the world is the Epic of Gilgamesh, which is known to be 4,000 years old? Poetry is a type of literature that uses aesthetic and rhythmic qualities of language—such as sound, imagery, and metaphor—to evoke meaning. 

There are 5 types of rhythmic feet common in poetry: trochee, anapest, dactyl, iamb, and anapest.

The most beloved poems include:

• No Man Is An Island by John Donne
• Still I Rise by Maya Angelou
• Ode to a Nightingale by John Keats
• If You Forget Me by Pablo Neruda
• Fire And Ice by Robert Frost

7. Script (Screenplay)

A script is a type of creative writing (a.k.a. screenwriting) that contains instructions for movies. Instructions indicate the characters’ movements, expressions, and dialogues. In essence, the writer is giving a visual representation of the story.

When a novel says , “Lucy aches for the love she lost,” a script must show . What is the actress of Lucy doing? How can she portray that she is aching for her lost love? All these must be included in screenwriting.

The following are some of the most brilliant scripts:

• Citizen Kane by Herman J. Mankiewicz and Orson Welles
• The Godfather by Mario Puzo and Francis Ford Coppola
• Pulp Fiction by Quentin Tarantino
• The Silence of the Lambs by Ted Tally
• Taxi Driver by Paul Schrader

8. Play (Stageplay) 

If screenplay is for movies, stageplay is for live theatre. Here’s another distinction. A screenplay tells a story through pictures and dialogues, whereas a stageplay relies on the actors’ performances to bring the story to life.

That’s why dialogue is THE centre of live performance. A play doesn’t have the benefit of using camera angles and special effects to “show, don’t tell.”

Some of the most renowned plays are:

• Hamlet by William Shakespeare
• The Crucible by Arthur Miller
• A Streetcar Named Desire by Tennessee Williams
• Romeo and Juliet by William Shakespeare
• The Importance of Being Earnest by Oscar Wilde

What was the best speech you heard that moved you to action? Speeches are among the most powerful examples of creative writing. It’s meant to stir the audience and persuade them to think and feel as you do about a particular topic.

When you write a speech, you intend to present it orally. So not only do you have to consider the words you choose and the phrasing. But you also have to think about how you’ll deliver it.

Will the sentences flow smoothly onto each other so as to roll off the tongue? Do the words give you the confidence and conviction you need to express your thoughts and beliefs?

Here are some of the most stirring speeches in history:

• I Have A Dream by Martin Luther King Jr.
• The Gettysburg Address by Abraham Lincoln
• First Inaugural Address by Franklin D. Roosevelt
• I Choose To Live by Sabine Herold
• Address to the Nation on the Challenger by Ronald Reagan

What Are The Elements of Creative Writing?

You’re now familiar with the various examples of creative writing. Notice how creative writing examples fall under different categories. Can you guess what they are? That’s right! Poetry and Prose .

The Prose section can be broken down further into Prose Fiction and Prose Nonfiction.

Where do the Elements of Creative Writing come in? For Prose fiction . If there’s one word that can describe all forms of prose fiction, it’s STORY. So what are the Elements of a Story (Creative Writing?)

The character is a being (person, animal, thing) through which the reader experiences the story. They speak, act, and interact with the environment and other characters.

• Elizabeth Bennet in Pride & Prejudice
• Simba in Lion King
• Woody in Toy Story

The two most essential types of characters are the Protagonist and Antagonist. Who is the Protagonist? They’re the main character, and the story revolves around them. Elizabeth, Simba, and Woody are the protagonists in their stories. 

And who is the Antagonist? The one who causes conflict for the protagonist.

The setting answers the question, “when and where does the story set place?” It’s the story’s time and location. Providing context that helps the reader visualise the events in clearer detail. 

What is the Plot? It’s the sequence of events in the story. If you break it down, the plot looks like this:

Exposition – you can also call this the introduction. Where you first catch a glimpse of the characters and setting. In the Lion King (Part 1), this is where Simba is introduced to all the animals on top of Pride Rock as the future King. 

Rising Action – the story gets complicated. The tension builds, and you see the conflict arise. It’s a time of crisis for the main characters. So what’s the Rising Action for Lion King? It would be when Simba’s uncle Scar murders his father and tells him to “Run away and NEVER return.” 

Climax – you’re at the edge of your seat as the story reaches its crescendo. The most defining (and intense) moment arrives when the protagonist faces the conflict (enemy/challenge) head-on. Simba finally goes back to Pride Rock to confront his wicked uncle Scar. And an epic fight begins. Simba even almost falls off a cliff! *gasp

Falling Action – here you catch your breath as the story starts to calm down. The characters unwind and work towards their respective conclusions. Simba didn’t fall off the cliff. Instead, he won the fight. And he roars atop Pride Rock to reclaim his rightful place as King. The lionesses proclaim their joyful acceptance by roaring back. 

Resolution – remaining conflict concludes, and the story ends. In Lion King, Pride Land is once again lush and peaceful. And Simba looks on with pride as he introduces his daughter Kiara on top of Pride Rock.

You can think of the theme as the main idea. What meaning is the writer trying to express in the story? The other elements, such as setting, plot, and characters, work together to convey the theme.

Point of View

Through what lens or “eye” does the narrating voice tell the story? There are three points of view common in writing stories:

First Person

In the first person point of view, the narrating voice is the main character. Much of the lines talk of “I” and “me.” Everything you know about the other characters, places, and dialogues in the story comes from the main character’s perspective. 

Third Person 

From the third person point of view, the narrating voice is separate from the main character. Meaning the narrator uses “he/she/they” when following the main character in the story. There are generally two types of third-person points of view. 

Limited. In a third-person limited point of view, the narrator only knows about the main character’s inner world – their thoughts and feelings. But they have no idea about the thoughts and feelings of other characters. 

Omniscient. What does “omniscient” mean? All-knowing. So in the Third Person Omniscient point of view, the narrator knows about the feelings and thoughts of all the characters. Not just that of the main character. 

In a story that uses a third-person omniscient point of view, the all-knowing narrator sometimes follows the story from multiple characters’ perspectives. 

There you have it! By now, you’ve learned about creative writing examples, plus creative elements should you want to write a story. Browse our creative writing tips if you’re looking for a bit of help to engage your audience.

Still feel like you need more heavy-lifting? If it’s a talented Oxford, Cambridge, or Ivy League tutor you need to help you master creative writing, check out these creative writing online courses .

Related Content

Tackling homework anxiety: your guide to a calmer study life.

Discovery: The Ultimate Guide to Creative Writing

Friday 4th, March 2016

Elyse Popplewell

If you’re a first time reader, then you might not be aware of my free online HSC tutoring for English (including HSC creative writing), and other subjects. Check it out! Also – I have a deal for you. If this post is crazy helpful, then you should share it with your friends on Facebook . Deal? Awesome.

HSC Creative Writing: The Guide.

HSC creative writing can be a pain for some and the time to shine for others. Getting started is the most difficult part. When you have something to work with, it is simply a matter of moulding it to perfection. When you have nothing, you have a seemingly difficult road ahead. After several ATAR Notes members expressed that they need help with HSC creative writing, I wrote this to give you some starting points. Then I edited this, and re-wrote it so that it helps you from the beginning stages until the very last days of editing. Fear no more, HSC creative writing doesn’t have to be the foe that it is in your head! Let’s get started.

Surprise: You’re the composer!

Write about what you know

In the years 2010-2015, not once has Paper 1 specified a form that you have to use. Every year in that time frame they have asked for “imaginative writing” except in 2011 when they asked for a “creative piece” of writing. Most commonly, students write in the short story form. However, students can also write speeches, opinion articles, memoirs, monologues, letters, diary entries, or hybrid medium forms. Think about how you can play to your strengths. Are you the more analytical type and less creative? Consider using that strength in the “imaginative writing” by opting to write a feature article or a speech. If you want to ask questions about your form, then please check out my free online HSC tutoring for English and other subjects.

Tense is a very powerful tool that you can use in your writing to increase intensity or create a tone of detachment, amongst other things. Writing entirely in the present tense is not as easy as it seems, it is very easy to fall into past tense. The present tense creates a sense of immediacy, a sense of urgency. If you’re writing with suspense or about action, consider the present tense.

“We stand here together, linking arms. The car screeches to a stop in front of our unified bodies. The frail man alights from the vehicle and stares into my eyes.”

The past tense is the most common in short stories. The past tense can be reflective, recounting, or perhaps just the most natural tense to write in.

“We stood together, linking arms. The car screeched to a stop in front of us. The frail man alighted from his vehicle and stared into my eyes.”

The future tense is difficult to use for short stories. However, you can really manipulate the future tense to work in your favour if you are writing a creative speech. A combination of tenses will most probably create a seamless link between cause and effect in a speech.

“We will stand together with our arms linked. The man may intimidate us all he likes, but together, when we are unified, we are stronger he will ever be.”

It is also important to point out that using a variety of tenses may work best for your creative. If you are flashing back, the easiest way to do that is to establish the tense firmly.

Giving your setting some texture

You ultimately want your creative writing to take your marker to a new place, a new world, and you want them to feel as though they understand it like they would their own kitchen. The most skilled writers can make places like Hogwarts seem like your literary home. At the Year 12 level, we aren’t all at that level. The best option is to take a setting you know and describe it in every sense – taste, smell, feel, sound and sight.

Choose a place special and known to you. Does your grandmother’s kitchen have those old school two-tone brown tiles? Did you grow up in another country, where the air felt different and the smell of tomatoes reminded you of Sundays? Does your bedroom have patterned fabric hanging from the walls and a bleached patch on the floor from when you spilled nail polish remover? Perhaps your scene is a sporting field – describe the grazed knees, the sliced oranges and the mums on the sideline nursing babies. The more unique yet well described the details are, the more tangible your setting is.

Again, it comes back to: write about what you know.

How much time has elapsed?

You want to consider whether your creative piece is focused on a small slot of ordinary time, or is it covering years in span? Are you flashing back between the past and the present? Some of the most wonderful short stories focus on the minutiae that is unique to ordinary life but is perpetually overlooked or underappreciated. By this I mean, discovering that new isn’t always better may be the product of a character cooking their grandmother’s recipe for brownies (imagine the imagery you could use!). Discovering that humans are all one and the same could come from a story based on one single shift at a grocery store, observing customers. Every day occurrences offer very special and overlooked discoveries.

You could create a creative piece that actually spans the entire life span of someone (is this the life span of someone who lived to 13 years old or someone who lived until 90 years old?). Else, you could create a story that compares the same stage of life of three different individuals in three different eras. Consider how much time you want to cover before embarking on your creative journey.

Show, don’t tell:

The best writers don’t give every little detail wrapped up and packaged, ready to go. As a writer, you need to have respect for your reader in that you believe in their ability to read between the lines at points, or their ability to read a description and visualise it appropriately.

“I was 14 at the time. I was young, vulnerable and naïve. At 14 you have such little life experience, so I didn’t know how to react.”

This is boring because the reader is being fed every detail that they could have synthesised from being told the age alone. To add to the point of the age, you could add an adjective that gives connotations to everything that was written in the sentence, such as “tender age of 14.” That’s a discretionary thing, because it’s not necessary. When you don’t have to use extra words: probably don’t. When you give less information, you intrigue the reader. There is a fine line between withholding too much and giving the reader the appropriate rope for them to pull. The best way to work out if you’re sitting comfortably on the line is to send your creative writing to someone, and have them tell you if there was a gap in the information. How many facts can you convey without telling the reader directly? Your markers are smart people, they can do the work on their end, you just have to feed them the essentials.

Here are some examples of the difference between showing and telling.

Telling: The beach was windy and the weather was hot. Showing: Hot sand bit my ankles as I stood on the shore.

Telling: His uniform was bleakly coloured with a grey lapel. He stood at attention, without any trace of a smile. Showing: The discipline of his emotions was reflected in his prim uniform.

Giving your character/persona depth

If your creative writing involves a character – whether that be a protagonist or the persona delivering your imaginative speech – you need to give them qualities beyond the page. It isn’t enough to describe their hair colour and gender. There needs to be something unique about this character that makes them feel real, alive and possibly relatable. Is it the way that they fiddle with loose threads on their cardigan? Is it the way they comb their hair through their fingers when they are stressed? Do they wear an eye patch? Do they have painted nails, but the pinky nail is always painted a different colour? Do they have an upward infliction when they are excited? Do the other characters change their tone when they are in the presence of this one character? Does this character only speak in high/low modality? Are they a pessimist? Do they wear hand-made ugly brooches?

Of course, it is a combination of many qualities that make a character live beyond the ink on the page. Hopefully my suggestions give you an idea of a quirk your character could have. Alternatively, you could have a character that is so intensely normal that they are a complete contrast to their vibrant setting?

Word Count?

Mine was 1300. I am a very fast writer in exam situations. Length does not necessarily mean quality, of course. A peer of mine wrote 900 words and got the same mark as me. For your first draft, I would aim for a minimum of 700 words. Then, when you create a gauge for how much you can write in an exam in legible handwriting, you can expand. For your half yearly, I definitely recommend against writing a 1300 word creative writing unless you are supremely confident that you can do that, at high quality, in 40 minutes (perhaps your half yearly exam isn’t a full Paper 1 – in which case you need to write to the conditions).

There is no correct word count range. You need to decide how many words you need to effectively and creatively express your ideas about discovery.

Relating to a stimulus

Since 2010, Paper 1 has delivered quotes to be used as the first sentence, general quotes to be featured anywhere in the text and visual images to be incorporated. Every year, there has been a twist on the area of study concept (belonging or discovery) in the question. In the belonging stage, BOSTES did not say “Write a creative piece about belonging. Include the stimulus ******.” Instead, they have said to write an imaginative piece about “belonging and not belonging” or to “Compose a piece of imaginative writing which explores the unexpected impact of discovery.” These little twists always come from the rubric, so there isn’t really any excuse to not be prepared for that!

If the stimulus is a quote such as “She was always so beautiful” there is lenience for tense. Using the quote directly, if required to do that, is the best option. However, if this screws up the tense you are writing in, it is okay to say “she is always so beautiful.” (Side note: This would be a really weird stimulus if it ever occurred.) Futhermore, gender can be substituted, although also undesirable. If the quote is specified to be the very first sentence of your work: there is no lenience. It must be the very first sentence.

As for a visual image, the level of incorporation changes. Depending on the image, you could reference the colours, the facial expressions, the swirly pattern or the salient image. Unfortunately, several stimuli from past papers are “awaiting copyright” online and aren’t available. However, there are a few, and when you have an imaginative piece you should try relate them to these stimuli as preparation.

The techniques:

Don’t forget to include some techniques in there. You study texts all year and you know what makes a text stand out. You know how a metaphor works, so use it. Be creative. Use a motif that flows through your story. If you’re writing a speech, use imperatives to call your reader to action. Use beautiful imagery that intrigues a reader. Use amazing alliteration (see what I did there). Avoid clichés like the plague (again…see what I did) unless you are effectively appropriating it. In HSC creative writing, you need to show that you have studied magnificent wordsmiths, and in turn, you can emulate their manipulation of form and language.

Some quirky prompts:

Click here if you want 50 quirky writing prompts – look for the spoiler in the post!

How do I incorporate Discovery?

If you click here you will be taken to an AOS rubric break down I have done with some particular prompts for HSC creative writing.

Part two: Editing and Beyond!

This next part is useful for your HSC creative writing when you have some words on the page waiting for improvement.

Once you’ve got a creative piece – or at least a plot – you can start working on how you will present this work in the most effective manner. You need to be equipped with knowledge and skill to refine your work on a technical level, in order to enhance the discovery that you will be heavily marked on. By synthesising the works of various genius writers and the experiences of HSC writers, I’ve compiled a list of checks and balances, tips and tricks, spells and potions, that will help you create the best piece of HSC creative writing that you can.

Why should you critique your writing and when?

What seems to be a brilliant piece of HSC creative writing when you’re cramming for exams may not continue to be so brilliant when you’re looking at it again after a solid sleep and in the day light. No doubt what you wrote will have merit, perhaps it will be perfect, but the chances lean towards it having room for improvement. You can have teachers look at your writing, peers, family, and even me here at ATAR Notes. Everyone can give their input and often, an outsider’s opinion is preciously valuable. However, at the end of the day this is your writing and essentially an artistic body that you created from nothing. That’s special. It is something to be proud of, and when you find and edit the faults in your own work, you enhance your writing but also gain skills in editing.

Your work should be critiqued periodically from the first draft until the HSC exams. After each hand-in of your work to your teacher you should receive feedback to take on board. You have your entire year 12 course to work on a killer creative writing piece. What is important is that you are willing to shave away the crusty edges of the cake so that you can present it in the most effective and smooth icing you have to offer. If you are sitting on a creative at about 8/15 marks right now (as of the 29/02/2016), you only have to gain one more mark per month in order to sit on a 15/15 creative. This means that you shouldn’t put your creative to bed for weeks without a second thought. This is the kind of work that benefits from small spontaneous bursts of editing, reading and adjusting. Fresh eyes do wonders to writer’s block, I promise. You will also find that adapting your creative writing to different stimuli is also very effective in highlighting strengths and flaws in the work. This is another call for editing! Sometimes you will need to make big changes, entirely re-arranging the plot, removing characters, changing the tense, etc. Sometimes you will need to make smaller changes like finely grooming the grammar and spelling. It is worth it when you have an HSC creative writing piece that works for you, and is effective in various situations that an exam could give you.

The way punctuation affects things:

I’ll just leave this right here…

Consistency of tense:

Are your sentences a little intense?

It is very exhausting for a responder to read complex and compound sentences one after the other, each full of verbose and unnecessary adjectives. It is such a blessed relief when you reach a simple sentence that you just want to sit and mellow in the beauty of its simplicity. Of course, this is a technique that you can use to your advantage. You won’t need the enormous unnecessary sentences though, I promise. “Jesus wept.” This is the shortest verse in the Bible (found John 11:35) and is probably one of the most potent examples of the power of simplicity. The sentence only involves a proper noun and a past-tense verb. It stands alone to be very powerful. It also stands as a formidable force in among other sentences. Sentence variation is extremely important in engaging a reader through flow.

Of course, writing completely in simple sentences is tedious for you and the reader. Variation is the key in HSC creative writing. This is most crucial in your introduction because there is opportunity to lose your marker before you have even shown what you’re made of! Reading your work out loud is one of the most effective ways to realise which sentences aren’t flowing. If you are running out of breath before you finish a sentence – you need to cut back. Have a look here and read this out loud:

The grand opening:

Writer’s Digest suggested in their online article “5 Wrong Ways to Start a Story” that there are in fact, ways to lose your reader and textual credibility before you even warm up. It is fairly disappointing to a reader to be thrown into drastic action, only to be pulled into consciousness and be told that the text’s persona was in a dream. My HSC English teacher cringed at the thought of us starting or resolving our stories with a dream that defeats everything that happened thus far. It is the ending you throw on when you don’t know how to end it, and it is the beginning you use to fake that you are a thrilling action writer. Exactly what you don’t want to do in HSC creative writing.

Hopefully neither of these apply to you – so when Johnny wakes up to realise “it was all just a dream” you better start hitting the backspace.Students often turn to writing about their own experiences. This is great! However, do not open your story with the alarm clock buzzing, even if that is the most familiar daily occurrence. Writer’s Digest agrees. They say, “the only thing worse than a story opening with a ringing alarm clock is when the character reaches over to turn it off and then exclaims, “I’m late.””So, what constitutes a good opening? If you are transporting a reader to a different landscape or time period than what they are probably used to, you want to give them the passport in the very introduction otherwise the plane to the discovery will leave without them. This is your chance to grab the marker and keep them keen for every coming word. Of course, to invite a reader to an unfamiliar place you need to give them some descriptions. This is the trap of death! Describing the location in every way is tedious and boring. You want to respect the reader and their imagination. Give them a rope, they’ll pull.However, if your story is set in a familiar world, you may need to take a different approach. These are some of my favourite first lines from books (some I have read, some I haven’t). I’m sure you can appreciate why each one is so intriguing.

“Call me Ishmael.” -Herman Melville, Moby Dick.

This works because it is simple, stark, demanding. Most of all, it is intriguing.

“It was a bright cold day in April, and the clocks were striking thirteen.” – George Orwell, 1984.

Usually, bright and sunny go together. Here, bright and cold are paired. What is even more unique? The clocks tick beyond 12. What? Why? How? You will find out if you read on! See how that works?

“It was a pleasure to burn.” Ray Bradbury, Farenheit 451.

This is grimacing, simple, intriguing.

“I write this sitting in the kitchen sink.” -Dodie Smith, I Capture the Castle.

Already I’m wondering why the bloody hell is this person in a kitchen sink? How did they get there? Are they squashed? This kind of unique sentence stands out.

“In case you hadn’t noticed, you have a mental dialogue going on inside your head that never stops. It just keeps going and going. Have you ever wondered why it talks in there? How does it decide what to say and when to say it?” – Michael A Singer, The Untethered Soul: The Journal Beyond Yourself.

This works because it appeals to the reader and makes them question a truth about themselves that they may have never considered before.

“Mr and Mrs Dursley, of number four Pivet Drive, were proud to say that they were perfectly normal, thank you very much.” JK Rowling, Harry Potter and the Philosopher’s Stone.

Who was questioning that they weren’t perfectly normal? Why are they so defensive and dismissive? I already feel a reaction to the pompous nature of the pair!

Resolving the story well!

There are so many ways to end stories. SO many. What stories have ended in a very efficient way for you? Which stories left you wanting more? Which stories let you down?

Because you are asked to write about discovery in HSC creative writing, you want the ending to be wholesome. This means, you need your marker to know that the ending justifies the discovery. You can’t leave your marker confused about whether or not the discovery had yet occurred because this may jeopardise your marks. If your discovery is an epiphany for the reader, you may want to finish with a stark, stand alone sentence that truly has a resonating effect. If your story is organised in a way that the discovery is transformative of a persona’s opinions, make sure that the ending clearly justifies the transformation that occurred. You could find it most effective to end your story with your main character musing over the happenings of the story.

In the pressure of an exam, it is tempting to cut short on your conclusion to save time. However, you MUST remember that the last taste of your story that your marker has comes from the final words. They simply cannot be compromised!

George Orwell’s wise words:

Looking for a bit of extra help?

We also have a free HSC creative writing marking thread here!

Don’t be shy, post your questions. If you have a question on HSC creative writing or anything else, it is guaranteed that so many other students do too. So when you post it on here, not only does another student benefit from the reply, but they also feel comforted that they weren’t the only one with the question!

You must be logged in to leave a comment

No comments yet…

What does it actually mean to “study smart”?

