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In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.

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The ship, the stalwart vessel known as 'The Serenity Mariner,' was plunged into chaos as the sky became a swirling maelstrom of opalescent tendrils. The flying jellyfish, their bioluminescent bodies illuminating the blackened sky, descended upon the ship with an otherworldly fury. Their membranous bodies pulsated as they sailed through the air, their long, poisonous tentacles trailing behind them like deadly streamers.

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7 free online creative writing courses that you can enrol in right now

As a form of expression , a means to escape the reality, and a medium to communicate a larger ideology, the act of writing can serve different purposes. And no matter what your reason to put pen to paper, or keys to screen, these virtual lessons could help you develop the techniques you will require on your creative journey. Here, find out all the free online courses you can join to begin now.

Creative Writing Specialisation

Covering three major creative writing genres—short story, narrative essay and memoir—the course will help you master the techniques of putting your ideas on paper as clearly as possible. So if you’ve been meaning to work some engrossing features in your already existing plot, or better highlight the setting of your story, or simply articulate in a stronger fashion, let this lesson be on your shortlist. In case you’re just starting out, the course is equally rewarding.

Write Your First Novel

Have you been wanting to pen down your thoughts and weave them into a well-written novel? Go for this virtual course where you will learn an end-to-end approach to producing a work of fiction. Through a stepwise process that will culminate in your individual production of a 50,000-word book, the learning course will provide you all the important pointers right from the top.

Writing for Young Readers: Opening the Treasure Chest

Complete with video lectures, online readings, peer reviews and guest appearances from renowned authors, the course will offer an all-inclusive guide to creative writing for students and young aspirers. Apart from that, you will also explore the cultural significance of notable works , analyse the ways in which art and words interact, and become familiar with standard elements of a narrative, that include dialogue, point of view, theme, plot and so on.  

Write A Feature Length Screenplay for Film or Television

Whether your point of interest is serious dramas, romantic comedies or thrillers , the free virtual course will zoom in on every aspect of screenplay writing so you’re able to pursue the genre you want. Following in a well-structured process, you will have produced a pitch-ready script by the time the four-week programme is over. Along with learning how to create a basic idea and write loglines, you will be studying the Three Act Story Arc, and much more.

Memoir and Personal Essay: Write About Yourself Specialisation

Here, four published memoirists and essayists let you in on the tricks and tools of writing about yourself. Be prepared for professional tips, prompts, reading challenges and exercises among other interactive activities. Unlike many other courses where you will be producing a large body of work at the completion of the programme, here, you will be constructing a portfolio of work to use as valuable components later.

Sharpened Visions: A Poetry Workshop

These lessons support the school of thought that poetry isn’t just a means of expression. Rather, using it for just that, is like “using the internet just for email”. If you too are willing to think beyond that, and take up the art to bring about a change in people’s thought and ideologies, the course is for you. Learn to use the several tools of poetic composition, study the works of contemporary poets and, of course, try your own hand at the skill.

Transmedia Storytelling: Narrative worlds, emerging technologies, and global audiences

In a world that believes in not just up-skilling, but also cross-skilling, this transmedia course serves to be an extremely well-rounded one. The description on the website states, “Transmedia storytelling is the practice of designing , sharing, and participating in a cohesive story experience across multiple traditional and digital delivery platforms - for entertainment, advertising and marketing, or social change.” So learn to develop expansive narratives and optimise your writing for mobile devices, social media communities, virtual and augmented realities and more.

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Learn Creative Writing, earn certificates with paid and free online courses from Harvard, Stanford, University of Michigan, Johns Hopkins and other top universities around the world. Read reviews to decide if a class is right for you.

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Creative Writing

Creative writing: the craft of plot, neil gaiman teaches the art of storytelling, complete creative writing - all genres - the full course, creative writing for all: a 10-day journaling challenge, relato corto de ficción: escribe desde tu experiencia personal, write your book: start strong and get it done, writing: the craft of story, creative writing: crafting personal essays with impact, start writing fiction.

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Discover the art of crafting compelling plots, from structure and scene-building to character development and revision techniques. Enhance your storytelling skills and bring your narratives to life.

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Creative Writing: The Craft of Setting and Description

In this course aspiring writers will be introduced to the techniques that masters of fiction use to ground a story in a concrete world. From the most realist settings to the most fantastical, writers will learn how to describe the physical world in shar…

• 7 hours 25 minutes

Creative Writing: The Craft of Character

At the center of a good story are the characters in it. In this course aspiring writers will discover how to build and bring to life complex, vivid and unforgettable characters.

• 6 hours 23 minutes

Creative Writing: The Craft of Style

Enhance your writing style through metaphor, imagery, and word choice. Learn revision techniques to create compelling stories and polished prose.