How to study in high school - the 'dos' and 'don'ts'

Spare 5 minutes? Here are 7 quick study strategies

How to get more out of your textbook

The benefit of asking questions in high school

Your Year 12 study questions answered!

Sponsored by the Victorian Government - Department of Education

Early childhood education: a career that makes a difference

Early childhood education is seeing growth like no other profession – creating thousands of jobs available over the decade. With financial support to study at university and Free TAFE courses available, there’s never been a better time to become a kinder teacher or educator.

VCE Study Tips

English Language

Private Tutoring

Only one more step to getting your FREE text response mini-guide!

Simply fill in the form below, and the download will start straight away

English & EAL

The Ultimate Guide to VCE Creative Writing

March 1, 2022

Want insider tips? Sign up here!

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

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

1. What Is The Creative Response?

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

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

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

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

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

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

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

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

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

Characterisation

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

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

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

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

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

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

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

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

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

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

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

Part 1 – Metalanguage Word Bank For Books

Part 2 – Metalanguage Word Bank For Films With Examples

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

4. LSG's unique REPLICATE and IMAGINE Strategy

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

Step 1: Read

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

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

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

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

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

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

Step 2: Understand the World of the Text

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

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

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

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

Step 3: Implement Your Understanding ‍

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

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

5. Sample A+ Creative Response

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

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

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

6. Writing The Written Explanation ‍

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

7. Resources To Help You Prepare For Your Creative Response

Youtube videos ‍.

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

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

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

Blog Posts ‍

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

5-Step Recipe for Creative Writing   ‍

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

"Creative Response to Text" Ideas ‍

Written Explanation - Explained ‍

Reading My 10/10 Marked CREATIVE GAT essay ‍

VCE Creative Response to Runaway by Alice Munro

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

VCE Creative Writing: How To Structure Your Story

Study guide ‍.

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

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

Get our FREE VCE English Text Response mini-guide

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

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

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

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

What Is ‘Creating Texts’?

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

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

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

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

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

Framework of Ideas

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

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

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

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

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

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

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

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

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

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

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

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

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

Mentor Texts

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Check out our blog post on the Skeleton Approach for a suggestion of how you could potentially structure your Creative piece.

What Your SAC Will Look Like

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

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

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

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

What the Exam Will Look Like

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

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

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

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

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

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

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

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

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

Three Tips to Help You Ace Creating Texts

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

1) Play to Your Strengths

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

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

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

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

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

3) Be Flexible

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

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

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

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

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

What Are the Five Steps?

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

STEP 1: Do a brain dump of your ideas!

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

STEP 2: Stay true to yourself

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

STEP 3: Start small - keep it simple

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

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

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

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

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

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

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

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

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

• Oxymoron (contradictory words or groups of words)

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

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

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

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

STEP 5: Read your writing out loud

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

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

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

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

For a deep dive into the Creative and what it entails, check out our blog post: VCE English Unit 3, Area Of Study 2: Creating Texts - What Is It?

Leo Tolstoy wrote his magnum opus, War and Peace , over the span of six years. It took Harper Lee two and a half years to write To Kill A Mockingbird . Anthony Doerr’s All the Light We Cannot See took ten years to complete.

The incredibly intricate and complex nature of stories means that it often takes time to fit all the elements in harmony. But for those of you studying VCE English Units 1 and 3 , you don’t have the luxury of two or six, let alone ten years to write your Creative. The time constraints you face can mean that it’s harder to put the metaphorical puzzle pieces together. 

Luckily, we can simplify the process for you by breaking down what makes a good story (using Cinderella to demonstrate).

The Skeleton of a Good Story (With Steps!)

In primary school, we were all taught the “beginning-middle-end“ approach to stories. Aside from being kind of vague, this overused approach doesn’t ensure a clear transformation between the “beginning” and the “end“. If nothing changes between the beginning and the end of your story, you have no story.

The skeleton approach is an effective alternative to other forms of story writing because it guarantees that your character has fundamentally changed by the end. Think of the following as criteria when you write your Creative - if you have (even slightly) addressed all of the following aspects, you can be sure you’ve written a story worth telling (and a Creative that’s going to score highly).

1) The Status Quo

Most stories feature a main protagonist, and your Creative piece should too! This is the main character who is in a zone of comfort/familiarity with some obvious shortcoming. This shortcoming can be a character flaw or something in the setting. This is Cinderella: she is used to her ordinary life in her small house, with her shortcoming being that she’s a servant to her evil stepsisters.

2) The Want

Additionally, your character has to want something (or at least, think that they want that thing). Since your time is limited, keep the desire simple. For instance, Cinderella’s main desire is to escape her life of servitude and be supported.

3) The New Situation

After you have established the character’s “want”, your character has to enter an unfamiliar situation that addresses their shortcoming. Continuing the example of Cinderella, this unfamiliar situation is the royal ball, which offers her the chance to marry the prince and live with him instead.  

4) The Plan

After the new situation is presented, the character must carry out a plan to get what they want, be it explicitly or subconsciously. This plan can either succeed or fail in getting them what they want. Cinderella plans to present herself as a viable option for the prince by ensuring she is well-groomed and presentable - a plan she fulfils.

However, the character must pay a very heavy price for it - mentally, physically or emotionally. This is the climax of the story, where the character is challenged and maybe even forced to change. For Cinderella, the clock striking midnight signals a limit on the amount of time she can maintain the princess persona and interact with the prince.

5) The “Eureka” Moment

This part of the story is potentially the most vital: when the character is forced to look within and reflect on who they are, what they actually need and want, and who they must be to achieve these things. Cinderella's initial reluctance to claim ownership of the shoe suggests her acceptance of a life of servitude, implying that she views the "aristocratic dream" as unachievable.

6) The Resolution

Finally, the character either returns to their familiar situation or a new situation is born. In Cinderella , a new situation arises when Cinderella marries the prince and escapes her previous life. This is when the situation has been “resolved ”, not “ended”.  

Experiment!

The other benefit of the skeleton approach is that you have the room to experiment with your Creative piece. For instance, you can do an allegorical text (like Animal Farm ) or maybe even a cyclical structure ( Gone Girl , film). Your Creative piece is inspired by your experiences and no one else’s so have fun with your creative control!

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

Formats of imaginative pieces include:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Possible idea for this example:

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

Tips to achieve A+ in creative writing

1. ensure it is related to the text..

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

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

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

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

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

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

4. Show, don't tell

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

Tell: Katie was very happy.

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

Tell: She felt horrible for the weeping children.

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

Tell: I was scared.

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

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

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

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

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

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

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

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

Literary Devices

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

Embedded Narrative

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

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

Time Progression/Regression

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

Epistolary Elements

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

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

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

Tips for Emulating Munro’s Style

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

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

Hey everyone! This is Part 2 in a series of videos I will release on VCE Study Guides. The content goes through the sample VCAA Chickens Range Free article which you can find  here . Feel free to analyse it yourself, then check out how I’ve analysed the article!

I’m super excited to share with you my  first  ever online tutorial course for VCE English/EAL students on  How to achieve A+ for Language Analysis !!!

I created this course for a few reasons:

Language Analysis is often the  key weakness  for VCE English/EAL students, after my workshops, students always wish we had spent  even   more  time on Language Analysis, many of you have come to me seeking private tuition however since I am fully booked out, I wanted to still offer you a chance to gain access to my ‘breakthrough’ method of tutoring Language Analysis,I am absolutely confident in my  unique  and  straightforward  way of teaching Language Analysis which has lead to my students securing exceptional A graded SAC and exam scores!

Are you a student who:

struggles to identify language techniques?

finds it difficult to identify which tones are adopted in articles?

has no idea explaining  HOW  the author persuades?

finds it difficult to structure your language analysis essay?

becomes even more unsure when comparing 2 or 3 articles?

feels like your teacher at school never explained language analysis properly?

prefers learning when it’s enjoyable and easy to understand?

wants to stand out from other students across the cohort?

wants to know the secrets of 45+ English high achievers?

wants to know what examiners are looking for?

sees room for improvement whether you’re an average student or a pro?

wants to get a head start and maximise your potential in VCE?

This is what you will accomplish by the end of the course:

Be able to successfully identify language techniques in articles and images

Be able to successfully identify tones adopted in articles and images

Be able to analyse a single article or image

Be able to analyse 2 or more articles and/or images

Be able to apply your new skills coherently and clearly in essay writing

You will be able to accurately describe HOW an author uses language to persuade

You will be able to plan and write a language analysis essay structure (single article/image)

You will be able to plan and write a language analysis essay structure (2 or more articles/images)

You will understand common pitfalls and how to avoid these in language analysis

Be confident when approaching your SACs and exam

Know exactly what examiners are looking for and how to ‘WOW’ them

Know how to distinguish yourself from other students

Have unlimited help in course forum from myself and other VCE students

You will become a better VCE English language analysis student!

To find out more, you can check out the full details of the course   here !

See you in the course!

This blog was updated on 28/10/2021.

Essay Topic Breakdown

• Sample Essay Topics
• Useful Resources

Themes (Similarities and Differences)

[Video Transcription]

We’ll be applying the CONVERGENT and DIVERGENT strategy from LSG’s How To Write A Killer Comparative and at how ideas are developed in similar or different thematic directions in these texts. CONVERGENT ideas lead to similar conclusions and messages, while DIVERGENT ideas take us to different conclusions. If you’d like to learn more about this strategy which can help you build more insightful discussions of the text by finding unique points of comparison, then I’d recommend you check out the LSG’s How To Write A Killer Comparative study guide. In the meantime, let’s start with some CONVERGENT ideas. 

Power, Race and Oppression

In both texts, we see racial systems that take power away from Bla(c)k people. In the play, settler-colonialism is a big one. It’s depicted as a home invasion, a ship taking up a whole harbour, and as a process of devaluing land and ignoring its custodians. This trickles into contemporary institutions (widely understood patterns, rules or structures within society) which perpetuate these dynamics of race and power, such as the police and the media. Oppression is similarly maintained in  The Longest Memory , where physical violence, and even just the threat of possible physical violence, is used to enslave African Americans. Plus, all of this racial violence was justified by the socio-economic interests of enslavers . Both texts see Bla(c)k people disempowered by a range of white institutions. 

Check out our comparative scene analysis where we explore this theme in more depth.

Family and Community

On the other hand, family and the wider community are depicted as a galvanising or healing force in both texts. In  The 7 Stages of Grieving , we see how death can bring together entire communities to commiserate, dance and mourn collectively, drawing on one another’s strength. Depictions of families in projections of photographs also outline how joy and solidarity can be drawn from community. In the novel, family ties are also important. Whitechapel and Cook build a committed relationship to one another; she even says, “he proves he loves me every day.” At the same time, Cook also provides her unconditional love and support to Chapel, whose education and eventual relationship with Lydia are facilitated by her.

Memory and Grief

Both texts show how memory and grief are significant burdens for Bla(c)k people and operate at multiple dimensions. The play is sort of built around the five stages of grief but demonstrates how First Nations grief isn’t neat or linear. It can go from highly expressive to numb in moments. It also has roots in Australia’s genocidal history such that the death of any First Nations person—but especially elders—is felt widely. In  The Longest Memory , there’s a physical dimension to Whitechapel’s grief. He earns the name “Sour-face” because of the worry lines that developed after Chapel’s death. He feels extremely guilty and only after Chapel dies does he realise why Chapel disagreed with him so stubbornly in life. He actually learned the tough lesson that he’d been hoping to teach Chapel.

What about divergent ideas? Let’s break down two now.

Struggle and resistance.

Both texts offer ideas about what the fight against racism might look like, but at times these ideas are more different than similar. In  The 7 Stages of Grieving , the main struggle is to be heard and understood . In the play and in real life even, we can see how the media is stacked against First Nations peoples, so their fight is about cutting through the bias and making sure they are fairly represented. In  The Longest Memory , the fight against slavery is portrayed quite differently. In a scenario where physical violence was used the way it was in order to oppress, self-emancipation was seen by many as the only path out. Enslaved workers weren’t fighting to be heard, they were fighting to survive. It’s also worth bearing in mind the history of abolition, which happened in Northern states first. This gave them a destination, as well as hope. 

The Generation Gap

The other thing that the texts diverge on is the relationship between parents and children. In the play, family is consistently shown to provide support and community. As the woman speaks about her father and brother, the unconditional love and support between them is palpable. However, the novel depicts a bit more conflict— Whitechapel argued with Chapel based on his lived experience, and the many young people he had seen be killed for trying to free themselves. However, Chapel was far more committed to freedom than to survival. There isn’t necessarily a ‘right’ answer either way, but this definitely isn’t a tension that we see in the play.

I discuss all these themes in further detail in A Killer Comparative Guide: The 7 Stages of Grieving & The Longest Memory . In this guide, I offer you a deep dive into these two texts through plot summaries and analyses, structural features, critical readings, and best of all, 5 sample A+ essays fully annotated so you can understand exactly how to achieve better marks in your own essays.

As with all our essay topic breakdowns, we'll follow LSG's THINK and EXECUTE technique, as taught in our How To Write A Killer Text Response . The LSG's THINK and EXECUTE technique follows three steps in the THINK phase - A nalyse, B rainstorm, and C reate a Plan. Learn more about this technique in this video:

Let's use essay topic #1 from the section below.

Compare the ways in which the two texts explore the possibility of social change.

Step 1: Analyse

‘Social change’ is a key term here, but the word ‘possibility’ also stands out to me. Social change—probably towards equality—isn’t something that just happens, so the prompt also wants us to think about how to get there, and whether that seems achievable in the contexts of these stories. The prompt is phrased as an instruction (“Compare”) which invites you to analyse both texts together, but you totally knew that already!

Step 2: Brainstorm

I’d probably start by brainstorming what exactly needs to be changed. In each text, we see institutions and structures which are violent and harmful—from the play, police and the media, and from the novel, the economy itself. However, these institutions are upheld in different ways, and require different mechanisms of change—while the play emphasises grieving and unity, the novel focuses more on emancipation.

Step 3: Create a Plan

Because we’ve got two sets of ideas for each text, let’s alternate the texts (Essay Structure 1, as discussed in How To Write A Killer Comparative ) to cover these ideas in four paragraphs.

P1: Starting with The 7 Stages of Grieving , social change is required at the institutional level. Police and the media are racially biased, and Aboriginal people aren’t given a platform to tell their stories. Reconciliation needs to include Aboriginal voices.

P2: With The Longest Memory , social change is required across the economy that depends on enslaving people and stealing their labour, while others have an economic interest in the status quo.

P3: Because of this, change seems more possible in the play, and we start seeing it happen towards the end, as the ice thaws and people, Bla(c)k and white, march across the bridge together.

P4: On the other hand, emancipation is seen as the only path to change in the novel, as intergenerational social pressures among the enslaving class in the South are insurmountable.

So our contention will probably revolve around the idea that ‘social change’ means different things in each text as social inequalities exist at different levels (Paragraph 1&2)—as such, the ‘possibilities’ for that change look different as well (P3&4), particularly the extent to which white people can be involved in that change.

If you'd like to see the sample A+ essay we wrote up for this essay topic, then you might want to check out our A Killer Comparative Guide: The 7 Stages of Grieving & The Longest Memory!

Sample Essay Topics 

Now it's your turn! Give these essay topics a go.

1. Compare the ways in which the two texts explore the possibility of social change.

2. How do The 7 Stages of Grieving and The Longest Memory present the emotional pain of racism? 

3. What do Aunty Grace and Chapel illustrate about the complexities of belonging to a racial minority?

4. Compare how the narrative structures of The 7 Stages of Grieving and The Longest Memory enhance their storytelling effect.

5. “People called him Boonie! He was known as Boonie…” (The 7 Stages of Grieving)

6. “I literally saw the boy surrender to that whip …” (The Longest Memory)  ‍

7. Compare how the two texts explore innocence.

If you're interested in reading a 50 study scorer's completed essays, along with annotations so you can understand my thinking process, then I would highly recommend checking out LSG's A Killer Comparative Guide: The 7 Stages of Grieving & The Longest Memory.

Useful Resources

How To Write A Killer Comparative study guide

The Ultimate Guide to VCE Comparative

Compare the Pair- A guide to structuring a reading and comparing essay

The link between your contention and topic sentences in relation to the prompt

‍ ‍ A Guide to Structuring a Reading and Comparing Essay

Reading and Comparing Essays

For a detailed guide on Language Analysis, what you're expected to cover, how to prepare for your SAC and Exam and more, check out our Ultimate Guide to VCE Language Analysis .

[Modified Video Transcription]

Analyse the VCAA 2020 Article With Me 

I'm so excited to be doing the VCAA 2020 English Exam with you. I have done these Analysing Argument pieces before on YouTube, but this is the first time that I'm doing one live. I wanted to do one live with you guys because I wanted to interact with you, for you to be able to ask me questions and for you to see how my brain works in a live setting. When it comes to analysing - and you know I've got an edited version for you - you don't see me thinking through and understanding what's happening in the article itself. So, I think it will be really handy for you to see my thought processes because sometimes, yeah, you can see somebody's analysis, but if you don't quite understand HOW they arrived at that analysis, then it's not that helpful for you. It's like reading an essay that's already been done by an A+ student and you go, yeah, okay, I kind of get that, but how did they get there? How did they find that language technique to begin with? How did they find that argument? So that's what I want to work with you guys today.

You can download VCAA 2020 English past exam HERE , which is what we're going through today. If you've already read it before, even if you've done it before, I'm confident I'll still be able to give you some new, interesting perspectives and to pick out some new language techniques for you guys. So, go ahead and make sure you download that and print it out. I think printing things out is usually a better option than trying to annotate online, unless you've got an iPad or equivalent. The exam is absolutely free - it's the last few pages of the exam, starting at page 11.

Let's just get into it. I don't think I have any other housekeeping pointers except that throughout this live stream, I'm going to direct you to where you can actually go and get the A+ completed essay I've got for this article. While we're going to be analysing this together now, I think it's handy for you to be able to see an A+ completed version of everything that we've talked about. Then you can take it from the very beginning (the analysis), then the annotations and then you can finally see the written-up version. Being able to take you through that entire process from start to finish is going to be so wholesome, so fabulous.

Pay Attention to the Background Information

Whenever you look at section C, which is Analysing Argument also called Language Analysis (I'm going to interchange these two terms), you really need to ensure that you read the background information. I know it's super obvious, but background information is there for a reason, do not skip over it! 

They didn't just give you an entire extra page just for the sake of it. Usually, the background information is a really great place for you to understand conceptually what is going on in this article. If we didn't have this background and therefore context to the article, there's a chance that you might accidentally come up with the wrong contention. You might misinterpret the arguments as something else. The background information is really just there for backup. It's a great place for you to ensure that what you're understanding from the article is actually correct because usually the background information is filled with facts and these facts will help shape your understanding of the article.

Let’s Read the Background Information Together

‘The shire of Byways in regional Victoria depends on both farmers and tourists for its prosperity. The local community is concerned about the increased recreational use of drones by many of the tourists visiting the area. The following is the transcript of a speech’

Ah! Interesting - 'transcript of a speech' is something that makes me go already yep, I need to make sure I note this because as soon as I recognise that it's a speech, it means that my audience, I don't call them readers, I call them listeners . 

Simple things, small things will help differentiate you from other students. Someone else might not pick up that this is a speech and they'll just say readers the entire time. And no, you're not really going to get marks deducted for it, but there's an element of finesse I suppose. If you just notice that small nuance and you're able to present that in your essay, it makes the examiner or assessor more confident that you know what you're doing.

'by young farmer Warwick Bandle at a public meeting'

Interesting, ‘public meeting’.

'called by the Byways Shire Council to discuss the community’s concerns.'

It's interesting because I'm already getting this community vibe from this background information. The fact that it's regional Victoria, the fact that it's actually a very specific council, the fact that he's at a public meeting. People have taken time out of their day to go to the council meeting. Who goes to the council meeting? People who care. This is just something that I'm kind of noting for myself as I go into my analysis because then I'll be able to develop my analysis in a particular way. 

'Bandle provided two images to be projected on a screen to accompany his speech.' 

Okay, cool, all this does is tell me that I just need to be wary that there are two images and that I, as a student, need to talk about them .

Analysing Paragraph One

He says, 'Good evening, everyone', already indicative of a speech, I'm just going to write that down. Remember that it's a speech!

'Drones and their inexperienced users are proving to be a costly problem for us farmers. Drones are not toys. What happens when a drone flies out of range? What happens when the battery runs out? A drone being flown out of control, or crashing out of the sky, can be lethal.' 

Wow. Okay, this is what I think when I read an article, I genuinely think about my own personal response. I mean, I am actually the audience of this article. No, I'm not there at the council listening to him live, but I'm still a person who's absorbing what he's saying. I trust my instinct and my gut feeling, and that kind of leads me to develop my own unique interpretations. The reason why I said 'Wow' is because he uses the word 'lethal'. To me, it's a little bit of an exaggeration. I mean I'm sure drones have killed people before, but I guess it's like an I'm serious about this, we're not joking around and he's making it seem like this is a serious problem and that we need to address it seriously. So in that sense, I guess we could talk a little bit about tone. What tone do you think he's using?

Viewers from our live stream suggested:

Nice! I like all of these. I don't think there's anything wrong with them. When it comes to English, it's a matter of your own interpretation. As long as you can back it up, then you've got yourself straight. You can go and find my 195 Tones PDF , which you can download for free. You can use that whenever you analyse an article, it has a bunch of tones listed there for you so that you never run out of tones! 

He's already set this tone for the remainder of the article. I'm interested in what he's going to say next. Otherwise, I think the fact that he's serious or alarmist is reaffirmed by what he's saying. He says, 'drones are not toys'. Okay. This is not a game, we're not playing around, we're not fooling around. And I suppose that's important for him to establish because drones are kind of seen as toys, at least for me anyway. When drones first came out, it was kind of like a toy aeroplane that you drive around with your remote control. So, I think he's dispelling that idea or that conception or perception of drones immediately so that we can be on board with whatever he's saying next.

LSG’s Specificity and Simplicity Strategy

I just wanted to point out, this is pretty obvious, but rhetorical questions. There's not necessarily much I would say at this point in time with rhetorical questions, and that's because of my SPECIFICITY and SIMPLICITY strategy . If you don't know much about that - I haven't talked much about it on my YouTube channel - it's a strategy that I developed for myself in Year 12 when I couldn't figure out why I wasn't getting full marks in English and yeah, okay, I was a nerd, I was already getting 17 or 18 out of 20, but you know, the high achiever in me was kind of like, why am I not getting 19 out of 20? Why am I not getting 20 out of 20? Why am I losing these one or two marks?

I realised later on that it's because I wasn't being SPECIFIC enough with my analysis. So, when it comes to some of the comments (referring to comments from live stream) you guys have written, one of you wrote down 'emotive language'. If you're one of my students, you know that you don't use emotive language. Emotive language is way too broad. It's way too general to really mean anything. Instead of saying emotive language, why don't you say exactly what emotion they're appealing to. You're then taking that general vagueness of whatever emotive language means and replacing it with something very specific, and therefore, it's going to be more meaningful for you to write about, but also for your assessor to understand what you're going on about.

So in case you don't know, I have study guides (it is called Lisa's Study Guides after all). In How To Write A Killer Language Analysis I actually go through this golden strategy of SIMPLICITY and SPECIFICITY . This is what helped me get an A+ in my Analysing Argument and in my end of year exam. If you're interested, then I'd highly recommend that you go and check out the study guide. It's a world of value I promise.

More Analysis of Paragraph One

We're still only on the introduction, which is crazy, there's just so much to say when it comes to this stuff. 

‘Just imagine the damage that can be done by a falling drone. Imagine, then, these drone users, realising that they have lost their drone, searching, crashing through crops, or leaving gates open and letting livestock out. And finally, when they don’t find the drone, it’s just left to rust away in the field until harvest time, when it’s swept up, damaging the harvester.’

I guess there's this idea of 'imagine'. He's building upon that alarmist attitude, which I'll pull from what you guys are saying, and by asking us to 'imagine' the worst-case scenario, it's making us feel more and more concerned, right? Just by reading this, I go ew, I don't want these drone users to be losing their drones in my farm space, in my land . 

One other point for you to think about is, I was talking before about how I am part of the audience too, right? But the next step from that, for a more advanced analysis, is to think about who is HE talking to? If we go back to the prior page, he's at a public meeting to address the community's concerns. You could say that part of the audience would be farmers, people who care about their livestock, people who care about the invasion of privacy and people stepping on their property. Remember this as you analyse, because it's going to make your analysis way more specific, and bonus tip, assessors, teachers, examiners - they love it when you can be specific with who the audience is. It shows that you're capable and you get it.

Even just in this first paragraph, we've managed to talk about quite a bit.

Let's Look at Your Questions:

• I think my target audience is probably farmers. I say probably just because I want to keep reading to understand exactly who he's talking about, these are just my assumptions, just from reading the first part of the article.
• In terms of how you can incorporate tone into a body paragraph, you can do it as simple as actually just talking about the tone or you can integrate it with another language technique. Remember just before we were talking about rhetorical questions and how the repetitive use of 'imagine' kind of builds upon that sense of concern in the audience? You could link that back to his tone and say, 'By building up this concern, he's using his serious tone in order to persuade the audience to...' .

Analysing the Photograph

You absolutely need to talk about it. We've got this photograph of this girl who seems to be a bit of a dark shadow and because she's a dark shadow I'd say that it's like she is an anonymous person. The sense is that this could be anyone and by making the person anonymous, like a blank face, it's easier for us to hate on them because it kind of takes the humanity away. If you don't know who it is, they're just drone invaders. They're people who don't respect our land. That's one point that I would talk about. 

Then you've got that really focused point of view of the drone itself. It makes sense because the drone is the topic of this conversation, so it's the focal point you could say, and it reconfirms or reaffirms that idea of it just crashing out of the sky, crashing through crops or being left to rust away. Remember, imagine that we're in the council meeting, he's put this image up for us and he's saying this. I think about it as how does having the photograph there on a presenter with him talking about it, how does that change how I respond? I think about how I feel and what I think, which is something that we talked about in one of my previous videos, called How to write a Language Analysis (Analysing Argument) - we talk about the TEE rule. In my opinion, when I have that photograph right there in front of me, it definitely makes me angrier. It's more confronting because it's in your face and it definitely riles me up more. So, you could include that in your analysis as well. 

Pay Attention to the Structure of Articles/Arguments

The way that he has structured his argument, in the sense that he's structured where he positions his photograph (which is basically right after his introduction), makes me feel more inclined to agree with him. Whereas, if it was just him saying it (without an image as proof), then I'd actually have to just take his word for it. But, here's proof people are doing this!

A viewer says ‘she's dressed for the city and outside of, not part of the community’ - I love it, well done!

Another viewer says ‘the camera angle gives the allusion that she's dominant’ - interesting.

I think to extrapolate what you're saying, that dominance, as somebody who's part of the local community, I don't want that. I don't want somebody else to be dominating over my crib, my place! So it's kind of making me really deterred and making me want to steer clear. It makes me want these people to steer clear of my space.

A viewer says ‘the lack of crop suggests that drones have destroyed the normal way of farming’ - yeah, absolutely! Not only is there rubbish in their plot of land, but if anything, the drone has added to the destruction.

She's dominant, therefore she's a threat.

A viewer says ‘she believes that the black and white makes it gloomy and sad’ - a hundred percent. This is actually a really good point. Sometimes you can get so absorbed in the analysis that you only think about what's there in front of you, but a great way to create contrast and to understand what's there when it's so obvious is by considering what things would be like if it were otherwise. Basically, what I'm saying is, think about why it is black and white. Why is it not in colour? If it was in colour, how would that change your perception of what's happening here? Thinking about what's NOT there helps you understand what IS there.

You can talk about how it's good versus evil.

I wanted to just share with you guys because I won't be able to go through all of this today, but I did mention before that I do want to show you the A+ sample essay. It's in my How To Write A Killer Language Analysis study guide in Chapter 16, Section 10. We've actually recently updated it with the 2020, 2019 & 2017 past English Exams, so it's all A+ essays for you. Plus we have several A+ essays for single articles, double articles and triple articles with images as well. 

We've talked a little bit about the photograph, which by the way, we could keep finding more and more, but I think it gets to a certain point where you kind of have to figure out what's valuable for you to talk about and what's not so much. Once you get good enough at Analysing Argument, you should have an excess of language techniques to choose from and then it's just a matter of deciding which ones are going to give you that advantage and which ones are going to help you stand out from the rest of the cohort.

Analysing Paragraph Two

‘It’s time our council started to defend the farmers rather than the tourists’

That's juicy - ‘our council’

What I'm thinking about here is, he's saying 'our council', but he's using inclusive language - 'our'. There's this sense of ownership, this is our space, this is our community.

'Defend farmers rather than the tourists'

Now he's creating a dichotomy between farmers and tourists. I love the word dichotomy; essentially, it just means a true opposition - farmers versus tourists. The way that I remember the word is di as a prefix usually means divide or division, to split things in half. So it's creating this dichotomy of us versus them. And the way that I build upon this - I'm just thinking ahead with an essay - is I'd probably connect it to this girl; there's this sense of ‘us’ and ‘them’. ‘Them’ is a threat. ‘Them’ is an outsider. ‘Them’ is all the things that we mentioned before, but ‘us’, he hasn't said too much about ‘us’ yet. So maybe he's going to build upon that here. 

'The farmers are the backbone of this community'. 

Okay. He is building upon it. This paragraph seems like it's more about the farmers and building the 'us'

'farmers are the backbone of this community, many of us having lived in this area for generations.'

This has been our space forever and look at these intruders coming in now. How rude!

‘While we understand the importance to our town of visitors supporting businesses and, indeed, have welcomed the holiday-makers, when they start causing havoc while searching for their wayward drones it’s time to say, ‘Enough!’’

'when they' - there's that dichotomy again - ‘start causing havoc’. 

Another word that kind of adds to that sense of them being a threat, them being intruders while searching for their wayward drones is ‘it’s time to say, ‘Enough!’’.

Build Your Vocabulary

I actually don't know what wayward means, so if this happens, and this stuff happens all the time, what I do is actually look it up in the dictionary and understand it because I know that if I don't know what this word means, it probably means that the majority of other people also don't know what this word means. It, therefore, gives me a potential advantage, because if I'm able to analyse it, there's something that not as many people would have analysed. 

So, wayward means difficult to control or predict because of willful or perverse behaviour.

In my own interpretation, I guess it's unpredictable. If I build upon this idea more, I guess there's a sense of loss of control and this builds upon that idea that farmers are losing control of their plot of land and their privacy. You can kind of see this is how my mind works and I just try to sync everything back up to the contention and to what he's saying essentially. That's actually quite a bit that we went through in that little bit there.

I'm just going to have a look at your comments now.

A viewer says 'dichotomy simplifies a debate for an audience to make it seem a neutral position is not possible and consequently one must pick a side.' Thank you, that's actually really helpful.

Analysing Paragraph Three

'Don’t get me wrong! I’m not just another technophobe' 

Oh, quickly. I just want to go back while we understand the importance of our town, of visitors supporting businesses, I think there's this acknowledging the opposition, acknowledging that there are benefits in having visitors. He's not completely tunnel-visioned. He is being fairer, or at least that's how he's portraying himself, and that makes me at least more inclined to side with him because I'm seeing that he's a little bit more rational and he's not just saying, oh, screw them . It's not just his way or the highway, there is some give or take, so that kind of makes him more credible in a sense.

The reason why I thought about that just then is because this next part, ‘Don’t get me wrong! I’m not just another technophobe’, builds to this idea as well. I'm just going to say acknowledging the opposition . There, you can finesse that by replacing the word opposition with something else. That's fine. 

‘I'm not just another technophobe’

He's kind of anticipating people's reactions to what he's saying and he's going no, no, no, I'm not like that. It's all good, not just another person complaining about technology.

As a young farmer’

I just find that hilarious. He's young guys, okay?! He's not some old person, I guess that’s the stereotype, that old people don't fare well with technology, which I don't think is true by the way. I think everyone's getting on board with technology these days. But, he's kind of reaffirming, I'm young guys, I'm a cool guy, I'm not anti-tech at all. He literally says it 'I'm introducing new tech'. I'm on board with that, you know, ‘we’re using drones’. 

Shifts in Tone

Now he's kind of talking about the benefits of drones, the time and the money they save. 

‘There is absolutely no way we want to ban drones.’

I think this is a really interesting way he's structuring his argument. He's kind of started off going, drones, they're so bad for you . Then he's showing this picture, which is kind of like drones, they suck. And then in this paragraph here, he differentiates farmers from outsiders, and then he kind of takes a turn and goes, no, I love drones, don’t get me wrong. I think there's this analysis there for you and I'd actually love for you guys to write down in the comments section what you think is going on? Why is he structuring his argument like this?

A viewer says 'there's a shift in tone' Absolutely! Love it. Great pickup.

Here's a tip for you guys. A shift in tone usually means that there's a new argument coming. They usually tie in together pretty well, so if you see a shift in tone, you can kind of hedge the bet that it's a new argument. This is particularly helpful if it's an article that's really hard. Usually for SACs, teachers will choose articles from newspapers and we all know that newspaper articles are way tougher than VCAA articles. If you don't know, it's true. 

Another viewer says 'it may be the start of rebuttal' Interesting.

A viewer asks 'will these annotations be provided for our personal use at the end?' - I'm only actually uploading the annotations into my study guide . So, they will be accessible there. Otherwise, it's just access through the live stream video (linked at top of page), which will be posted up afterwards as well.

A viewer says 'By stating he's young and uses drones, it showcases his argument isn't based on personal bias towards young people or drones, but is a legitimate problem.' - Hmm. With your analysis, I'm not a hundred percent sure what you're saying. I think it could be a little bit clearer. Give that a go. Just try rewriting it, see if you can make it even more concise.

Let’s Recap What We’ve Analysed So Far

So we've managed to annotate the background information, paragraph one, the photograph, paragraph two and paragraph three. We still have one more paragraph left and this next page with the image.

Unfortunately, I have to wrap it up there, but if you want to see me annotate and analyse the rest of this article, head over to Part 2 on Youtube where I finish this off.

Have a go at analysing the rest of the article yourself though!

Don't forget that I've got my How To Write A Killer Language Analysis study guide. If you want to head over there you can access/download the annotations + a complete A+ essay based on this article.

The following blog post (updated 02/10/2020), is a mix of the video transcription, along with some new pieces of advice and tips. Happy learning!

[Video Transcription]

Hey guys. Welcome back to Lisa's Study Guides. Right now, it's in the middle of December, and I know that most of you should have finished school by now, and you're enjoying your school holidays. Because it is summer holidays, and most people aren't really studying right now, this is for the truly keen beans, the people who are reading the text before the school starts, which, by the way, you should be doing. I'll pop that video in a card up above and so if you are studying Burial Rites, then this video is for you. If you're not, as always, it doesn't really matter because the type of advice that I will be giving would definitely be relevant to any text, because it's more about your thinking and how you actually go around approaching essay topics. ‍

‍ Burial Rites is about this girl called Agnes, and she is the last person in Iceland to be sentenced to the life sentence. This book covers the last few months of her life, living with these people who she's sharing her story with. She has been sentenced because she has murdered Natan. And although we first initially hear that she has murdered this guy, when we start to hear her story develop, that's when we start to see that there are shades of gray. That she did have reason behind what she did, and you can start to feel quite sympathetic towards her. At the same time, though, and this is what today's essay question will be about. There's a lot to do with the patriarchy. Agnes being not just a woman, but an intelligent woman, was something that was looked down upon, and people were scared of that. That's just to give you a little bit of context so that we can start this essay topic. ‍

Essay Topic

‍ Today's chosen essay topic is:

Women have no power in Burial Rites, the patriarchy dominates their lives. To what extent do you agree?

‍ Step 1: Analyse

‍ The first step, as always, is we look at keywords . What are the keywords here? To me, they are women, no power, patriarchy and dominates. These words really stand out to me, and these are the words that I feel are necessary for me to focus on in order to answer this prompt properly. The second step that I do is I define keywords . So what I do here is I try to understand what the keywords mean and also their implications.

• Women , is our first keyword. it's easy just to say, "Oh, women includes this character and this character." But we can start to think about more so the implications as well. So don't just think about the major characters like Agnes and Margret, but also think about the minor characters like Sigga and Rosa.
• No power. So to me, no power means to lack freedom. It's not necessarily no power like you know I'm not strong and this is why we need to actually define the words because many words have multiple connotations or they have multiple meanings. So you need to figure out, "Okay, how am I going to find this word so that I've got the right focus for the rest of my essay?" This is silly, but what if you, halfway through your essay, went, "Holy crap, power could also mean electricity, and I didn't talk about electricity." So electricity is not part of Burial Rites , but it's just something to get you thinking. You know you don't just want to dive straight into the essay, assuming you know what the keyword means and what it entails. Actually spend time to define it, so that it's a lot clearer for you, too. So I've also added that no power means a lack of power compared to men. So because it is a patriarchy, the fact that they have no power is very much sort of linked to the fact that it's male-induced.
• The third keyword is a patriarchy , so a male-dominated society, which means that an analysis of male characters is also required to fully understand male and female interactions. If you have an essay where you only talk about the women, then you're maybe only answering it 50%. To really add extra value to what you're saying and to really solidify your points, talk about the men because everyone influences each other one way or another.
• The last thing is I would also add, ' to what extent' ? When a prompt says, "to what extent?" to me, it means that some sort of challenge is required here. It's probably not enough if I just completely agree with it because it's only suggesting that the extent does end somewhere and that you need to go beyond it.

While in this video I don't cover the brainstorm process, you can learn more by reading up on my THINK and EXECUTE strategy , which has helped thousands of students achieve better marks! ‍

‍ My third step is I plan out key arguments. So this is how I'm going to break down this essay prompt. I am going to do two body paragraphs where I agree and one body paragraph where I disagree. So this should mean that I'm only agreeing to a certain extent. Here's a video about this type of essay structure and response:

‍ Body paragraph 1:

So my first body paragraph is yes, under male authority, the women are robbed of freedom and power. My example for that would be Agnes, who is the protagonist. She is a woman who's being sentenced to death for murdering Natan, more about him later, and, as a result, society condemns her and she's robbed of her identity and freedom. "Everything I said was altered until the story wasn't my own." The metaphor of a story represents her being stripped of her experiences and identity, and instead replaced with how others think of her, whore, madwoman and murderess. ‍

Body paragraph 2:

My second body paragraph would be another agreement, but this time I'm going to focus on the men. In this second body paragraph, my argument is men hold exploitative power over women. One, Natan, the person who was murdered, toys with all his whores, demonstrating male dominance in 1820s Iceland. All his workmaids are stranded, shipwrecked with nowhere else to go, highlighting women's hopelessness in changing their situation. Additionally, there's Blondal. So Blondal is a government authority and he's torn when commanding Lauga, Lauga, not too sure how to say that. You guys let me know. "I'm sure you would not question me," which is also another example of women's subordinate status.

Body paragraph 3:

The third one is one where I disagree. Here will be that there are rare instances of female empowerment in the novel. The first one will be Rosa, the poet. So Rosa has an affair with Natan, but Kent praises Rosa and she's described to be a wonderful woman and beautiful. Rosa transcends patriarchal structures, as she is assertive, headstrong, going against social codes in an act of female empowerment. The second one will be Agnes. Her storytelling and ability to express what she is inside allows her to gain a voice in the patriarchal world that has silenced her. Through her storytelling, she asserts her self-worth and dignity and despite the fact that she has been locked down, she is being treated like crap by the men, her ability to hold herself strong and to be able to face her death with dignity means that with some sense, at least from within, that sense of empowerment has not been completely diminished.

If you found this blog and video helpful, and would like to see Burial Rites essay writing in action, then I recommend you check out How To Write A Killer Text Response below!

Measure for Measure is currently studied in VCE English under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

INTRODUCTION ‍

Ahh William Shakespeare. That guy. You’re probably thinking, “Great. More fancy language. Hasn’t he been dead for centuries? Why does he keep popping up in our English curriculum?”

At least, that’s how I reacted.

Shakespeare is actually a huge figure in the history of the English language, and really no high school English curriculum is complete without a mandatory dose of him. In fact, the current VCAA study design demands that one of his texts must be on the text list. What a legend.

Shakespeare doesn’t only influence our world in the classroom. The Bard coined many words and phrases that we use today. We can thank this playwright for “be -all, end-all”, “good riddance”, and my personal favourite, “swagger”.

The Bard’s play “Measure for Measure” was first performed in 1604; over 400 years ago. So why do we still study his works today? In fact, the ideas and themes that are evoked in his plays are universal and timeless; pertinent to his contemporary counterparts, as well as today’s audience. Shakespeare’s plays are like soup (bear with me, this is going somewhere). One could say the playwright is a master chef; he mixes tales of the human condition and experience and asks us to question people and ideas. Everyone, regardless of their time, will gobble up the story.

So, what is this soup- I mean ‘Measure for Measure’ about? The play is known as a “problem play” and/or “tragicomedy”. That’s right, it’s both a tragedy and a comedy. Dire trials and tribulations are intertwined with humorous gags and jokesters. I guess Shakespeare couldn’t choose just one.  

‘Measure for Measure’ is also a problem play. Critic W.W Lawrence defined a problem play as one in which "a perplexing and distressing complication in human life is presented in a spirit of high seriousness ... the theme is handled so as to arouse not merely interest or excitement, or pity or amusement, but to probe the complicated interrelations of character and action, in a situation admitting of different ethical interpretations".

Ok, crazy, but he also said that "the 'problem' is not like one in mathematics, to which there is a single true solution, but is one of conduct, as to which there are no fixed and immutable laws. Often it cannot be reduced to any formula, any one question, since human life is too complex to be so neatly simplified.”

In short, a problem play presents lots of complications and issues that are open to different ethical interpretations. As in “Measure for Measure”, the “problem(s)” is/are not always solved.

So, what actually happens in this play that is problematic? What are our ingredients in this problem soup?

‍ P(L)OT SUMMARY

Get it? Cause soup is cooked in a pot. Sorry.

The Duke of Vienna appoints his deputy, Angelo, as the temporary leader. This Duke then pretends to leave town but instead dresses up as a friar to observe what happens in his absence. Angelo, strict and unwavering in his dedication to following the rules, decides to rid Vienna of all the unlawful sexual activity; including shutting down the brothels. Prostitutes like Mistress Overdone (pun alert) and her pimp Pompey are poised to lose their livelihoods. Laws against this activity exist, but they’ve gotten lax over the years. Angelo, a stickler for the rules, has Claudio arrested because young Claudio has gotten his engaged wife-to-be (Juliet) pregnant before they were officially married. Claudio is to be executed.

The virtuous Isabella, Claudio’s sister, is poised to enter a nunnery. Upon hearing of her brother’s arrest and sentence, she goes to Angelo to beg him for mercy. He hypocritically, in an absolutely dog move, propositions her, saying he’ll pardon her brother if she sleeps with him (with Angelo, not Claudio). She immediately refuses, being the religious and chaste woman that she is. At first Claudio is upset because he wants to live, but then he calms down and accepts death.

Luckily, the Duke (secretly dressed as a friar) helps in their sticky situation. He brews up a plan; Angelo’s former flame Mariana was engaged to him, but he broke off their engagement after she lost her dowry in a shipwreck. The Friar (Duke) plans to have Isabella agree to sleep with Angelo, but then send Mariana in her place. In theory, Angelo would pardon Claudio and be forced to marry Mariana by law.

The old switcheroo goes off without a hitch. But come morning, Angelo refuses to pardon Claudio, fearing he will seek revenge. The Duke, in collaboration with the Provost, send Angelo the head of a dead pirate (Ragozine) who died of natural causes. They claim that it’s Claudio’s head, and Angelo is satisfied, thinking him to be dead. Isabella is also told that her brother is dead and is encouraged by the Friar (Duke) to complain about Angelo to the Duke, who is returning home.  

The Duke makes a grand return to Vienna, saying he will hear any complaints immediately. Isabella tells her story, and the Duke feigns disbelief, despite having orchestrated the plan himself. In an act filled with more twists and turns than a Marvel movie, everything comes out; the Duke reveals he was a friar all along, Angelo is forced to confess, and Claudio is pardoned amongst other things. To top it all off, the Duke proposes to Isabella. Crazy!

HISTORICAL CONTEXT

It’s important to acknowledge what was going on in the world during the writing of a text. This may help give insight into why the author has included (or not included) some aspect of their work.

The Divine Right of Kings

This holy mandate states that a monarch derives his right to rule from the will of God and is not subject to earthly authority. The “king” or monarch is hence practically divine, and questioning his orders is also questioning god; blasphemy.

The Great Chain of Being/Class divides

This chain is a hierarchy of all life forms and matter in the following order:

• Kings & Royalty
• Commoners (Gentry, Merchants, Yeoman, Laborers)
• Non-living things

Hence, alongside The Divine Right of Kings, this ideal gave monarchs huge power over their subjects.

In early 1600s England, there was a defined social hierarchy and class system. Everyone had a place in the hierarchy, and there was little movement between the classes. Within each class, men were considered superior to women.

Shakespeare encourages us to ask a few questions of our supposedly holy leader and his actions. According to the Divine Right of Kings, the Duke is god’s right-hand man, and thus all his decisions are holy and backed by heaven. However, the Duke is pretty shady when he plots his bed-trick plan with Isabella and Mariana. Is this deceptive behavior still holy? Furthermore, is it not sacrilege to pretend to be a holy friar when one is not truly a holy man?

Moreover, when the Duke assigns Angelo as his deputy, would this transform Angelo into a divine ruler too? Could he be divine, considering his cruel rule and despicable request to Isabella?

Women were considered subservient, lower class citizens then men. Alliances were forged between powerful families through arranged marriages of daughters. These girls may have received an education through tutors attending their homes (there were no schools for girls), but their endgame would be marriage, children and maintaining the home. Women and girls of a lower class did not receive any formal education but would have learned how to govern a household and become skilled in all housewifely duties. Impoverished and desperate women (Mistress Overdone) would turn to prostitution to stay alive.

Shakespeare perhaps highlights the struggle of women in his female characters; Isabella, Mistress Overdone, Juliet, and Kate Keepdown. Their futures appear bleak; Isabella is poised to enter a nunnery, Juliet’s husband (her only source of income and protection) is to be executed, while the brothels that facilitate Mistress Overdone and Kate Keepdown’s livelihoods are being closed down by Angelo.

Jacobean Audience

It was a tumultuous time when Shakespeare penned ‘Measure for Measure’ in 1604. A year earlier came the end of the 45 year long Elizabethan era and began the Jacobean era under the rule of King James. Since the late Queen Elizabeth had no direct heirs, King James of Scotland (a relative) took to the throne. Little was known by the English people of this foreign king.

Perhaps, as Shakespeare portrays the ruler in ‘Measure for Measure’ as clever and good-hearted, the Bard sought to appease the king by calming the people and encouraging them to trust in their new monarch.

The playwright characterizes the Duke as loving his people, but not enjoying being before their eyes and in the spotlight; much like King James, a quiet ruler who relished studying privately in his great library.

‍ Playhouses and Brothels

The general public (commoners) paid a penny (could buy you a loaf of bread back in the day) to see Shakespeare’s plays, standing in the “yard”; on the ground, at eye-level of the stage. The rich (gentry) paid 2 pennies for seating in the galleries, often using cushions. The really rich (nobles) could watch the play from a chair set on the side of the stage itself. Shakespeare’s plays were performed at the Globe Theatre. Playhouses in Shakespeare's time were often close to brothels, both in terms of their physical locations in the suburbs and the way they were viewed by some of polite society. Thus, Shakespeare's relatively sympathetic portrayal of sexual deviance in ‘Measure for Measure’ may also constitute a defence of other suburban entertainment—his plays—and a way to humanize lower classes who patronized them.

WRITING ABOUT 'MEASURE FOR MEASURE'

If you’re lucky enough to study this interesting piece, the study design requires you to prepare “sustained analytical interpretations…discussing how features of the text create meaning and using textual evidence to support (your) reasons”. Basically, you’ll be given a topic; this topic could surround themes, characters, etc., and you must write analytically.

While you may choose to structure paragraphs around themes, ideas or characters, make sure to embed some historical context in there; that’ll show the examiner that you’ve done your research and have a thorough and deeper understanding of why Shakespeare put this or that in. Talking about authorial intent in your analytical essay leads to a more in-depth analysis.

“Shakespeare portrays characters that are flawed as a result of pre-destined circumstances. These characters, such as bawd Pompey and prostitute Mistress Overdone, lived in a time when there existed strong class divides, and movement within the social hierarchy was rare. As per the “Great Chain of Being”, a contemporary religious dogma, there was a hierarchy of all living things and matter, from lofty God and his angels down through the ranks of men and finally to animals and non-living things. In some cases, attempting to move up the social ranks was even considered a blasphemous rejection of the fate chosen by God.”

- embedding historical context (The Great Chain of Being) into a paragraph that discusses characters being flawed because of their circumstances

“Shakespeare offers characters such as Isabella and The Duke who strive for self-improvement through understanding and temperance. Perhaps the playwright suggests that perfection is very difficult if not impossible to attain, even for a ruler like the Duke and a pure soul like Isabella. However, he posits that it can be strived for and that perhaps this attempt to become better is what truly matters.”

- talking about authorial intent - what is Shakespeare trying to tell us?

Think of it as an opportunity to make your very own soup! Add some themes, stir in character analysis, sprinkle in some quotes and serve with historical context and authorial intent. Just like with a soup, there’s got be a good balance of all your ingredients; test out different structures during the year to find what works for you. (Just try not to overcook it, like I have done with this soup metaphor). If you need more help, How To Write a Standout Measure for Measure by William Shakespeare Essay is for you!

So, you see, there’s more to Shakespeare and ‘Measure for Measure’ than just fancy old language and iambic pentameter (What’s that? Well...). Keep on reading this blog post, where we’ll delve into themes, characters and symbols/motifs. In the meantime, let’s have a break. Grab a snack, a drink, and enjoy this tasty Shakespeare meme.

...Aaaaand we’re back!

Are you ready for part 2 of the Shakespeare train? Hop on board as we explore themes, characters and symbols/motifs. ‍ ‍

These are the major themes in ‘Measure for Measure’.

As you can see, the themes are interconnected. (Do you like the diagram? Made it myself :)) Why does this matter? Well, if you get an essay topic about Justice, for instance, you can also link it to Sexual and Gender Politics as well as Social Decay/Cohesion.

So, why is any one theme an important theme?

Which moments and characters are these themes related to?

Is there a link to historical context?

What are some key quotes?

What could be Shakespeare’s potential message? (Keep in mind that depending which pieces of evidence you look at, the Bard could be saying something different. In this piece, we’ll only discuss one or two authorial messages. The beauty of Shakespeare is that much is open to interpretation. You can interpret characters and ideas in so many different ways!)

Those are some great questions. Let’s explore some of the biggest themes...

Power and Authority

Power not only dictates the Viennese society, but we see it is a basis for moral corruption (I’m looking at you, Angelo!). The Duke is the leader of Vienna, ordained by God. He hands this power to his deputy Angelo, who misuses it in his request of Isabella. Now consider Isabella - she has power too, but a different kind… Also consider characters who have little to no power - Mistress Overdone, Pompey etc.

This theme could be linked to the Divine Right of Kings, the Great Chain of Being and Women.

• “O, it is excellent to have a giant’s strength, but it is tyrannous to use it like a giant” - Isabella when she pleads to Angelo to not kill her brother (Act 2, Scene 2, Line 130-132)
• “He who the sword of heaven will bear should be as holy as severe” - The Friar (Duke) to himself, not happy with Angelo’s dog move (Act 3, Scene 1, 538-539)
• “When maidens sue, men give like gods” - Lucio to Isabella, encouraging her to convince Angelo not to kill Claudio (Act 2, Scene 1, Line 87-88)
• "Hence we shall see, if power change purpose, what our seemers be.” - The Duke lowkey suggesting that once Angelo gets power, he’ll change into something evil (Act 1, Scene 4, Line 57)
• “Some rise by sin, and some by virtue fall.” - Escalus is sneakily hating on Angelo. This quote shows that power and authority often involve corruption (Act 2, Scene 1, Line 41)

Perhaps Shakespeare is suggesting that power is a dangerous weapon and that in the wrong hands, it could be deadly.

Morality and Sin

This is an interesting theme. What defines sin? For instance, if Isabella sleeps with Angelo she’s sinning before God. But if she doesn’t, then she’s letting her brother die, which is not good either. Bit of a pickle that one. Some characters to consider include Isabella, Angelo, The Duke, Claudio, Lucio, the Provost…. jeez just about everyone! So many of the characters take part in questionable deeds. Was it immoral for the Duke to pretend to be a holy friar? Is Claudio’s sin of impregnating Juliet really punishable by death if both parties were willing, and no one else has been punished for the same “crime”? Are Pompey and Mistress Overdone being immoral in being in the prostitution business, if it’s the only way to survive?

Deep stuff man. This can be linked back to class divides, women and the contemporary playhouses/brothels.

• “What sin you do to save a brother’s life, nature dispenses with the deed so far that it becomes a virtue” - Claudio begs his sister to sleep with Angelo (immoral, especially since she’s poised to enter a nunnery), saying that it’s for a good cause, and will actually be a virtue/good deed (Act 3, Scene 1, Line 146-148)
• “Might there not be a charity in sin to save this brother’s life?” - Angelo asking Isabella to sleep with him and trying to paint the act as a charitable deed (Act 2, Scene 4, Line 65-66)
• “I am a kind of burr, I shall stick” - Lucio, who represents sin and immorality in Vienna (we’ll talk more about this later in symbols/motifs) (Act 4, Scene 3, Line 182)
• “To bring you thus together ‘tis no sin, sith that the justice of your title to him doth flourish the deceit.” - The Friar (Duke), encouraging Isabella and Mariana to do the dodgy bed-trick and trick Angelo (Act 4, Scene 1, Line 79-81)

Perhaps Shakespeare tries to tell us that there is a fine line between something moral and something sinful. Maybe he’s asking, “who are we to judge?”, since we all do questionable things sometimes. Everyone from the almighty Duke to a lowly prostitute has committed potentially immoral acts. Perhaps audiences are encouraged to be more understanding of others, and their reasons for these deeds.

Mmm, this theme ties in nicely with just about all of the others. How does one define justice? The play explores this idea; does justice mean punishment? Or mercy? How do we balance the two to deliver the right punishment/lack thereof? Characters that dispense justice include The Duke, Angelo (although they have differing ideas of justice) and Isabella. Since Vienna is a religious place, consider the divine justice system (ie. a perfect, flawless system meted out by God) and the earthly one (ie. the flawed, human justice system). Laws exist in an attempt to ensure justice. But does it always work? Consider also the Old and New Testament ways of thinking - the former strict and punitive, while the latter is more measured and merciful (see symbols/motifs below for more info).

This theme can be linked to the Divine Right of Kings, Great Chain of Being, Women, and Jacobean Audience.

• “Justice, justice, justice, justice!” - (Wait, are you sure this quote is about justice?) Isabella pleads for (you guessed it) justice to the Duke (no longer dressed as a friar), thinking Angelo has, in fact, killed her brother (Act 5, Scene 1, Line 26)
• “The very mercy of the law cried out… ‘An Angelo for Claudio, death for death!’ Haste still pays haste, and leisure answers leisure, like doth quit like, and measure still for measure” - The Duke, explaining that it’s only fair that Angelo die for “killing” Claudio. (Act 5, Scene 1, Line 437-441)
• “liberty plucks justice by the nose” - The Duke tells Friar Thomas that the laws have slipped over the years, and the citizens of Vienna are not being punished for immoral deeds (prostitution, sex before marriage etc)

Perhaps Shakespeare says that since we humans are inevitably flawed, that any justice system created by us will too be imperfect. Who are we to decide the fates of our fellow man? Furthermore, the Bard may be encouraging us to be kind when dispensing justice, leaning more to mercy than punishment.

Sexual and Gender Politics

Who run the world? Gir- no it’s a bunch of men. This theme contributes to why ‘Measure for Measure’ is a problem play. The exploration of the female characters in this play are very interesting, and kind of sad. Of 20 named characters, only 5 are women. Together, their lines make up only 18% of the play. Yikes! There is a lot to unpack here. Our female characters are Isabella, Mariana, Mistress Overdone, Juliet, Francisca (a nun who speaks twice) and Kate Keepdown (who we never meet). Their situations: a maiden poised to enter a nunnery, a prostitute, a pregnant girl about to lose her husband, a nun, and another prostitute. Quite gloomy, isn't it? Meanwhile, the men are leaders (The Duke, deputy Angelo, and ancient lord Escalus) and gentlemen (Lucio, Claudio, and Froth). Over the course of the play, our female characters are put into worse situations by men. Their experiences are dictated by men. Consider taking a “feminist perspective” and exploring ‘Measure for Measure’ from a female point of view.

This theme links to the Great Chain of Being, Women and Playhouses/Brothels.

• “see how he goes about to abuse me!” - These are the last words we hear from Mistress Overdone, as she calls out Lucio for betraying her even though she kept secrets for him. All this happens while she’s being carted off to prison in only Act 3! What do you think Shakespeare is saying to us? (Act 3, Scene 1, Line 481)
• “Then was your sin of heavier kind than his” - The Friar (Duke) says to Juliet that she sinned more than Claudio, even though their sin was “mutually committed”. Even though they were both consenting, the woman is blamed more. Consider what would become of Juliet if Claudio was executed. She’d probably end up like Mistress Overdone... (Act 2, Scene 3, Line 31)
• “Who will believe thee, Isabel?” - Angelo says this after Isabella threatens to reveal his disgusting request. Ouch. It really goes to show how untrustworthy women are deemed.  (Act 2, Scene 4, Line 163)
• “Why, you are nothing then: neither maid, widow, nor wife?” - The Duke says this to Mariana. Basically, he says a woman can only be those 3 things. Jeez. (Act 5, Scene 1, Line 196-197)
• “When maidens sue, men give like gods” - Lucio to Isabella, encouraging her to convince Angelo not to kill Claudio. So, perhaps women do have some power. But, it’s due to their sexuality; something evaluated by men. Peachy. (Act 2, Scene 1, Line 87-88)

Perhaps Shakespeare suggests that women are treated unfairly in society. Maybe he posits that women are afforded so few opportunities in a man’s world. The Bard potentially says that such sexual and gender politics do not create a cohesive and just society.

This theme, again, connects to many others. It can link to all groups of people (The wealthy, the poor, women, criminals etc). Most of the mercy is dispensed at the end of the play when the Duke does his grand reveal. Characters who choose to mete out mercy over punishment include The Duke and Isabella. Also consider Angelo, who instead of choosing to spare Claudio, decides to kill him to uphold a law that hasn’t seen anyone punished for the same deed. We might think this is harsh, but it a legal and lawful decision.

Connect this idea with historical context, specifically Jacobean audience and playhouses/brothels.

• “I find an apt remission in myself” - Apt remission = ready forgiveness. The Duke says this after pardoning Angelo (Act 5, Scene 1, Line 539)
• “pray thee take this mercy to provide for better times to come” - The Duke pardons murderer Barnadine, asking him to use it to do better. How lovely!  (Act 5, Scene 1, Line 525-526)
• “let us be keen (shrewd/sharp), and rather cut a little than fall and bruise to death” - Escalus says this to Angelo, who wants to enact all strict laws immediately. The ever-reliable Escalus advises Angelo to be lenient and merciful. (Act 2, Scene 1, Line 6-7)
• “Mercy is not itself that oft looks so, pardon is still the nurse of second woe” - Escalus says this, defending Angelo’s decision to punish Claudio. He suggests that sometimes being merciful can encourage further wrongdoing. (Act 2, Scene 1, Line 282-283”)
• “I show it (pity) most of all when I show justice” - Angelo says to Isabella that he is showing Claudio pity/mercy by punishing him. A firm believer in the law, Angelo thinks he’s doing the right thing and teaching Claudio a lesson by punishing him.  (Act 2, Scene 2, Line 123)

Perhaps Shakespeare encourages us to look at mercy and punishment from different perspectives. Angelo believes he is punishing Claudio for his own good, and cleaning up Vienna of lechery too. Maybe we ought to be merciful in our opinion of the deputy. Nonetheless, the Bard shows that in the case of young Claudio, mercy and forgiveness is the right path to choose. Finally, consider why Shakespeare may have portrayed a merciful leader to his Jacobean audience. Maybe if he were to portray a leader as fair and merciful, the Jacobean audience would trust that their new king (a man similar in character to the Duke) could be kind and merciful too. Earning the favour of the king and writing a killer play? He’s killed two birds with one stone.

Human Frailty & Fallibility

I’ve encountered many essay topics about how humans are flawed and imperfect. It’s a pretty big theme in many texts, not just in our friend William Shakespeare’s. Human fallibility is to blame for a lot of the going-ons in ‘Measure for Measure’. Angelo takes the law too seriously, he gets heart eyes for Isabella and kills Claudio even though he thinks he’s slept with Isabella. Why? He wants to save his own ass, fearing Claudio will seek vengeance. The Duke is flawed too. He’s a leader, but he just avoids his problems, leaving Angelo in charge to deal with them. Then he plans to swoop in and look like a hero. Kinda dodgy. Consider Claudio and Juliet too. They, like Angelo, succumbed to lust and slept together before they were officially married. (Sigh, humans just can’t get it right.) It’s also worth thinking about the “low-lives” and poorer characters. Are the poor frail in a different way? For example, Mistress Overdone keeps Lucio’s secrets for him. In that way she is virtuous. However, she sells her body to survive. Perhaps she is not prone to desire like Angelo, but serves another desire - a desire to survive?

In terms of historical context, consider the Divine Right of Kings, the Great Chain of Being and Playhouses/Brothels.

• “They say best men are moulded out of faults, and for the most become much more the better for being a little bad” - Mariana pleads to Isabella to support her in begging the Duke to pardon (her new husband) Angelo. She is optimistic for man, believing our bad deeds can lead to self-improvement. (Act 5, Scene 5, Line 473-475)
• “Why, all the souls that were were forfeit once” - Isabella pleads to Angelo to pardon Claudio. She states that all souls were flawed before Christ offered redemption. (Act 2, Scene 2, Line 93)
• “I speak not as desiring more, but rather wishing a more strict restraint” - Isabella is speaking to a nun as she is poised to enter the ranks of the nunnery. We usually think of a nun as living a very strict life, but Isabella wants it even stricter! Here we see her flaw is that her thinking is too singular and blinkered. (Act 1, Scene 5, Line 3-4)
• “Lord Angelo is precise, stands at guard with envy, scarce confesses that his blood flows, or that his appetite is more to bread than stone.” - The Duke talks about how unhuman Angelo is. The deputy follows rules very closely, almost to the point where he’s like a machine. His nature is too strict.  (Act 1, Scene 5, Line 53-56)
• “I love the people, but do not like to stage me to their eyes” - The Duke says this to Angelo and Escalus as he hands over power to his deputy. Even the Duke is not perfect, in that he does not like being before crowds of his people (Act 1, Scene 2, Line 72-73)

Perhaps Shakespeare suggests that no one is truly perfect, not even a leader supposedly ordained by God, a law-abiding deputy, or a maiden who is poised to enter a nunnery. Yet while Angelo is overcome by his lust and emotion, the Duke and Isabella attempt to better themselves by showing mercy and temperance. Maybe Shakespeare suggests trying to improve one’s flawed self is most important.

God, Religion and Spirituality

Phew, we’re at our last theme. So, society in Vienna is very much religious. Their beliefs dictate actions and laws within the city. Some very religious characters include Isabella and Angelo. However, our novice nun, who is obsessed with virtue and chastity, agrees to and takes part in the bed-trick, a deception that is not particularly Christian. Our lusty deputy also succumbs, hellishly propositioning a maiden to sleep with him in exchange for her brother’s life. Even The Duke, supposedly semi-divine, makes some dubious choices. He spends most of the play posed as a holy man, even though he is not. He plans the bed-trick to deceive Angelo and lets poor Isabella think her poor brother is dead, instead of saving her so much pain. Furthermore, the title of the tale, ‘Measure for Measure’, comes from the Gospel of Matthew. (See symbols/motifs for more deets). The question of how much we should let religion dictate us is another reason this piece is a problem play.

The theme of God and Religion can link to historical context such as the Divine Right of Kings.

• “more than our brother is our chastity” - (Act 3, Scene 1, Line 194) and “Better it were a brother died at once, than that a sister by redeeming him should die forever” - (Act 2, Scene 4, Line 111-113) show that Isabella values her chastity and virtue over her brother!! Damn girl!
• “Ay, but to die, and go we know not where, to lie in cold obstruction and to rot” - Claudio tells Isabella that he fears the uncertainty of death. Perhaps his belief in a heaven has left him in the wake of his impending death? (Act 3, Scene 1, Line 129-130)
• “Let’s write good angel on the devil’s horns - ‘tis not the devil's crest” - Angelo is talking to himself about his lust for Isabella. It’s an appearance vs reality (ooh another theme!) kind of idea, where you can try to pretend something is something else (ie. Angelo doesn't lust after Isabella), but it doesn't change the thing (ie. he’s still keen). The deputy is comparing his emotions to these religious extremes. (Act 2, Scene 4, Line 16-17)

Perhaps Shakespeare criticises religious extremism in his portrayal of characters like Isabella and Angelo. Or maybe he just wants us to remain open-minded about ideas and our spirituality.

Yikes, there are so many themes in this play! Let’s move it along, and talk a little bit about characters.

Each character can be viewed in different lights, even more so than themes can be. We’re going to discuss characters very briefly because it’s up to you how you want to read them.

Here are the characters, in order of how much they speak in the play. To keep things short, let’s pretend these are all tinder bios. Who would you swipe right on? (Hint: not Lucio)

• super chill (the benevolent ruler of Vienna who’s let the laws slip a little)
• loves dressing up (actually spends most of the play disguised as a friar)
• clever/cunning (secretly counteracts the injustices decreed by Angelo)
• strong morals (would rather her brother die than she lives in shame)
• can get wild (conspires with the Duke to complete the bed-trick)
• holy gal (poised to enter a nunnery)
• a gentleman (well, his title is. He’s rude about the Duke and abandoned a prostitute that he got pregnant, so maybe he’s not that kind of gentleman)
• loves attention (legit! He’s a minor character but he has the third most lines of them all! Lucio loves to stir the pot!)
• loves some symbolism (Lucio represents all the bad stuff in Vienna…..see symbols/motifs)
• plays by the rules (a little too much)
• hypocrite (Sentences Claudio to death for sex before marriage, while asking the same thing of Isabella…. wow we’ve found our antagonist)
• Deep (Angelo is a bit of a complex character. He seems aware of his misdeeds and struggles to deal with these desires. It’s hard not to pity him at times)
• reliable (consistently counsels Angelo against acting too harshly)
• virtuous (he’s merciful, lets Pompey go with a warning in Act 2 Scene 1)
• loyal (trusts in the Duke)
• hard worker (he’s a prison ward)
• virtuous (does what’s right by him, disobeying Angelo’s orders to behead Claudio)
• magician (not really, but he makes Angelo believe that pirate Ragozine’s head is Claudio’s)
• clever (philosophically debates whether prostitution is worse than murder)
• funny (his character is the clown, and he’s got some sassy comebacks)
• poor (Pompey is a bawd employed by Mistress Overdone. Not the best dating bio)
• down for a good time ;) (impregnates Juliet before they are officially married)
• cool family (he’s Isabella’s brother)
• good hearted (initially is horrified at Angelo’s request of Isabella, saying she shouldn’t do it. Unfortunately, his fear of death get’s to him. After he’s calmed down, he’s accepting of death)
• a man in uniform (a policeman)
• a little dumb (he speaks a lot of malapropisms - hilariously using similar but incorrect words)
• not like Pompey (Pompey is a clever poor man, while Elbow is a policeman who’s a little bit all over the place)
• dedicated (still in love with Angelo even though he called off their engagement because her dowry was lost)
• a willing accomplice (participates in the bed-trick)

Mistress Overdone

• poor (she’s a prostitute, who fears for her livelihood when Angelo announces he’s destroying all the brothels)
• good hearted (kept Lucio’s secret. What secret? Read on…)
• works for the Duke (as an executioner…. there’s no way to make that sound nice)
• doesn't have a great name (c’mon it’s true)
• also likes to have a good time ;) (pregnant before official marriage)
• dependent (if Claudio dies she will probably end up as a prostitute to survive)
• can sing (Mariana asks him to sing a sad song about how she lost her beloved Angelo)
• holy gal (she is a nun)

Kate Keepdown (we never actually meet this character)

• a colleague of Mistress Overdone (a prostitute)
• single mum (Lucio got her pregnant and then ran away. He thinks marrying a prostitute is akin to whipping and hanging)

Ragozine (we never actually meet this character)

• dies (legit that’s all he does)

SYMBOLS & MOTIFS

These are people, objects, words etc that represent a theme or idea. For instance, the fact that I’ve used a bad soup metaphor AND a tinder reference means I need to go outside more. But let’s move on…

The title, “Measure for Measure” draws from the gospel of Matthew. The idea of heavenly justice vs earthly justice is prominent throughout the text. Moreover, it’s worth exploring the Old Testament ways of “an eye for an eye” and “measure for measure” in comparison to the New Testament teachings which lean towards forgiveness and mercy. Now, where do the Duke’s actions fit in? Is he harsh and equalising? Is he just and sympathetic?  

New Testament vs. Old Testament

When the Duke sentences Angelo to death, he makes a fancy speech which includes the play’s title.

“‘An Angelo for Claudio, death for death!

Haste still pays haste, and leisure answers leisure.

Like doth quit like, and measure still for measure.”

Act 5, Scene 1, Line 439-441

This mimics the Old Testament views, which famously states “eye for eye, tooth for tooth” (Exodus 21:24). These ideals teach that the person who committed a misdeed shall have the same misdeed done unto them. (For example, if you don’t like my new Facebook profile picture, I’m not liking yours…..but way more severe.)

In comparison, the New Testament states that we “Be merciful, just as your Father is merciful. Do not judge, and you will not be judged. Do not condemn, and you will not be condemned. Forgive, and you will be forgiven.” (Luke 6:36-37)

So, when sentencing Angelo the Duke employs the words of the Old Testament. However, he doesn’t go through with Angelo’s execution, instead showing the mercy encouraged by the New Testament. He’s not really following either way. Perhaps he’s instead choosing a middle road; one of temperance and justice.

Wait, who? We haven’t mentioned the “gentleman” Lucio much in the plot and in this blog post. That’s because he doesn’t really do that much other than buzz around and annoy everyone. Maybe that’s why his name rhymes with mosquito….

Regardless, we do see enough of Lucio’s character to learn that he’s not a very nice person. He treats Mistress Overdone and Pompey poorly, makes visits to the brothel, doesn’t take responsibility for his actions (getting Kate Keepdown pregnant) and bad-mouths the Duke. So yeah, we don’t like Lucio, what’s the big deal? Well, in Act 4, Scene 4 Line 182, Lucio says something very intriguing.

“I am a kind of burr, I shall stick.”

Burr - those little brown prickly things that get stuck to you.

We can think of Lucio as representing all the sins and misdeeds in Vienna - lechery, immorality, lack of justice, selfishness etc. Hence, Lucio is saying that these shortcomings and flaws will always be present to people and in Vienna, sticking to the city like a nasty burr. Damn, that’s deep.

Prose/Verse

The metre of the verse (ie. the classic Shakespeare writing) in ‘‘Measure for Measure”  is iambic pentameter. This means that each line is divided into 5 feet. Within each foot, there is one unstressed syllable followed by a stressed one.

I’ll TELL him YET of ANgelO’S reQUEST, And FIT his MIND to DEATH, for HIS soul’s REST. (Act 2, Scene 4, Line 195-196)

Verse does not have to rhyme, as the above lines do. Shakespeare often employs a rhyming couplet to close a scene and add some drama.

Verse is usually reserved for the higher class citizens, with those who are less fortunate speaking in prose.

Prose is language in its ordinary form, with no metre.

Certain characters, such as Lucio, switch between verse and prose depending on who they are speaking to. This could allude to Lucio’s duplicity, or perhaps a deep understanding of class divides in Vienna.

Names: Escalus and Angelo

Escalus is the ever reasonable and loyal lord and close confidant of the Duke. His name gives connotations of scales and balance - characteristic of the rational man.

Angelo’s name has connotations of “angel”. If we judge him only by his name, he should be a pure and heavenly being. Bah! That’s so fake! We can see that appearance is very different from reality. Isabella notices this too, stating that “this outward-sainted deputy...is yet a devil” (Act 3, Scene 1, Line 95-98).

Angelo’s Words/Actions

There is so much to unpack about this douchebag. Let us briefly consider 2 ideas. When he propositions Isabella to sleep with him, he requests that she “lay down the treasures of (her) body” (Act 2, Scene 4, Line 100).

Firstly, that’s weird. Perhaps Angelo can be seen as someone who is obsessed with the physical - Isabella’s body and treasure. Maybe this obsession leads to his immorality and poor leadership.

Secondly, Angelo struggles to directly say, “hey, let’s sleep together”. He weaves his way around the request, propositioning Isabella so indirectly that at first, she does not even seem to understand his request! However, once she threatens to tell everyone about his vile demand, he speaks bluntly; “Who will believe thee, Isabel?” (Act 2, Scene 4, Line 163). Perhaps this shows Angelo is self-aware that he’s being an ass. Or maybe this scene is yet more evidence of a patriarchal society, with the men knowing very well the power they hold.

We never actually meet this fellow. Ragozine is a pirate who dies in jail while “Measure for Measure” unfolds. His head is used in place of Claudio’s to convince Angelo of the former’s execution. Fascinatingly, Ragozine is the only person who dies in the entire play. ALSO, he dies of natural causes. Interesting. It feels like the play is full of death, grief and many heads on the chopping block. But curiously, there is only one death, of a minor character, of natural causes. Perhaps this says something about fate and justice or offers some commentary on life and hope.

Elbow vs. Pompey

Elbow is a silly policeman who speaks in malapropisms (using a similar but incorrect word for humorous effect). Pompey is a clever pimp who seems to have a deep understanding of justice and the Viennese people. The comparison of these characters, fortunate and dumb to unfortunate and clever, perhaps serves to show that the law is not always apt and that sometimes those who break the law are more clever than it.

Mistress Overdone (or lack thereof)

Mistress Overdone is a pitiable prostitute. She worries for her survival when Angelo begins pulling down the brothels, and she keeps Lucio’s bastard child a secret, only for him to throw her under the bus to save his own skin. The last we see of Mistress Overdone is her getting carted off to prison, crying “See how he goes about to abuse me!” (Act 3, Scene 1, Line 481) Yes, the last we witness of one of five speaking female characters is of her imminent incarceration. Furthermore, this happens in Act 3 of 5, around halfway through the play! The audience never hears from Mistress Overdone again, and her future is left uncertain. Even Barnadine, a convicted murderer, is given freedom and a happy ending.

Consider writing a few sentences of your essay from a feminist’s perspective. Think about the events of the play from the female characters’ points of view. What is Shakespeare saying by portraying Mistress Overdone (and other women) in such a way? Perhaps he is pointing out the injustices of the patriarchal system, or how uncertain a woman’s life was in his contemporary time.

“Measure for Measure” truly is an incredible text. This blog post is by no means an exhaustive list of all its quirks and complexities. This play’s relevance has survived centuries, and I believe it will continue to be pertinent to audiences well into the future. You are very lucky to be studying a text with such universal themes and ideas that you can carry with you even after high school.

All the Light We Cannot See is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Breaking Down an All the Light We Cannot See Essay Prompt

We've explored themes and symbols and provided a summary of the text over on our All the Light We Cannot See by Anthony Doerr blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

Here, we’ll be breaking down an All the Light We Cannot See essay topic using LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, you can learn about it in our How To Write A Killer Text Response study guide.

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

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Without further ado, let’s get into it!

‍ ‘In All the Light We Cannot See there is a fine line between civilised and uncivilised behaviour.’ Discuss.

Taking a look at this prompt, the first thing to note is that it is theme-based. Specifically asking about the line that separates civilised and uncivilised behaviour within the novel, this prompt focuses directly on the theme of human behaviours and how you ultimately interpret the fine line (i.e. seamless, difficult, changing, manipulative) between such ideas. Fundamentally, you have to discuss how this theoretical line drawn between the contrasting behaviours is explored within the novel in various ways throughout Doerr’s examination of humanity. 

The question tag of Discuss is the most flexible type of prompt/topic you will receive, providing you with a broad and open-ended route to pretty much discuss any ideas that you believe fit within the prompt’s theme of uncivilised and civilised behaviour. Although this may seem hard to know where to start, this is where Step 2: Brainstorm , comes into play. You can read through LSG’s Question Tags You Need To Know section (in How To Write A Killer Text Response ) to further familiarise yourself with various ways to tackle different prompt tags.

If you’re not sure what it is meant by ‘theme-based prompt,’ take a look at The 5 Types of Essay Prompts. 

A fundamental aspect of writing a solid Text Response essay is being able to use a diverse range of synonyms for the keywords outlined in the prompt. Our keywords are in bold. When you are brainstorming, if any words pop into your head, definitely list them so you can use them later. You may want to have a highlighter handy when unpacking prompts so you can do just this!!

‍ ‘In All the Light We Cannot See there is a fine line between civilised and uncivilised behaviour .’ Discuss.

• How people have grown up determines the civil and uncivilised behaviours shown by individuals of different backgrounds and childhoods - Bastian is symbolised as the eagle that circles the youth camp, which is an uncivilised /unwanted form of hawk-like behaviour . This compares to Fredrick's love of birds as a young boy which makes him a softer character. - Bernd had ‘no friends’ as a child - showing his isolated past - which could be described as the reason he leaves his father and goes off to join the Hilter Youth ‘just like the other boys.’ (find this analysis in the chapter ‘The Death of Walter Bernd’)
• There is a fine line that Doerr draws between the stereotypes of women and their ability to remain civilised despite being suppressed by uncivil livelihoods and experiences. - Jutta is characterised as a strong and independent woman instead of the traditional ‘pretty girl in a propaganda poster’. Society expects most women to stand on that side of human behaviour and representation however she defies this.
• The strength of women to cross/overcome the line of uncivilised behaviour is significant within the sexual abuse and misconduct driven by soldiers. Can remain true to oneself despite the horrific behaviours a woman faces. - The role of women on the homefront (i.e. Fredrick’s Mother) highlights the stark contrast between men fighting and thinking about the ‘men they killed’ and mothers who put on a ‘fake smile to appear brave’ (the line between barbaric behaviours of many soldiers and caring/loving behaviours of those on the homefront) - women and their sacrifices is an important topic here
• It is one’s ability to adapt to change that draws the line between civil and uncivilised behaviours . - Marie Laure’s ability to look past being a ‘blind girl’, and move on from this hardship. She adapts to the ‘changing times’ around her despite others who are suppressed in such an environment (e.g. Etienne and his ‘dread’).
• The game of flying couch is a symbol of escaping the uncivilised world around them (metaphorical line of the human imagination). - Werner is predominantly overwhelmed by the world around him, which reflects his inability to no longer ask questions as he did as a young boy. Instead, he succumbs to the uncivilised world of death and destruction as he is unable to change. 
• Symbolic use of Werner’s ‘soft covered notebook’ in epilogue - symbolises his loss of perspective and wonder of the world,
• Ultimately it is this line that makes the human existence so unique

After having brainstormed all the ideas that came to mind, I’ll be approaching the essay prompt with the following contention. 

In a world where society is grounded by behaviours both civil and uncivil, there is a clear distinction between humanity's response and representation of these behaviours.

Coming up with a clear contention allows you to put together a cohesive and strong essay that answers all aspects of the prompt question. 

Now, onto developing our topic sentences for each paragraph!

P1: Embedded within Doerr’s nonlinear narrative*, the environment in which individuals have grown up consequently influences their behaviours later in life.

*A nonlinear narrative is a storytelling technique Doerr uses to portray events out of chronological order. 

P2: Encompassing the social paradigms that pervade a woman’s existence, the strength and civilisation of females allow them to traverse a line of unjust behaviours that suppress them.

P3: In essence, it is the human response to change that divides individuals from ultimately displaying civil or uncivil acts in the world.

The art of recognising the ephemera of the human existence is painted by Anthony Doerr’s All the Light We Cannot See as a fine line between behaviours of civilisation and extreme brutality (1) . In the inordinate scheme of history, Doerr fosters the dichotomy between those who remain socially aware and others who are marred by desolation as a reflection on one's past. Further subverting the traditional depiction of women in a ‘war story’, the strength of women is established as a key turning point for individuals to escape barbaric behaviours and cross the line to civilisation. Fundamentally, however, it is the overall response to change that crafts human behaviours that Doerr underpins within society (2) .

Annotations ‍ ‍ (1) it is important to include synonym variation in your opening sentence to ensure that it does not look like you have just copied the prompt and placed it on your page. This idea should be carried out throughout your essay - vary your words and try not to repeat anything, this will ensure you are clear and concise!

(2) In order to improve the flow of your writing, the final topic sentence of your introduction can be a concluding statement on why/how the topic is OVERALL expressed within the novel. When you formulate your contention, it is not enough just to state it, you must also provide reasoning as to why you are writing from this point of view or how you came to this conclusion. For example, my final topic sentence here is a concluding sentence about how I believe a fine line between uncivilised and civil behaviour has an influence throughout the entire novel and Doerr’s intention, one’s response to change. As you read on, you’ll also see that this sentence relates to my final paragraph, thus linking together ideas throughout my essay.

Embedded within Doerr’s nonlinear narrative, the environment in which individuals have grown up consequently influences their behaviours later in life. The initial illustration of the ‘smokestacks hume’ and the ‘black and dangerous’ imagery (3) of the war paints a clear picture of the destruction and trauma that individuals have lived amongst, thus why people were ‘desperate to leave’. Empathising with an ‘old woman who cuddles her toddler’ on the streets, Doerr laments how young individuals who end up ‘surg[ing] towards one cause,’ which this toddler may similarly grow up to do in the Hitler Youth, directly reflects the ‘intense malice’ of their childhood. This idea that one’s past affects the future behaviours of a generation is further captured within the chapter ‘The Death of Walter Bernd’ (4) , which outlines how Bernd’s upbringing with ‘no friends’ promotes him to ‘just leave’, in order to experience something new, despite knowing this something new would bring unjust decisions into his life. Becoming ‘just like the other boys’, Doerr suggests that the line between civil and uncivil behaviours is so thin (5) that a mere need to escape one’s past is enough to create feelings of negativity and at worst death. Encapsulating the darkness that prevails over such individuals, the symbolism of Bastian’s ‘sharp eyes’ (6) poetically describes the eagle that circles the youth camp where Doerr seeks to paint a metaphorical cruel depiction of Bastian as a harmful hawk. Underpinning the fine line between human behaviour, Fredrick’s ‘love of birds’ is ‘so beautiful[ly]’ representative of his respectful nature and approach to life while Bastian’s immersion in ‘the self interest of the world’ ultimately explains how his fallacious behaviour towards others is embodied by his environment within the war. Overall, the behaviours displayed by humanity are a reflection of past experiences and how they shape the individual.

Annotations (3) Imagery is a key aspect of All the Light We Cannot See and goes hand in hand with the vast symbolism Doerr uses within his novel. When including imagery, it is great to include a few related quotes; however, you must then ensure you analyse and delve into how this technique (imagery) demonstrates the idea you are writing about. In this case, the imagery of the chimneys and foggy/dirty air illustrates the desolate environment individuals lived in during the war.

(4) This chapter is something not many students analyse or touch on so if you’re looking to add some spice to your writing I would definitely take a look and see what you can extract from some of those more unique and nuanced chapters!

(5) Referencing the ‘fine line’ continually throughout your essay ensures that you are staying on track and not talking about topics away from the prompt. 

(6) Symbolism is very important in All the Light We Cannot See . The use of the quote ‘sharp eyes’, really shows that you have considered not only how Doerr simply explores the behaviour of each character but also the physical interpretations of how individuals may demonstrate a certain persona within the novel. This focus on character description on top of dialogue adds extra layers to your writing. 

Encompassing the social paradigms that pervade a woman’s existence, the strength and civilisation of females allow them to traverse a line of unjust behaviours that suppress them. Instead of characterising Jutta as a ‘pretty girl in a propaganda poster’, whom the soldier will ‘fight and die for’, Doerr proffers the unconventional humanisation of women on the home front to pay tribute to the power of staying true to oneself (7) . Despite facing the barbaric reality of ‘sex crazed torturers’, Doerr illuminates Jutta’s capacity to ‘look them in the eye’ rather than shy away from them as a meditation on her own morals of (8) ‘what is right’. The tragic nature (9) of such abuse is specifically chronicled by Doerr to concatenate (10) the continual brave behaviours Jutta portrays even when succumbing to the line that attempts to draw women away from strength and independence. Further referencing her desire to ‘lock away memories’ of the past in her life after the war, the novel posits the importance of women during a period of inordinate history as a powerful force that remained civil even in times of ‘absolute blackness’. From the perspective of Fredrick’s mother, Doerr seeks to display how her ‘fake smile to appear brave’ outlines how many mothers and women had to remain strong for their children, such as Fredrick with brain damage, even though they were so close to falling into a world of sorrow and isolation. A clear segregation between soldiers who thought about ‘the men they killed’ and women who were made to ‘feel complicit in an unspeakable crime’ (11) they did not commit overall affirms the sacrifices women made during the war and without such sacrifices and strength the thin line between behavioural acts would be broken.

Annotations (7) Here I have included an analysis of Doerr’s message - what he is trying to say or show within his novel. Ultimately an author has a message they seek to share with the world. Providing your own interpretation of certain messages the author may be attempting to send to his readers adds real depth to your writing, showing that you are not only considering the novel itself but the purpose of the author and how this novel came to explore the fundamental ideas of the essay prompt.

(8) This quote directly relates to the keyword: civilised behaviour. Finding quotes that are also specific to your prompt is crucial to producing an essay that flows and has meaning. 

(9) The use of adjectives within the essay paints the picture of whether an act is civil or uncivil which is ultimately what we are attempting to discuss from the prompt. Here the phrase ‘tragic nature’, underpins the essence of unjust behaviours shown by the soldiers.

(10) Concatenate - link/connect ideas together

(11) Comparing aspects within the novel is a great way to show your understanding and how the same theme or idea can be shown in many different ways. 

In essence, it is the human response to change that divides individuals from ultimately displaying civil or uncivil acts in the world. Established by Marie Laure’s characterisation as a ‘blind girl’ who can ‘project anything onto the black screen of her imagination’, Doerr illuminates her ability to adapt to the ‘changing times’ around her. She is seen to be ‘carried away by reveries’ rather than a plethora of voices who ‘forgo all comforts’ and ‘eat and breathe nation’. Through the chapter and make-believe game ‘flying couch’ (12) , Marie’s nature to ‘surrender firearms’ with Etienne in their imagination is a symbolic adoption to escape the world around them, hence the uncivilised society they are learning to live in. Doerr’s congruent imagery of Etienne’s changing voice of ‘dread’ to ‘velvety’ as he becomes intertwined within ‘Marie’s bravery’ underpins the ability for individuals to seamlessly cross the line from a lack of cultured behaviour to a world of hope and prosperity. Contrasting this, however, Werner, an individual who was initially curious about ‘how the world works’, is so ‘overwhelmed by how quickly things are changing around [him]’ that his ‘interest in peace’ is stripped away and no longer exists due to his inability to change with a changing world. Doerr, therefore, laments the transmogrification of his character as a reflection of his uncivil thoughts and ideals as a soldier, ultimately resulting in his loss of ability to ask questions. This idea places emphasis on Volkheimer receiving Werner’s ‘soft covered notebook’ in the epilogue (13) where the translation of the book’s title ‘Fragen’ - to ‘ask’ in English - is symbolic of the moment Werner decided to ‘work, join, confess, die’ he immediately lost the open mind and curiosity he once had. Ultimately, the dichotomy between these two lives and their opposing character transformations resembles the line between remaining calm or acting out of haste when subject to change.

Annotations (12) Analysing not only the game but the whole meaning behind chapters and why Doerr has given them certain names is an interesting avenue to take. Here ‘flying couch’ not only underpins the imagination of Marie Laure but also symbolises freedom and bravery within just the name itself.

(13) The analysis and evidence used from the epilogue is a crucial part of this paragraph and is significant to Doerr’s novel. Unpacking All the Light We Cannot See , there is a lot of evidence and juicy ideas you can draw from the beginning and end of the novel. Here I have almost analysed the meaning of Werner’s ‘soft covered notebook’ to the bone; however, this adds a lot of depth to your writing as I’m sure your ultimate goal is to make your essays as unique as possible?!

As a project of humanism, Doerr seeks to portray a fine segregation in people's behaviours as the microcosm (14) of what makes the human existence so unique. Following the journeys of individuals who even ‘see a century turn’’ the novel displays how one’s past has an immense influence on how their future values, actions and behaviours grow and develop. Further subverting the stereotypical representation of women living in a war, Doerr establishes an acknowledgment of their roles and strength in the face of cruel situations. Ostensibly, it is the human capacity to adapt to change that marks the difference between what is just and unjust in a society that weighs both on a very unstable scale. 

Annotations ‍ ‍ (14)   Microcosm - a community, place or situation regarded as encapsulating in miniature the characteristics of something much larger.

If you find this essay breakdown helpful, then you might want to check out our All the Light We Cannot See Prompts blog post. You can have a go at those essay prompts and feel free to refer back to this essay breakdown whenever you need. Good luck!

Get exclusive weekly advice from Lisa, only available via email.

Power-up your learning with free essay topics, downloadable word banks, and updates on the latest VCE strategies.

latest articles

Check out our latest thought leadership on enterprise innovation..

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

Breaking Down Themes & Key Quotes in The Erratics by Vicki Laveau-Harvie

Keep in touch

Have questions? Get in touch with us here - we usually reply in 24 business hours.

Unfortunately, we won't be able to answer any emails here requesting personal help with your study or homework here!

Copyright © Lisa's Study Guides. All Rights Reserved. The VCAA does not endorse and is not affiliated with Lisa's Study Guides or vcestudyguides.com. The VCAA provides the only official, up to date versions of VCAA publications and information about courses including the VCE. VCE® is a registered trademark of the VCAA.

03 9028 5603 Call us: Monday to Friday between 3pm - 6pm or leave us a message and we'll call you back! Address: Level 2 Little Collins St Melbourne 3000 VIC

• Try for free

Twelfth Grade Creative Writing Worksheets

• Scoring Rubric: Poetry
• Student Proofreading Checklist
• Creative Writing with Photo Inspiration
• Scoring Rubric: Research Report/Paper
• Poetry Terms Quiz
• An Immigrant's Story
• The "I Remember" Poem
• Scoring Rubric: Literary Analysis/Interpretation
• Scoring Rubric: Summary
• Scoring Rubric: Narrative Based on Personal Experiences
• Scoring Rubric: Drama
• Writing Self-Assessment
• Scoring Rubric: Comparison/Contrast
• Scoring Rubric: Response to Literature
• Life's Not Always Fair
• Answer to an Unasked Question
• Scoring Rubric: How-to/Process Explanation
• Scoring Rubric: Description
• Build a Better Metaphor
• Initial Self-Assessment: Writing
• Scoring Rubric: Definition/Classification
• Scoring Rubric: Persuasion
• Speak to Me in Iambic
• Scoring Rubric: Expression
• Moe's Café
• Peer Conference Notes: Reader
• Scoring Rubric: Evaluation/Review
• Peer Conference Notes: Writer
• Scoring Rubric: Multimedia Report
• Scoring Rubric: Technical Description / Explanation
• More Creative Writing Printables, 12th Grade

Featured High School Resources

Related Resources

About the author

TeacherVision Editorial Staff

The TeacherVision editorial team is comprised of teachers, experts, and content professionals dedicated to bringing you the most accurate and relevant information in the teaching space.

8 Creative Writing Examples That Will Spark Your Writing Genius

Jane Ng • 15 Nov 2023 • 6 min read

Looking for some creative writing examples to ignite your imagination? You’ve come to the right place! Whether you’re an aspiring writer searching for inspiration, or a student aiming to enhance your creative writing skills, we’ve got you covered. In this blog post, we’ll provide creative writing examples, explore different styles, and techniques, and showcase some truly inspiring pieces. 

So, let’s begin our adventure into the world of creativity and expression.

Table Of Contents

What is creative writing.

• Types of Creative Writing Styles

Key Takeaways

• FAQs About Creative Writing Examples

More Tips with AhaSlides

• Six Thinking Hats
• What is Systems Thinking?

Looking for Creative Presentations?

Gather your team members by an interactive quiz on AhaSlides. Sign up to take free quiz from AhaSlides template library!

Creative writing is the art of using words to express thoughts, ideas, and emotions in imaginative and unique ways. It’s a writing form that goes beyond the technical and conventional aspects of writing like grammar and structure, focusing instead on capturing the essence of storytelling and personal expression.

In creative writing, writers have the freedom to invent characters, settings, and plots, allowing their creativity to flow without the constraints of strict rules or guidelines. This form of writing can take various forms, including short stories, poetry, novels, plays, and more which we’ll explore in the next section.

Types Of Creative Writing Styles

Creative writing encompasses a variety of styles, each with its unique characteristics and purposes. Here are some common types of creative writing styles:

• Fiction: Storytelling with invented characters, plots, and settings across genres like mystery, romance, science fiction, fantasy, flash fiction and literary fiction.
• Poetry: Expressive writing using rhyme, meter, and figurative language to convey emotions and imagery, including forms like sonnets, haikus, and free verse.
• Drama/Playwriting: Crafting scripts for theatrical performances, incorporating dialogue, stage directions, and character development for stage productions.
• Creative Nonfiction: Merging facts with narrative storytelling techniques to create engaging personal essays, memoirs, and travel writing.
• Screenwriting: Developing scripts for movies and television, adhering to a specific format, and including scenes, dialogues, and camera directions.
• Short Stories: Concise narratives exploring single themes with well-developed characters and plots within a limited word count.
• Blogging: Creating conversational and relatable content, combining personal experiences, opinions, and information, covering a wide range of topics and formats.
• Songwriting: Crafting lyrics and melodies to convey emotions and stories through music, blending language with melody in a unique creative form.

1/ Flash Fiction – Short Creative Writing Examples:

Ernest Hemingway’s Six-Word Story:

“ For sale: baby shoes, never worn. “

This poignant six-word story is often attributed to Hemingway, although its true authorship is debated. Regardless, it showcases the power of flash fiction to convey a complete narrative with just a handful of words. In this case, it tells a heartbreaking story of loss and unfulfilled hopes in a remarkably concise manner.

2/ GCSE Creative Writing Examples:

Here’s a GCSE (General Certificate of Secondary Education) creative writing example. GCSE creative writing tasks often require students to demonstrate their ability to craft engaging narratives.

Task: The Unexpected Visitor

“Imagine you are at home alone on a rainy evening. Your parents are out, and you’re engrossed in a book. Suddenly, there’s a knock at the door. You weren’t expecting anyone, and the hour is late. Write a short story (around 300-400 words) about what happens next.”

3/ Haiku Poetry – Creative Writing Examples:

Haikus are a traditional form of Japanese poetry known for their brevity and focus on nature and the changing seasons. Each haiku typically consists of three lines with a syllable pattern of 5-7-5, making them a concise yet evocative form of creative expression.

Matsuo Basho (1644-1694):

“An old silent pond…

A frog jumps into the pond—

Splash! Silence again.”

4/ Screen Writing – Creative Writing Examples:

Screenwriting is a unique form of creative writing that brings stories to life on big and small screens. Here are a few famous examples of screenwriting from iconic films and TV series:

1/ Movie – “Get Out” (2017) Script – Written by Jordan Peele:

Jordan Peele’s screenplay combines horror and social commentary, making “Get Out” a thought-provoking and chilling cinematic experience.

2/ TV Series – “Breaking Bad” (2008-2013) – Created by Vince Gilligan:

Vince Gilligan’s screenplay for “Breaking Bad” masterfully portrays the transformation of a high school chemistry teacher, Walter White, into a drug lord. The series is celebrated for its character development and moral ambiguity.

5/ Playwriting – Creative Writing Examples:

These plays represent a diverse range of styles and themes within the world of playwriting. They have had a significant impact on the theater and continue to be performed and studied worldwide.

1/ “Romeo and Juliet” by William Shakespeare:

This timeless tragedy explores themes of love and conflict between the Montagues and the Capulets. It’s one of Shakespeare’s most famous plays, known for its poetic language and unforgettable characters.

2/ “Death of a Salesman” by Arthur Miller:

Arthur Miller’s classic play delves into the American Dream and the disillusionment of a traveling salesman named Willy Loman. It’s celebrated for its exploration of the human condition and the pursuit of success.

6/ Personal Essay – Creative Writing Examples:

Personal essay examples showcase how writers can draw from their own life experiences to create engaging narratives that resonate with readers.

1/ “A Journey to Self-Discovery”

In this personal essay, the author reflects on a transformative backpacking trip through the mountains. They recount the physical and emotional challenges faced during the journey and how these challenges ultimately led to profound self-discovery and growth. The essay explores themes of resilience, introspection, and the power of nature to inspire personal change.

2/ “Lessons from My Grandmother’s Kitchen”

This personal essay takes readers into the author’s childhood memories of spending time with their grandmother in the kitchen. Through vivid descriptions of cooking rituals and family gatherings, the author reflects on the valuable life lessons and cultural heritage passed down through generations. The essay touches on themes of family, tradition, and the importance of preserving cultural identity.

7/ Blogging – Creative Writing Examples:

Here are a few famous examples of blogs known for their creative and engaging writing styles:

1/ Wait But Why by Tim Urban:

Wait But Why is known for its in-depth articles and entertaining infographics that explore a wide range of topics, from science and technology to philosophy and human behavior.

2/ Cup of Jo by Joanna Goddard:

Cup of Jo is a lifestyle blog that features thoughtful and relatable content on relationships, parenting, travel, and more. Joanna Goddard’s writing style is warm and inviting.

8/ Songwriting – Creative Writing Examples:

Here are three famous examples of songwriting known for their creative and impactful lyrics:

1/ “Bohemian Rhapsody” by Queen:

Queen’s epic and operatic “Bohemian Rhapsody” features intricate lyrics that tell a complex narrative and create a timeless rock masterpiece.

2/ “Yesterday” by The Beatles:

“Yesterday” by The Beatles is a classic ballad with introspective lyrics that explore themes of nostalgia and lost love.

3/ “What’s Going On” by Marvin Gaye:

Marvin Gaye’s “What’s Going On” is a socially conscious song with lyrics that address issues like war, racism, and environmental concerns.

Through the power of words, writers can transport readers to distant worlds, evoke deep emotions, and share profound insights. Throughout this exploration of creative writing examples, we’ve witnessed the diverse tapestry of possibilities, from captivating personal essays to timeless poetry, from gripping screenplays to enchanting song lyrics.

Whether you’re a seasoned writer or just starting your creative journey, the key lies in unlocking your imagination and letting your ideas flow freely. So don’t forget that AhaSlides provides a dynamic platform for creative writing, offering interactive features that can enhance your storytelling. Whether you’re crafting a captivating presentation, conducting a workshop, or seeking feedback on your work, AhaSlides empowers you to engage with your audience in new and exciting ways.

FAQs About Creative Writing Examples

What is a good example of creative writing.

One famous example of creative writing is the opening paragraph of 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, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way—in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.”

Is a verse example of creative writing?

Yes, a verse can be a good example of creative writing. Creative writing encompasses a wide range of forms and styles, and poetry or verse is certainly one of them.

Ref: Study.com

A writer who wants to create practical and valuable content for the audience

More from AhaSlides

Choose Your Test

Sat / act prep online guides and tips, 105 creative writing prompts to try out.

General Education

The most common advice out there for being a writer is, "if you want to write, write." While this is true (and good advice), it's not always that easy, particularly if you're not writing regularly.

Whether you're looking for help getting started on your next project, or just want to spend 20 minutes being creative, writing prompts are great ways to rev up your imagination. Read on for our list of over 100 creative writing prompts!

feature image credit: r. nial bradshaw /Flickr

10 Short Writing Prompts

If you're looking for a quick boost to get yourself going, these 10 short writing prompts will do the trick.

#1 : Write a scene starting with a regular family ritual that goes awry.

#2 : Describe exactly what you see/smell/hear/etc, right now. Include objects, people, and anything else in your immediate environment.

#3 : Suggest eight possible ways to get a ping pong ball out of a vertical pipe.

#4 : A shoe falls out of the sky. Justify why.

#5 : If your brain were a tangible, physical place, what would it be like?

#6 : Begin your writing with the phrase, "The stage was set."

#7 : You have been asked to write a history of "The Summer of [this past year]." Your publisher wants a table of contents. What events will you submit?

#8 : Write a sympathetic story from the point of view of the "bad guy." (Think fractured fairy tales like Wicked or The True Story of the 3 Little Pigs! , although the story doesn't have to be a fairy tale.)

#9 : Look at everyday objects in a new way and write about the stories one of these objects contains.

#10 : One person meets a stranger on a mode of transportation. Write the story that ensues.

11 Writing Prompts for Kids

Any of these prompts can be used by writers of any age, but we chose the following 11 prompts as ones that would be particularly fun for kids to write about. (Most of them I used myself as a young writer, so I can vouch for their working!)

#1 : Include something falling in your writing.

#2 : Write a short poem (or story) with the title, "We don't know when it will be fixed."

#3 : Write from the perspective of someone of a different gender than you.

#4 : Write a dumb internet quiz.

#5 : Finish this thought: "A perfect day in my imagination begins like this:"

#6 : Write a character's inner monologue (what they are thinking as they go about their day).

#7 : Think of a character. Write a paragraph each about:

• An important childhood experience that character had.
• The character's living situation.
• Two hobbies or things the character likes to do.
• The room where the character sleeps.
• An ambition of the character.
• Two physical characteristics of the character.
• What happens when a second person and this character meet.
• Two important defining personal traits of this character.

#8 : Start a story with a quote from a song.

#9 : Begin a story with, "It was the summer of ______ when ______"

#10 : Pretend everyday objects have no names. Think about what you would name them based on what they do, what you can use them for, and what they look like.

#11 : Start a story with the phrases "My grandparents are/were," "My parents are/were," or "My mother/father/parent is/was."

15 Cool Writing Prompts

#1 : List five issues that you're passionate about. Write about them from the opposite point of view (or from the perspective of a character with the opposite point of view).

#2 : Walk around and write down a phrase you hear (or read). Make a story out of it.

#3 : Write using no adjectives or adverbs.

#4 : Write a character's inner dialogue between different aspects of a character's self (rather than an inner monologue).

#5 : Write a true story from your past that involves light or darkness in some way.

#6 : "Saying goodbye awakens us to the true nature of things." Write something in which someone has to say goodbye and has a realization.

#7 : Begin by writing the end of the story.

#8 : Write a recipe for an intangible thing.

#9 : Write a horror story about an ordinary situation (e.g., buying groceries, going to the bank, listening to music).

#10 : Write a story from within a bubble.

#11 : Write down 2-3 short character descriptions and then write the characters in conversation with one another.

#12 : Write a story in second person.

#13 : Write a story that keeps contradicting itself.

#14 : Write about a character with at least three big problems.

#15 : Write something that takes place on a Friday, the 13th (of any month).

15 Funny Writing Prompts

#1 : Write a story which starts with someone eating a pickle and potato sandwich.

#2 : Write a short script where the plot has to do with evil dolls trying to take over something.

#3 : Write about writers' block.

#4 : List five election issues that would be ridiculous to includes as part of your election platform (e.g. outlawing mechanical pencils and clicky pens, mandating every person over the age of 30 must own an emergency last rites kit). Choose one of the ridiculous issues and write a speech in favor of it.

#5 : Write a children's story that is insanely inappropriate but can't use graphic language, curses, or violence.

#6 : List five careers. Write about someone with one of those careers who wants to quit it.

#7 : Write down a list of murder methods. Choose one at random from the list to use in a story.

#8 : Write a romance story in which the hero must have a last name corresponding with a physical characteristic (e.g. Jacques Hairyback or Flora Dimple).

#9 : Come up with 10 different ways to:

• order a pizza
• congratulate someone on a job well done
• return to the store something that's broken

#10 : Search for "random Renaissance painting" (or any other inspirational image search text you can think of) on any online internet image search engine. Picking one image, write half a page each of:

• Statements about this image (e.g. "I meant bring me the BREAD of John the Baptist").
• Questions about this image (e.g. "How many of those cherubs look like their necks are broken?").
• Explanations of this image (e.g. "The painter ran out of blue paint halfway through and had to improvise for the color of the sky").
• Commands said by people in this image or about this image (e.g. "Stop telling me to smile!" or "Bring me some gasoline!").

#11 : Write starting with a word that sounds like "chute" (e.g. "chute," "shoot," "shooed").

#12 : Write about a character named X "The [article of clothing]" Y (e.g. Julie "The Yellow Darted Skirt" Whyte) or simply referred to by their clothing (e.g. "the man in the brown suit" or "the woman in black").

#13 : Write down a paragraph each describing two wildly different settings. Write a story involving both settings.

#14 : Think of a fictional holiday based around some natural event (e.g. the Earth being at its farthest point from the sun, in memory of a volcanic eruption, that time a cloud looked like a rabbit riding a bicycle). Write about how this holiday is celebrated.

#15 : Write a "Just-So" type story about a fictional creature (e.g. "how the dragon got its firebreath" or "how the mudkip got its cheek gills").

54 Other Writing Prompt Ideas

#1 : Borrow a character from some other form of media (or create your own). Write from that character's perspective.

#2 : Write for and against a non-consequential controversy (e.g., salt vs. pepper, Mac vs. PC, best kind of door).

#3 : Choose an ancestor or a person from the past to write about or to.

#4 : Write a pirate story with a twist.

#5 : Have a character talk about another character and their feelings about that other character.

#6 : Pick a season and think about an event in your life that occurred in that season. Write a creative nonfiction piece about that event and that season.

#7 : Think of something very complicated and long. Write a page about it using short sentences.

#8 : Write a story as a dream.

#9 : Describe around a food without ever directly naming it.

#10 : Write a monologue (one character, talking to the audience/reader) (*not* an inner monologue).

#11 : Begin a story with the phrase, "It only took five seconds to..."

#12 : List five strong emotions. Choosing one, write about a character experiencing that emotion, but only use the character's actions to convey how they are feeling (no outright statements).

#13 : Write a chapter of the memoir of your life.

#14 : Look through the (physical) things you're currently carrying with you or wearing. Write about the memories or emotions tied with each of them.

#15 : Go be in nature. Write drawing your story from your surroundings (both physical, social, and mental/emotional).

#16 : Write from the perspective of a bubble (or bubble-like creature).

#17 : A person is jogging along an asphalt road. Write a story.

#18 : Title your story (or poem, or play, etc) "Anti-_____". Fill in the blank and write the story.

#19 : Write something that must include an animal, a mineral, and a vegetable.

#20 : Begin your writing with the phrase, "6 weeks later..."

#21 : List 5-10 office jobs. Pick one of them and describe a person working in that job as if you were a commentator on an Olympic sporting event.

#22 : Practice your poetic imagery: overwrite a description of a character's breakfast routine.

#23 : Write about a character (or group of characters) trying to convince another character to try something they're scared of.

#24 : Keep an eye out in your environment for examples of greengrocer's apostrophes and rogue quotation marks. Pick an example and write about what the misplaced punctuation implies (e.g., we have the "best" meat or we have the best "meat" ).

#25 : Fill in the blank with the first word that comes to mind: "_______ Riot!" Write a newspaper-style article describing the events that that took place.

#26 : Write from the point of view of your most-loved possession. What does it think of you?

#27 : Think of five common sayings (e.g., "An apple a day keeps the doctor away"). Write a horror story whose plot is one of those common sayings.

#28 : Write a scene in which two characters are finally hashing out a long-standing misunderstanding or disagreement.

#29 : You start receiving text messages from an unknown number. Tell the story of what happens next.

#30 : Write one character bragging to another about the story behind their new tattoo.

#31 : Superheroes save the world...but they also leave a lot of destruction in their wake. Write about a normal person in a superhero's world.

#32 : Sometimes, family is who we are related to; sometimes, family is a group of people we gather around ourselves. Write a story about (some of) a character's found family and relatives meeting for the first time.

#33 : Write a story that begins in the middle of the plot's action ( en media res ).

#34 : Everyone says you can never have too much of a good thing. Write a story where that isn't true.

#35 : What do ghosts do when they're not creating mischief? Write about the secret lives of ghosts.

#36 : Every year, you dread the last week of April. Write a story about why.

#37 : Write a story about what it would be like to have an animal sidekick in real life.

#38 : Heists don't just have to be black-clad thieves stealing into vaults to steal rare art or money. Write about a group of people (adults or children) who commit a heist for something of seemingly little monetary value.

#39 : "Life is like a chooseable-path adventure, except you don't get to see what would have happened if you chose differently." Think of a choice you've made and write about a world where you made a different choice.

#40 : Write a story about a secret room.

#41 : You find a message in a bottle with very specific directions. Write a story about the adventure you embark upon.

#42 : "You'll always be okay as long as you know where your _______ is." Fill in the blank and write a story (either fictional or from your life) illustrating this statement.

#43 : Forcing people into prolonged proximity can change and deepen relationships. Write about characters on a road trip together.

#44 : In music, sonata form includes three main parts: exposition, development, and recapitulation. Write a short story that follows this format.

#45 : Begin writing with a character saying, "I'm afraid this simply can't wait."

#46 : Write a story with a happy ending (either happily-ever-after or happy-for-now).

#47 : Write about a character before and after a tragedy in that character's life.

#48 : Choose an object or concept you encounter in everyday life (e.g. tables, the feeling of hot or cold, oxygen) and write an infomercial about it.

#49 : "Life is a series of quests, whether important or mundane." Write about a quest you've gone on (or would like to go on, or will have to go on).

#50 : List 10 different ways to learn. Choose one (or more) and write a story where a character learns something using that one (or more) method.

#51 : You've been called to the principal's office for bad behavior. You know what you did. Explain and justify yourself.

#52 : A character discovers their sibling owns a cursed object. Write about what happens next.

#53 : Write a character description by writing a list of items that would be on a scavenger hunt about them.

#54 : The slogan for a product or service you're advertising is, "Kid-tested, _____." Fill in the blank and write the copy for a radio or podcast advertisement for your product.

How to Use Creative Writing Prompts

There's no wrong way to use a creative writing prompt (unless it's to harass and hurt someone)—the point of them is to get you writing and your imagination flowing.

To help you get the most out of these writing prompts, however, we've come up with the six tips below. Try them out!

#1: DON'T Limit Yourself to Prose

Unless you're writing for a particular assignment, there's no reason everything you write in response to a writing prompt has to be prose fiction . Instead of writing your response to a prompt as a story, try writing a poem, nonfiction essay, play, screenplay, or some other format entirely.

#2: DON'T Edit as You Write

The purposes of writing prompts is to get you writing, typos and weird grammar and all. Editing comes later, once you've finished writing and have some space from it to come back to what you wrote.

It's OK to fix things that will make it difficult to read what you've written (e.g., a weird autocorrect that changes the meaning of a sentence), but don't worry too much about typos or perfect grammar when you're writing; those are easy enough to fix in edits . You also can always insert asterisks or a short note as you're writing to remind yourself to go back to fix something (for instance, if as you're writing it seems like you want to move around the order of your paragraphs or insert something earlier).

#3: DO Interpret the Prompt Broadly

The point of using a writing prompt is not to write something that best exemplifies the prompt, but something that sparks your own creativity. Again, unless you're writing in response to an assignment with specific directions, feel free to interpret writing prompts as broadly or as narrowly as you want.

For instance, if your prompt is to write a story that begins with "The stage was set," you could write about anything from someone preparing to put a plan into motion to a literal theatre stage constructed out of pieces of old sets (or something else entirely).

If you're using a writing prompt, it doesn't have to be the first sentence of your story or poem, either; you can also use the prompt as a goal to work towards in your writing.

#4: DO Try Switching Up Your Writing Methods

If it's a possibility for you, see if you write differently in different media. Do you write the same kind of stories by hand as you would typing at a computer? What about if you dictate a story and then transcribe it? Or text it to a friend? Varying the method you use to write can affect the stories you're able to tell.

For example, you may find that it's easier for you to tell stories about your life to a voice recorder than to try to write out a personal essay. Or maybe you have trouble writing poetry, but can easily text yourself or a friend a poem. You might even find you like a writing method you've not tried before better than what you've been doing!

#5: DO Mix and Match Prompt Ideas

If you need more inspiration, feel free to combine multiple prompts (but don't overwhelm yourself with too much to write about).

You can also try switching genres from what might be suggested in the prompt. For instance, try writing a prompt that seems funny in a serious and sad way, or finding the humor in something that otherwise seems humorless. The categories we've organized the prompts into are by no means limiters on what you're allowed to write about.

#6: DO Try to Write Regularly

The more regularly you write, the easier it will be to write (with or without writing prompts).

For some people, this means writing daily; for others, it means setting aside time to write each weekend or each month. Set yourself an achievable goal (write 2x a week, write 1000 words a month) and stick to it. You can always start small and then ramp your wordcount or frequency up.

If you do better when you have something outside yourself prompting to write, you may also want to try something like morning pages , which encourages you to write at least 750 words every day, in any format (story, diary entry, social media postings, etc).

What's Next?

Thinking about attending college or grad school for creative writing? Our articles on whether or not you should major in creative writing and the best creative writing programs are there for you! Plus, if you're a high schooler, you should check out these top writing contests .

Creative writing doesn't necessarily have to be fiction. Check out these three examples of narrative writing and our tips for how to write your own narrative stories and essays .

Just as writing prompts can help give form to amorphous creative energy, using specific writing structures or devices can be great starting points for your next story. Read through our discussion of the top 20 poetic devices to know and see if you can work at least one new one into your next writing session.

Still looking for more writing ideas? Try repurposing our 100+ easy drawing ideas for characters, settings, or plot points in your writing.

Laura graduated magna cum laude from Wellesley College with a BA in Music and Psychology, and earned a Master's degree in Composition from the Longy School of Music of Bard College. She scored 99 percentile scores on the SAT and GRE and loves advising students on how to excel in high school.

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!”

The Ultimate Guide to 12 Different Forms of Creative Writing

When you hear the word “creative writing”, you might think of writing novels, telling stories, or something like that. But it turns out there are lots of different forms of creative writing.

Speaking of which, this exciting blog post will shed light on different forms of creative writing put to paper by the expert paper writing service provider . So, without further ado, let’s get started.

Table of Contents

Different Forms of Creative Writing

Short story.

Structure:  Short stories often involve just one storyline and a relatively small number of characters, typically following one narrative arc.

Length:  Usually, these stories can be told in a few hundred to a few thousand words, so you can get the point across quickly.

Elements:  This story has all the key bits and pieces, like plot, setting, characters, conflict, and resolution, that make it what it is. Being so short, every word matters in getting the story across properly.

Forms:  Poetry comes in many different shapes and lengths. You’ve got your sonnets, haikus, limericks, free verse, and plenty more. Each one has its own rules (or lack thereof) when it comes to how it’s structured and rhymed.

Imagery:  Uses lots of bright pictures, metaphors, beats, and noises to stir up feelings and express complicated ideas in a few words.

Emotion and Language:  Frequently looks at how we feel, what we go through, what we notice, or problems in our society by using words with strong feelings and special literary techniques.

Scope:  It offers lots of opportunities for telling stories, with lots of different story arcs, loads of characters with complex personalities, and detailed worlds.

Length:  Novels are generally more lengthy than short stories, and they can have anywhere from 10,000 to 100,000 words.

Genres:  Covers a wide range of genres, from romance and fantasy to mysteries, sci-fi, historical fiction, and beyond.

Flash Fiction

Conciseness:  It takes an expert storyteller to effectively tell a story or evoke emotions within a very short number of words, usually 1000 or less.

Punchy Impact:  Short stories usually try to have a powerful or unexpected conclusion because they’re so brief, using storytelling that packs a punch in just a few words.

Playwriting

Dialogues and Actions:  Emphasizes conversations, what the actors do, and how they act, to make the characters seem real in a theatre production.

Scenes and Acts:  Using scenes and acts to divide up the play, taking into account the performance dynamics and how the audience is reacting.

Screenwriting

Visual Storytelling:  Formatting for visuals such as movies or TV shows, putting together scene descriptions, dialogues, and actions to make an interesting story.

Technical Elements:  Needs an understanding of how to write a screenplay and how to time it for telling a story on the screen.

Creative Nonfiction

Factual yet Creative:  Mixing real-life stories or events with literary elements to create exciting stories.

Personal Reflection:  Often includes the author’s own musings, feelings, and emotions, making it more personal and easier for readers to relate to.

Personal Expression:  It’s a way to think about yourself, express yourself, and explore your feelings and ideas.

Varied Forms:  You can express yourself in so many different ways – from telling stories to being creative – to capture your experiences and thoughts.

Experimental Writing

Innovation:  Trying out different formats, structures, vocab, or ways of telling a story instead of sticking to the standard.

Pushing Boundaries:  They like to think outside the box when it comes to getting people’s attention and coming up with innovative ways to express their thoughts.

Epistolary Writing

Unique Perspective:  Share an account of events and characters by using documents, letters, emails, or journal entries. It’s a great way to get a personal and in-depth look.

Character Development:  This allows for the creation of more detailed and complex characters through their letters and conversations.

Songwriting

Lyrics and Melodies:  Uses stories and music to make us feel something and get the message across through songs.

Versatility:  This opens up different kinds of singing, from telling stories in a song to expressing yourself with poetic lyrics set to music.

Graphic Novels/Comics

Visual Narrative:  They combine art and story to make something interesting, using pictures and speech bubbles to tell their tale.

Panel Sequencing:  Uses panels and visuals to show a story, display character feelings, and present action.

Examples of Each Forms of Creative Writing

Creative writing examples are often the best way to master this art. Here you go with some examples.

Example of Short Story

“The sun set as the old man reminisced, painting the sky in shades of orange and pink. An elderly figure sat on a familiar park bench, memories like wisps of smoke playing in his eyes. A young girl’s laughter broke the silence, and the old man found himself entranced by their conversation. He shared stories of his younger days, of loves won and lost, and adventures taken. As the sky darkened, his mind was filled with nostalgia.”

Example of Poetry (Haiku)

“Beneath cherry trees,

Petals whispering their tales,

Nature’s fleeting grace.”

Example of Novel

“In the mystical world of Eldoria, where magic filled the atmosphere and mythical creatures were around every corner, Elara, a young magician, discovered an old prophecy written in a long-forgotten book. This prophecy stated that darkness was coming to their world, threatening to take it over. With her trusty sidekicks—a humorous thief and a reliable warrior—Elara set off on a dangerous journey to uncover secrets hidden in the past and protect her realm from impending destruction.”

Example of Flash Fiction

“The door creaked open, showing a room that was barely lit. The walls had old and worn-out tapestries hanging on them. There was a candle that was flickering on an old table, casting some creepy-looking shadows. Next to it was a note with some mysterious directions. It said, “Find me in the labyrinth of time”. That’s how the journey of the searcher began, searching for a way through the winding hallways and the forgotten memories of the past.”

Example of Playwriting

[Opening scene stage directions]

Location:  A bustling city street.

Characters:  LENA, a young artist absorbed in sketching; JACK, a hurried businessman.

Action:  Lena, perched on a bench, meticulously sketches the towering skyline. Jack, lost in thought and rushing past, collides with her, scattering her art supplies.

Example of Screenwriting

[Scene from a screenplay]

INT. COFFEE SHOP – DAY

Character: JESSICA (mid-20s), nervously sips her coffee.

JESSICA: “I never thought I’d see you again.”

MARK (across the table): “Fate has a way of surprising us.”

Example of Creative Nonfiction (Personal Essay Excerpt)

“The Himalayas took my breath away with their stunning snow-capped peaks, a reminder of how tough nature can be. I enjoyed the peaceful valleys and the crisp mountain air, and I also found something else – a chance to get to know myself better, all while taking in the beauty of the mountains.”

Example of Journaling (Reflective Entry )

“The rain was constantly tapping on my window today, like a slow, calming beat. Even though there was a lot of chaos going on outside, each raindrop seemed to take away some of my stress, leaving me feeling relaxed and peaceful.”

Example of Experimental Writing (Fragmented Narrative)

“She stepped into the hallway, a maze of memories, where time was all over the place. Every doorway reminded her of something from her past, a story that wasn’t finished. She could hear laughter, crying, and whispers that had been forgotten all around, telling a story that didn’t seem to have any kind of order.”

Example of Epistolary Writing (Excerpt from a letter)

“Hey buddy, I can’t put into words what I’m feeling, so I wrote it down instead. Read between the lines and you’ll get a better understanding of how strongly I feel about our bond.”

Example of Songwriting (Verse from a song)

“Underneath the starry night,

Dreams take flight, shining bright,

Guided by the moon’s soft light,

We’ll find our way through the night.”

Example of Graphic Novels/Comics (Comic Panel Sequence)

Panel 1:  A shadowy figure emerges from the mist, cloak billowing in the wind.

Panel 2:  The figure’s piercing eyes glow with an otherworldly power, illuminating the darkness.

Panel 3:  A sudden burst of blinding light engulfs the scene, revealing a mysterious symbol etched in the air.

Creative writing is more than storytelling and poetry. In fact, it includes songwriting, screenwriting, and more. This interesting blog post discusses 12 types of creative writing with examples for your understanding. Hopefully you have now a good knowledge of the 12 different forms of creative writing.

Order Original Papers & Essays

Your First Custom Paper Sample is on Us!

Timely Deliveries

No Plagiarism & AI

100% Refund

Try Our Free Paper Writing Service

Related blogs.

Connections with Writers and support

Privacy and Confidentiality Guarantee

Average Quality Score

27 Creative Writing Examples To Spark Your Imagination

With all the types of creative writing to choose from, it’s hard enough to focus on just one or two of your favorites. 

When it comes to writing your own examples, don’t be hard on yourself if you hit a wall.

We’ve all done it.

Sometimes, all you need is a generous supply of well-crafted and inspirational creative writing examples. 

Good thing you’re here!

For starters, let’s get clear on what creative writing is. 

What Is Creative Writing? 

How to start creative writing , 1. novels and novellas, 2. short stories and flash fiction, 3. twitter stories (140 char), 4. poetry or songs/lyrics, 5. scripts for plays, tv shows, and movies, 6. memoirs / autobiographical narratives, 7. speeches, 9. journalism / newspaper articles, 11. last wills and obituaries, 12. dating profiles and wanted ads, 13. greeting cards.

Knowing how to be a creative writer is impossible if you don’t know the purpose of creative writing and all the types of writing included. 

As you’ll see from the categories listed further on, the words “creative writing” contain multitudes: 

• Novels, novellas, short stories, flash fiction, microfiction, and even nanofiction;
• Poetry (traditional and free verse); 
• Screenplays (for theatrical stage performances, TV shows, and movies)
• Blog posts and feature articles in newspapers and magazines
• Memoirs and Testimonials
• Speeches and Essays
• And more—including dating profiles, obituaries, and letters to the editor. 

Read on to find some helpful examples of many of these types. Make a note of the ones that interest you most. 

Once you have some idea of what you want to write, how do you get started? 

Allow us to suggest some ideas that have worked for many of our readers and us: 

• Keep a daily journal to record and play with your ideas as they come; 
• Set aside a specific chunk of time every day (even 5 minutes) just for writing; 
• Use a timer to help you stick to your daily writing habit ; 
• You can also set word count goals, if you find that more motivating than time limits; 
• Read as much as you can of the kind of content you want to write; 
• Publish your work (on a blog), and get feedback from others. 

Now that you’ve got some ideas on how to begin let’s move on to our list of examples.  

Creative Writing Examples 

Read through the following examples to get ideas for your own writing. Make a note of anything that stands out for you. 

Inspiring novel-writing examples can come from the first paragraph of a well-loved novel (or novella), from the description on the back cover, or from anywhere in the story. 

From Circe by Madeline Miller

““Little by little I began to listen better: to the sap moving in the plants, to the blood in my veins. I learned to understand my own intention, to prune and to add, to feel where the power gathered and speak the right words to draw it to its height. That was the moment I lived for, when it all came clear at last and the spell could sing with its pure note, for me and me alone.”

From The Left Hand of Darkness by Ursula K. Le Guin: 

“‘I’ll make my report as if I told a story, for I was taught as a child on my homeworld that Truth is a matter of the imagination…. ” 

The shorter your story, the more vital it is for each word to earn its place.  Each sentence or phrase should be be necessary to your story’s message and impact. 

From “A Consumer’s Guide to Shopping with PTSD” by Katherine Robb

“‘“Do you know what she said to me at the condo meeting?” I say to the salesman. She said, “Listen, the political climate is so terrible right now I think we all have PTSD. You’re just the only one making such a big deal about it.”

“The salesman nods his jowly face and says, “That Brenda sounds like a real b***h.”’

From Interpreter of Maladies by Jhumpa Lahiri (collection of short stories)

“Something happened when the house was dark. They were able to talk to each other again.” (From ‘A Temporary Matter’)

Use the hashtag #VSS to find a generous sampling of short Twitter stories in 140 or fewer characters. Here are a few examples to get you started: 

From Chris Stocks on January 3rd, 2022 : 

“With the invention of efficient 3D-printable #solar panels & cheap storage batteries, the world was finally able to enjoy the benefits of limitless cheap green energy. Except in the UK. We’re still awaiting the invention of a device to harness the power of light drizzle.” #vss365 (Keyword: solar)

From TinyTalesbyRedsaid1 on January 2nd, 2022 : 

“A solar lamp would safely light our shack. But Mom says it’ll lure thieves. I squint at my homework by candlelight, longing for electricity.” #vss #vss365 #solar

If you’re looking for poetry or song-writing inspiration, you’ll find plenty of free examples online—including the two listed here: 

From “I’m Nobody! Who are you?” by Emily Dickinson

“I’m Nobody! Who are you?

Are you – Nobody – too?

Then there’s a pair of us!

Don’t tell! they’d advertise – you know!

“How dreary – to be – Somebody!

How public – like a Frog –

To tell one’s name – the livelong June –

To an admiring Bog!

From “Enemy” by Imagine Dragons

“I wake up to the sounds

Of the silence that allows

For my mind to run around

With my ear up to the ground

I’m searching to behold

The stories that are told

When my back is to the world

That was smiling when I turned

Tell you you’re the greatest

But once you turn they hate us….” 

If you enjoy writing dialogue and setting a scene, check out the following excerpts from two very different screenplays. Then jot down some notes for a screenplay (or scene) of your own.

From Mean Girls by Tina Fey (Based on the book, Queen Bees and Wannabes” by Rosalind Wiseman

“Karen: ‘So, if you’re from Africa, why are you white?’

“Gretchen: ‘Oh my god, Karen! You can’t just ask people why they’re white!’

“Regina: ‘Cady, could you give us some privacy for, like, one second?’

“Cady: ‘Sure.’

Cady makes eye contact with Janis and Damien as the Plastics confer.

“Regina (breaking huddle): ‘Okay, let me just say that we don’t do this a lot, so you should know that this is, like, a huge deal.’

“Gretchen: ‘We want to invite you to have lunch with us every day for the rest of the week.’ 

“Cady: ‘Oh, okay…’ 

“Gretchen: Great. So, we’ll see you tomorrow.’

“Karen: ‘On Tuesdays, we wear pink.’” 

#10: From The Matrix by Larry and Andy Wachowski

“NEO: ‘That was you on my computer?’

“NEO: ‘How did you do that?’

“TRINITY: ‘Right now, all I can tell you, is that you are in danger. I brought you here to warn you.’

“NEO: ‘Of what?’

“TRINITY: ‘They’re watching you, Neo.’

“NEO: ‘Who is?’

“TRINITY: ‘Please. Just listen. I know why you’re here, Neo. I know what you’ve been doing. I know why you hardly sleep, why you live alone and why, night after night, you sit at your computer. You’re looking for him.’

“Her body is against his; her lips very close to his ear.

“TRINITY: ‘I know because I was once looking for the same thing, but when he found me he told me I wasn’t really looking for him. I was looking for an answer.’

“There is a hypnotic quality to her voice and Neo feels the words, like a drug, seeping into him.

“TRINITY: ‘It’s the question that drives us, the question that brought you here. You know the question just as I did.’

“NEO: ‘What is the Matrix?’

Sharing stories from your life can be both cathartic for you and inspiring or instructive (or at least entertaining) for your readers. 

From The Year of Magical Thinking by Joan Didion

“It was in fact the ordinary nature of everything preceding the event that prevented me from truly believing it had happened, absorbing it, incorporating it, getting past it. I recognize now that there was nothing unusual in this: confronted with sudden disaster, we all focus on how unremarkable the circumstances were in which the unthinkable occurred: the clear blue sky from which the plane fell, the routine errand that ended on the shoulder with the car in flames, the swings where the children were playing as usual when the rattlesnake struck from the ivy. ‘He was on his way home from work—happy, successful, healthy—and then, gone,’ I read in the account of the psychiatric nurse whose husband was killed in a highway accident… ” 

From Angela’s Ashes by Frank McCourt: 

“When I look back on my childhood I wonder how I managed to survive at all. It was, of course, a miserable childhood: the happy childhood is hardly worth your while. Worse than the ordinary miserable childhood is the miserable Irish childhood, and worse yet is the miserable Irish Catholic childhood.”

From Call the Midwife: A True Story of the East End in the 1950s by Jennifer Worth: 

“Nonnatus House was situated in the heart of the London Docklands… The area was densely-populated and most families had lived there for generations, often not moving more than a street or two away from their birthplace. Family life was lived at close-quarters and children were brought up by a widely-extended family of aunts, grandparents, cousins, and older siblings. 

The purpose of most speeches is to inform, inspire, or persuade. Think of the last time you gave a speech of your own. How did you hook your listeners? 

From “Is Technology Making Us Smarter or Dumber?” by Rob Clowes (Persuasive)

“It is possible to imagine that human nature, the human intellect, emotions and feelings are completely independent of our technologies; that we are essentially ahistorical beings with one constant human nature that has remained the same throughout history or even pre-history? Sometimes evolutionary psychologists—those who believe human nature was fixed on the Pleistocene Savannah—talk this way. I think this is demonstrably wrong…. “

From “Make Good Art” by Neil Gaiman (Keynote Address for the University of Fine Arts, 2012):

“…First of all: When you start out on a career in the arts you have no idea what you are doing.”

“This is great. People who know what they are doing know the rules, and know what is possible and impossible. You do not. And you should not. The rules on what is possible and impossible in the arts were made by people who had not tested the bounds of the possible by going beyond them. And you can.”

“If you don’t know it’s impossible it’s easier to do. And because nobody’s done it before, they haven’t made up rules to stop anyone doing that again, yet.” 

More Related Articles

21 Of The Top Children’s Book Publishers

55 Of The Best Young Adult Creative Writing Prompts

15 Fantastic Author Websites To Inspire You

From “The Danger of a Single Story” by Chimamanda Ngozi Adichie (TEDGlobal)

“…I come from a conventional, middle-class Nigerian family. My father was a professor. My mother was an administrator. And so we had, as was the norm, live-in domestic help, who would often come from nearby rural villages. So, the year I turned eight, we got a new house boy. His name was Fide. The only thing my mother told us about him was that his family was very poor. My mother sent yams and rice, and our old clothes, to his family. And when I didn’t finish my dinner, my mother would say, “Finish your food! Don’t you know? People like Fide’s family have nothing.” So I felt enormous pity for Fide’s family.

“Then one Saturday, we went to his village to visit, and his mother showed us a beautifully patterned basket made of dyed raffia that his brother had made. I was startled. It had not occurred to me that anybody in his family could actually make something. All I had heard about them was how poor they were, so that it had become impossible for me to see them as anything else but poor. Their poverty was my single story of them.” 

Essays are about arguing a particular point of view and presenting credible support for it. Think about an issue that excites or angers you. What could you write to make your case for a specific argument? 

From “On Rules of Writing,” by Ursula K. Le Guin:

“Thanks to ‘show don’t tell,’ I find writers in my workshops who think exposition is wicked. They’re afraid to describe the world they’ve invented. (I make them read the first chapter of The Return of the Native , a description of a landscape, in which absolutely nothing happens until in the last paragraph a man is seen, from far away, walking along a road. If that won’t cure them nothing will.)” 

From “Fairy Tale is Form, Form is Fairy Tale ” by Kate Bernheimer (from The Writer’s Notebook) : 

“‘The pleasure of fairy tales,’ writes Swiss scholar Max Lüthi, ‘resides in their form.’ I find myself more and more devoted to the pleasure derived from form generally, and from the form of fairy tales specifically, and so I am eager to share what fairy-tale techniques have done for my writing and what they can do for yours. Fairy tales offer a path to rapture—the rapture of form—where the reader or writer finds a blissful and terrible home….  “

Picture yourself as a seasoned journalist brimming with ideas for your next piece. Or think of an article you’ve read that left you thinking, “Wow, they really went all out!” The following examples can inspire you to create front-page-worthy content of your own.

From “The Deadliest Jobs in America” by Christopher Cannon, Alex McIntyre and Adam Pearce (Bloomberg: May 13, 2015):

“The U.S. Department of Labor tracks how many people die at work, and why. The latest numbers were released in April and cover the last seven years through 2013. Some of the results may surprise you…. “

From “The Hunted” by Jeffrey Goldberg ( The Atlantic: March 29, 2010)

“… poachers continued to infiltrate the park, and to the Owenses they seemed more dangerous than ever. Word reached them that one band of commercial poachers had targeted them for assassination, blaming them for ruining their business. These threats—and the shooting of an elephant near their camp—provoked Mark to intensify his antipoaching activities. For some time, he had made regular night flights over the park, in search of meat-drying racks and the campfires of poachers; he would fly low, intentionally backfiring the plane and frightening away the hunters. Now he decided to escalate his efforts….. “

It doesn’t have to cost a thing to start a blog if you enjoy sharing your stories, ideas, and unique perspective with an online audience. What inspiration can you draw from the following examples?

#21: “How to Quit Your Job, Move to Paradise, and Get Paid to Change the World” by Jon Morrow of Smart Blogger (Problogger.com):

“After all, that’s the dream, right?

“Forget the mansions and limousines and other trappings of Hollywood-style wealth. Sure, it would be nice, but for the most part, we bloggers are simpler souls with much kinder dreams.

“We want to quit our jobs, spend more time with our families, and finally have time to write. We want the freedom to work when we want, where we want. We want our writing to help people, to inspire them, to change them from the inside out.

“It’s a modest dream, a dream that deserves to come true, and yet a part of you might be wondering…

“Will it?…. “

From “The Subtle Art of Not Giving a F*ck” (blog post) by Mark Manson :

Headline: “Most of us struggle throughout our lives by giving too many f*cks in situations where f*cks do not deserve to be given.”

“In my life, I have given a f*ck about many people and many things. I have also not given a f*ck about many people and many things. And those f*cks I have not given have made all the difference…. “

Whether you’re writing a tribute for a deceased celebrity or loved one, or you’re writing your own last will and testament, the following examples can help get you started. 

From an obituary for the actress Betty White (1922-2021) on Legacy.com: 

“Betty White was a beloved American actress who starred in “The Golden Girls” and “The Mary Tyler Moore Show.”

“Died: Friday, December 31, 2021

“Details of death: Died at her home in Los Angeles at the age of 99.

“A television fixture once known as the First Lady of Game Shows, White was blessed with a career that just wouldn’t quit — indeed, her fame only seemed to grow as she entered her 80s and 90s. By the time of her death, she was considered a national treasure, one of the best-loved and most trusted celebrities in Hollywood…. “ 

From a last will and testament using a template provided by LegalZoom.com : 

“I, Petra Schade, a resident of Minnesota in Sherburne County — being of sound mind and memory — do hereby make, publish, and declare this to be my last will and testament…

“At the time of executing this will, I am married to Kristopher Schade. The names of my (and Kristopher’s) four children are listed below…

“I hereby express my intent not to be buried in a cemetery. I ask that my remains be cremated and then scattered at the base of a tree.

“None will have any obligation to visit my remains or leave any kind of marker. I ask that my husband honor this request more than any supposed obligation to honor my corpse with a funeral or with any kind of religious ceremony.

“I ask, too, that my children honor me by taking advantage of opportunities to grow and nurture trees in their area and (if they like) beyond, without spending more than their household budgets can support…. “

Dating profiles and wanted ads are another fun way to flex your creative writing muscles. Imagine you or a friend is getting set up on a dating app. Or pretend you’re looking for a job, a roommate, or something else that could (potentially) make your life better. 

Example of dating profile: 

Headline: “Female 49-year-old writer/coder looking for good company”

“Just moved to the Twin Cities metro area, and with my job keeping me busy most of the time, I haven’t gotten out much and would like to meet a friend (and possibly more) who knows their way around and is great to talk to. I don’t have pets (though I like animals) — or allergies. And with my work schedule, I need to be home by 10 pm at the latest. That said, I’d like to get better acquainted with the area — with someone who can make the time spent exploring it even more rewarding.”  

Example of a wanted ad for a housekeeper: 

“Divorced mother of four (living with three of them half the time) is looking for a housekeeper who can tidy up my apartment (including the two bathrooms) once a week. Pay is $20 an hour, not including tips, for three hours a week on Friday mornings from 9 am to 12 pm. Please call or text me at ###-###-#### and let me know when we could meet to discuss the job.”

These come in so many different varieties, we won’t attempt to list them here, but we will provide one upbeat example. Use it as inspiration for a birthday message for someone you know—or to write yourself the kind of message you’d love to receive. 

Happy 50th Birthday card:  

“Happy Birthday, and congratulations on turning 50! I remember you telling me your 40s were better than your 30s, which were better than your 20s. Here’s to the best decade yet! I have no doubt you’ll make it memorable and cross some things off your bucket list before your 51st.

“You inspire and challenge me to keep learning, to work on my relationships, and to try new things. There’s no one I’d rather call my best friend on earth.” 

Now that you’ve looked through all 27 creative writing examples, which ones most closely resemble the kind of writing you enjoy? 

By that, we mean, do you enjoy both reading and creating it? Or do you save some types of creative writing just for reading—and different types for your own writing? You’re allowed to mix and match. Some types of creative writing provide inspiration for others. 

What kind of writing will you make time for today? 

Leave a Comment Cancel reply

This site uses Akismet to reduce spam. Learn how your comment data is processed .

11 Plus creative writing tips and examples

Preparing for your  11 Plus creative writing  exam doesn’t have to be a worry. We help you here with 11 Plus creative writing tips and examples to prepare you for the exam. We're here to help you practice and improve your writing techniques and creative writing skills so you’re ready for your 11 Plus exams . 

Creative writing can be really fun – you can explore something you really want to and write about something that means a lot to you. Although, we know it can be a little bit worrying for some students that don’t enjoy writing as much or don’t feel confident in their writing skills. 

So, ahead of your  11 Plus exams  we want to help you prepare with these 11 Plus creative writing tips and strategies.

What Is 11 Plus Creative Writing?

The 11 Plus creative writing exam assesses a child’s ability to compose structured and engaging pieces of written work. It’s designed to evaluate a student’s fluency, imaginative capabilities, grammar, punctuation and overall ability to write creatively.

What does the 11 Plus creative writing exam include?

The 11 Plus creative writing exam is usually 25-30 minutes and could involve the continuation of a storyline that you’ll be provided with. Alternatively you might be asked to write a short piece of your own in response to a visual stimulus – this could be describing a character or writing something from their perspective, like a diary entry. 

Here are some the potential writing tasks you could be given for your 11 Plus creative writing exam: 

Descriptive task – continuing on a short story that you’ll be provided with, or describing a place or situation that your character finds themselves in. 

Persuasive task – you could be asked to write a letter or an article with the goal to persuade the reader to feel or act in a certain way after reading it by using emotive language. 

Narrative task – this would usually involve writing your own short story. 

Expository task – this could involve writing an article or set of instructions designed to inform the reader how to go about doing something properly. 

What are the 11 Plus creative writing topics?

Prior to starting your creative writing piece, you’ll need to have a topic. It’s important that the topic remains at the centre of everything you’re writing, as it will shape the direction of the story and the characters

You can think of a topic as a theme for your story. This can be really simple, as a simple theme will really help write a story in your own way. 

For your 11 plus creative writing exam, you’ll likely be presented with a topic that you then have to write about. Often these topics will have you writing about: 

Being lost or scared, capturing the feeling of being alone and writing a story about overcoming it.

Doing something exciting or achieving something impressive, the best day of your life so far. 

A holiday or an adventure

Travelling to the city or countryside and what you might experience there.

Writing a short story on each of the topics above can be a great way to familiarise yourself with creative writing.

What do examiners look for in creative writing?

Successfully passing your creative writing 11 Plus creative writing exam is a lot less daunting if you know what the examiners are looking for in your creative writing. 

Unlike other exams, it can be difficult to prepare the exact answers. It’s not like a sum in maths, where there’s only one correct answer after your working out. That doesn’t mean there aren’t specific things that examiners are looking for. Let’s take a look at those:

A well planned piece of writing

Strong creativity and good imagination

A fluent writing style

Good and correct use of punctuation 

Good use of English grammar

Complex sentences that are broken in an easy-to-read way with commas

Good spelling

Good and exciting vocabulary

Neat, easy-to-read handwriting

You can use those things as a checklist for your creative writing. When you write practice pieces, read them back and see if you can check off everything on the list of things that examiners are looking for. This will not only highlight areas needing improvement but will also act as a confidence-building tool.

11 Plus creative writing marking scheme

Your creative writing task will be worth 50% of your  English 11 plus exam  paper. So, you’ll want to make sure you’re well prepared!

Part of preparing for the creative writing task is ensuring you know how the exam will be marked. Here’s what your examiner will look at when they mark your work: 

The plot – you need to write a piece that’s got an engaging plot, but more importantly it needs to follow a strong beginning, middle and end structure. We’ll be getting more detail about that further on. Make sure you plan your story to ensure you have a well-structured and easy-to-follow plot. 

Vocabulary – Make sure you’re using a wide range of adjectives, nouns and adverbs. Rather than describing everything the same way, come up with some other engaging ways to write something. Use a good amount of complex words that you normally wouldn’t use (and make sure you understand what they mean so you use them correctly). 

Writing devices – no, your examiner isn’t looking at what pen you used to write the exam. Writing devices refer to things like metaphors, similes, tension building short sentences, alliteration and irony. Try sentences like “he was as fast as a runaway train,” for a simile example. See if you can write a few sentences that each use a different writing device to practice.

Grammar – now is a good time to start practising your grammar skills. Make sure you’re using commas correctly when you write long sentences, and that you format your character dialogue properly. There are a few common grammar mistakes that may catch you out, so keep practising. 

Spelling – While avoiding spelling mistakes is good, to get great marks on your exams you’ll want to use complicated words and spell them correctly. It might be tempting to avoid complicated words if you’re not sure how to spell them but it’s actually not a bad idea to use one or two complicated words and spell them so they’re recognisable than to use no complicated words at all.

11 Plus creative writing tips and techniques

Every great writer has one thing in common – writing techniques! Everyone can develop their creative writing skills by practising these creative writing tasks.

Getting creative 

If you want to write a story this should be your starting point! Have a good think about the topic for your story and the character you’ll be writing about. Take a minute to sit back, close your eyes and think about the world of your story. Can you see it? 

If you can visualise the world of your story, then you’ve got a good idea to work with! Get creative about the story and think about directions that it can go, and the characters you can work with. 

Planning and structure

Once you’ve got your theme in place you need to have a think about the direction of your story. Think about how your story starts, how you want it to end and then think about how you want your main character to get there. 

Remember the classic story structure of beginning, middle and end:

Use the beginning of your story to introduce your character, where they are and maybe one of two of their friends. Maybe even try to set them a goal at this point, what’s something they really, really want? 

Introduce the middle of your story with a problem or an obstacle for your main character to overcome. This is going to be the longest section of your story, so make sure you don’t spend too long with the opening! Think about how your character would overcome the problem you’ve introduced for them. 

In the end your main character overcomes the problem that you introduced for them. Think about what they would feel, the relief they’d experience and how you can sum that up in a paragraph or two. 

There are lots of different ways to write a story, but following the beginning, middle and end structure like this will really help you plan. Try to just write a few short sentences from the beginning, middle and end, then expand it out from there. 

If you need more inspiration to improve your writing skills, why not see David Walliam’s top ten writing tips ?

Creative writing examples: using the senses

Remember – writing descriptively helps your ideas to really come across in what you’re writing. The person reading your creative writing piece can’t read your mind!

A great way to really set a scene in your creative writing is to use the senses:

Sight – what can your character see? Describe how the scene around them looks, and be sure to use some good adjectives.

Sound – can your character hear anything? Even if your character can’t hear anything, that can sometimes be a great way to set a scene. Or maybe your character can hear lots of noise? Either way, make sure the reader knows that.

Smell – what does the place your character’s in smell like? You can make a disgusting, murky bog seem even filthier by describing how smelly it is to the reader. We all react strongly to smells, good or bad, so make sure you’re describing them to your reader.

Touch – what can your character feel? Are they sitting on a really soft sofa? Is the cat they’re stroking extra fluffy? Describe everything your character feels!

Taste – is your character tasting anything? Of course, if your character’s eating you need to describe it. How sweet are the sweets they’re eating? How bitter is the medicine they had to take? You could even get creative and describe a smell so bad that your character can almost taste it!

Get creative when you write about senses. You don’t have to cover every sense in order, you can mix things up in a paragraph or two, and sometimes you only need to cover two or three senses in a particular scene. Make sure you’re always telling your audience what your character is experiencing so the reader can put themselves in your character’s shoes. Utilising this technique ensures the reader engages with your creative writing piece.

Fluent writing

Practice makes perfect when it comes to fluent writing. To practice fluent writing, set yourself a creative writing task as if you were taking your 11 Plus creative writing test.

Try keeping the stories short. Just a few paragraphs so you can do a few attempts. When you’re finished, read them back to yourself out loud. See if the sentences are easy to read out loud. If they’re not, it might be good to rewrite them in a way that makes them easier to say. Try doing this out loud too, rephrase the sentence so it means the same thing but is easier to say. 

Reading out loud is not something you will be doing at the exam, so practicing your fluency at home is the key. Never be scared to do a few practice stories before your 11 Plus creative writing exam.

Proofreading Your Creative Writing

Finally, once you’ve finished writing and you’re happy with how fluent your piece sounds you’ve got to proofread it! That means checking your grammar, your punctuation and spelling. 

Make sure you’ve only used capital letters where they need to be used – the start of sentences and the names of people and places. 

Make sure you’ve used quotation marks correctly – start a new paragraph for when a character starts speaking, open with a quotation mark and then write what they said before closing with a quotation mark. Make sure you carry on writing after they’ve finished speaking with a new paragraph!

Have you checked the tenses? Make sure you’re not mixing up  past, present and future tenses !

Have you used enough punctuation? Make sure all your sentences end with full stops, but also that questions end with a question mark. Space out long sentences with a well-placed comma and make sure if a character says something loudly or is surprised that you’re using exclamation marks. 

Check your spelling! Are there any words you struggle with? Go back and check them to make sure they look right. If you’re really struggling to spell a word, maybe use a different one for your creative writing piece – lots of writers do this! If you do this a lot, then it might be worth doing some spelling practice. 

How do I prepare for creative writing? 

When it comes to 11 Plus creative writing exams it’s difficult to find something specific to revise – unlike exams in maths or English spelling, creative writing exams don’t have a right or wrong answer. So, don’t get overwhelmed by reading countless creative writing books.

The best way to prepare for a creative writing test is to practice all the key points we mentioned above. Set yourself some small creative writing tasks, practice your spelling and get some help fromyour teachers. You could also ask your parents or guardians about tuition to help you prepare for your creative writing .

We also have some creative writing book suggestions and worksheets that could help you prepare. 

11 Plus creative writing examples books

If you’re looking for some books to help you prepare for your 11 Plus creative writing exam or want to find some creative writing examples, here are some of our favourites:

11+ Essentials Creative Writing Examples Book 1 (First Past the Post)

11+ Essentials Creative Writing Examples Book 2 (First Past the Post)

Bond 11+: English Focus on Writing: 9-11 years

RSL Creative Writing, Book 1: KS2, KS3, 11 Plus & 13 Plus – Workbook For Ages 9 Upwards

11+ Creative Writing

Remember to always ask a parent or guardian before buying anything online.

11 Plus creative writing tasks and worksheets

Here are some of our own worksheets that’ll help you prepare and improve your creative writing skills: 

Creating characters

Creating dilemmas

Creating settings

My favourite author

Try an 11 plus creative writing tutor

If you’re worried about your 11 plus creative writing exam, that’s okay. There are numerous ways you can prepare without getting yourself overwhelmed. We’ve already covered how practice makes perfect when it comes to writing, so creative writing courses could be a great way for you to improve your confidence.

11 Plus tuition  will also help with your creative writing. Explore Learning’s expert tutors can help you work on your story planning and structure, grammar, writing fluency and vocabulary. 

Don’t let yourself get overwhelmed about your 11 Plus creative writing task, we’re here to help you do your best.  

Tuition from £175 / month

Start your 11 Plus and Entrance Exam journey today.

Cancel anytime

No joining fee

In centre or online

Memberships to suit you

11 Plus creative writing FAQs

How to prepare for 11 plus creative writing.

Prepare by understanding the 11 Plus creative writing requirements. Engage in regular practice on various topics like adventures, challenges and feelings. Focus on grammar, punctuation, fluency, spelling and vocabulary. Always proofread and consider getting feedback.

Is there creative writing in the 11 Plus exam?

The 11 Plus exam may include a creative writing component, often lasting 25-30 minutes, where a student demonstrates their narrative and language skills.

What are the different types of creative writing 11+?

The 11 Plus creative writing includes descriptive, persuasive and narrative tasks. Studentsmay be asked to craft or add to stories, describe scenarios, write persuasive letters or informative pieces.

How do I study for a creative writing exam?

Study by practising various creative writing tasks regularly. Focus on language proficiency, structure your narratives and proofread. For tailoredsupport, consider 11 Plus tuition .

Your nearest centres

Sorry, we don't have any centres within {{distance}} miles, explore learning online tuition.

We also offer online tuition to flexibly fit into your family’s life.

Results from outside {{distance}} miles

Please select a centre.

Showing {{count}} closest to '{{postcode}}'

{{address}}

{{distance}} miles

Can't find a centre near you?

Search again.

No products in the cart.

Insight: Engage

Vce english: preparing for the creative writing sac.

This week, English teacher and Insight writer Kate Macdonell provides tips on how to prepare for the creative writing SAC.

The creative writing SAC is a challenging but rewarding task where you can bring something original to the text you are studying. While you need to demonstrate your knowledge of the world of the text in your response, you must also craft a creative piece that does not repeat the original narrative.

This task is a great way to deepen your understanding of the elements of your chosen text (themes, characterisation, style, language use, structure, perspective etc.), and can be a great help when it comes to preparing for the end-of-year examination.

Guidelines of the task

Each school may run the creative writing SAC differently, so the format of the task may vary (e.g. a written piece, an oral presentation, an in-class task or an authenticated take-home task). While some schools will provide a list of topics for you to choose from, others will leave the topic selection up to you.

If you are given free rein to write a short story or a section of the narrative, you could choose from a number of possible directions, including writing from the perspective of a minor character, filling in a gap in the narrative, imagining a prequel or sequel to the narrative or writing an alternative ending.

Show your knowledge of the world of the text

Regardless of the focus of your creative piece, it is important that you capture the world of the text. To do this, you will need to consider more than just the key ideas and characters. Pay careful attention to the following and make notes before you start writing.

• Dialogue: Look at how dialogue is used in the original text. Is it used sparingly or frequently? Is it spliced with passages of internal monologue? In addition, pay attention to how the characters speak in the original text. If a character regularly uses contractions (it’d, he’ll, could’ve), malapropisms (‘cutting off my nose despite my face’), grammatically incorrect terms (‘could of’) or colloquial expressions (‘dude’, ‘bummer’), then you should incorporate these language features into your own writing.
• Narrative point of view: If you are responding to a novel or a collection of short stories, look at whether the original text is written in first person, second person, third person limited or third person omniscient. You should adopt this narrative point of view unless you have a strong reason for using a different type of narration.
• Verb tenses: Pay attention to the tenses used in the original narrative. In a text response essay you should use the present tense, but do not assume that that should be the case in your creative response.
• Symbols: If the original text you are writing on uses elements of imagery with particular connotations (e.g. mingling breaths as a form of connection, a blue light as a sign of clarity), then it is worth considering the use of similar symbols in your own work. However, remember that your word limit is relatively short (around 1000 words), which means there might not be enough scope to build in a motif or recurring symbol in your response.
• Setting: Be mindful of the geographical, historical and social settings of the original text. Do some research to ensure that the elements that make up the daily lives of your characters, such as the prevailing moral codes, are realistic for the time period. (You can’t just apply your own moral compass to the characters in your work; their moral values need to link to those in the original text.)
• Narrative structure and crisis points: Pay attention to the shape or arc of the original narrative. It is particularly important to note where the climactic/crisis points appear. Your narrative also needs to build to a crisis point, in order to be interesting and engaging.
• Language and style: Look at the rhythm of the language, the style (is it formal or informal?), the use of adjectives (are there many or few?), and the vocabulary (are the words familiar to you, or do they belong to an earlier decade or even to a futuristic world?).

Stay true to the original

Your work needs to stand on its own, but it also needs to pass for the original. Below are some tips on how you can achieve this.

• Do not introduce magical elements into your own narrative if they are not in the original text.
• Model your dialogue on the speech in the original text.
• A series of letters or journal entries can be written if they are relevant to the original text, but they are usually more effective if they appear within a short story.
• If you are fleshing out a minor character, be sure that you have a clear sense of who they are based on the information in the original text.
• Test different voices to capture the one that best suits your character.

The written explanation

The explanation is an important component of the task, as it helps your assessor understand what you have attempted in your creative piece and how well you understand the original text.

Your school will advise you on exactly how to produce the written explanation. Some schools will provide a template for you to complete, and others will ask you to write a series of paragraphs that reflect on the different elements of your creative piece (e.g. purpose, intended audience, form, narrative point of view, language use and how your text links to the original).

The creative writing SAC is a unique task that allows you to immerse yourself in the world of the text and bring something original to it. Enjoy this opportunity to engage creatively with your chosen text. Good luck!

Are you a budding author? Do you love to write? Enter the 2019 Insight Creative Writing Competition now for the chance to have your story read by award-winning Australian authors, and be in the running to share in over $3000 of cash prizes.

Photo credit: Maglara/Shutterstock

Share this blog

*By using the  Insight: Engage  blog, you agree to the   terms and conditions on this website .

Insight Engage Categories

• Argument and persuasive language
• Creative Text Response
• Creative Writing
• Exam preparation
• Handwriting
• Listening Comprehension
• Listening skills
• Queensland General English
• Reading and comparing texts
• Reading and creating texts
• Sample Essays & Text Articles
• Shakespeare
• Study techniques
• Text Analysis
• Text Guides & Comparisons
• Textbooks & Resources
• Theory of Knowledge
• Uncategorized
• VCE English
• VCE English as a Additional Language (EAL)
• VCE English Language
• VCE English Literature
• VCE text comparison
• Year 10 English
• Year 11 English
• Year 12 EAL
• Year 12 English
• Year 9 English
• 3/350 Charman Road Cheltenham, Victoria 3192
• [email protected]

Insight Publications is an independent Australian-owned company with over 50 years of experience publishing English resources for secondary teachers and students. We develop innovative, engaging and evolving English resources to challenge, to inspire and to enrich learning.

Information

• Credit Reporting Policy
• Insight Catalogue
• Privacy Policy
• Returns Policy
• Shipping Information
• Terms & Conditions

• +61 3 8571 4950

In the spirit of reconciliation, Insight Publications acknowledges the Traditional Custodians of Country throughout Australia and their connections to land, sea and community. We pay our respect to their Elders past and present and extend that respect to all Aboriginal and Torres Strait Islander peoples today.

11+ creative writing guide with 50 example topics and prompts

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

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

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

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

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

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

And that’s why preparation is so important.

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

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

Do all 11+ exams include a writing task?

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

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

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

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

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

The mark scheme.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Does handwriting matter?

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

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

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

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

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

How long should the short story be.

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

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

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

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

Each paragraph is short, but the writer is skilful.

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

11+ creative writing example story

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

It is important.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

11+ creative writing paragraph plan

Paragraph 1—description.

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

Paragraph 2—Conversation

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

Paragraph 3—Change the mood

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

Paragraph 4—Shock your reader

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

11+ creative writing questions from real papers—fictional prompts

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

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

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