• 7 hours 44 minutes

I'm Brandon Sanderson, and I write stories of the fantastic: fantasy, science fiction, and thrillers. Learn about plot, wordbuilding, short stories, character, and publishing.

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Develop your storytelling skills across short story, narrative essay, and memoir genres. Master techniques for plot, character, setting, and style through analysis and peer evaluation. Create a substantial original piece in your chosen genre.

• 26 weeks, 1 hour a week
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Learn to write engaging Fiction, Poetry, Drama, & Creative Non-Fiction and become the successful writer you want to be

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Writing a Book: Creative Writing Skills for Beginners

Writing a Book: Creative writing skills: Novel/Nonfiction book writing: Punctuation: Outlining: Fantasy world building

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Creative Writing Bootcamp: Start a Brand New Story

Energetic bootcamp with best-selling author Myla Goldberg. Five engaging exercises to generate story ideas, develop characters, craft dialogue, and create vivid settings. Ideal for writers seeking inspiration and new approaches.

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Creative Writing Project: Brainstorm Your Story

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Creative writing is the process-oriented form of writing that combines imagination and innovation to tell a story. The element of creativity sets your story apart from its counterparts in the same genre. Writing requires more than telling tales of fantastical settings thronged with unique creatures: it expresses your thoughts and feelings via a compelling and memorable story that engages your readers through character, language and plot. This course teaches you how to use your creativity to think a little outside the box and put a unique twist on things. Creative writing has many genres and subgenres and a set of established rules and practices that can help writers develop their own distinctive voices. We introduce you to these elements to help you get started with writing.

The most challenging element of storytelling is often the plot, which is in turn driven by engaging characters. We show you how to create plots with suspense, sentiment and sensation and explain how to keep them moving through interesting, tangible settings. The course then explains how to build complex, vivid and unforgettable characters with compelling dialogue and action. We also examine the tools used by poets to write verse. We compare creative fiction and nonfiction writing and lay out the techniques used to create novels, short stories, dramas, screenplays and memoirs. Are you familiar with the term ‘writer’s block’? It is something that all writers face while struggling to create new work during a creative slowdown. We will demonstrate how to overcome writer's block and come up with original ideas when creativity seems elusive.

The course then establishes the role of critical thinking to help you understand how technical writing differs from creative writing. We explain how to structure business proposals, letters, emails and meeting agendas. Writing is never complete unless published. The course walks you through the process of editing and evaluating text to meet publishing requirements and finally get your work out there. If you wish to explore your creativity and realise your dreams of becoming a writer, this course is for you. We provide the technical skills you need to turn your talent into published text using a unique writing process that breaks through writer’s block. Whether you have an idea for a novel or even a half-finished manuscript in a drawer, this course helps you to find your voice as a storyteller.

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Elements of Creative Writing

(3 reviews)

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

Copyright Year: 2023

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

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Reviewed by Colin Rafferty, Professor, University of Mary Washington on 8/2/24

Fantastically thorough. By using three different authors, one for each genre of creative writing, the textbook allows for a wider diversity of thought and theory on writing as a whole, while still providing a solid grounding in the basics of each... read more

Comprehensiveness rating: 5 see less

Fantastically thorough. By using three different authors, one for each genre of creative writing, the textbook allows for a wider diversity of thought and theory on writing as a whole, while still providing a solid grounding in the basics of each genre. The included links to referred texts also builds in an automatic, OER-based anthology for students. Terms are not only defined clearly, but also their utility is explained--here's what assonance can actually do in a poem, rather than simply "it's repeated vowel sounds,"

Content Accuracy rating: 5

Calling the content "accurate" requires a suspension of the notion that art and writing aren't subjective; instead, it might be more useful to judge the content on the potential usefulness to students, in which case it' s quite accurate. Reading this, I often found myself nodding in agreement with the authors' suggestions for considering published work and discussing workshop material, and their prompts for generating creative writing feel full of potential. It's as error-free, if not more so, than most OER textbooks (which is to say: a few typos here and there) and a surprising number of trade publications. It's not unbiased, per se--after all, these are literary magazine editors writing the textbook and often explaining what it is about a given piece of writing that they find (or do not find) engaging and admirable--but unbiased isn't necessarily a quantity one looks for in creative writing textbooks.

Relevance/Longevity rating: 4

The thing about creative writing is that they keep making more of it, so eventually the anthology elements of this textbook will be less "look what's getting published these days" and more "look what was getting published back then," but the structure of the textbook should allow for substitution and replacement (that said, if UNI pulls funding for NAR, as too many universities are doing these days, then the bigger concern is about the archive vanishing). The more rhetorical elements of the textbook are solid, and should be useful to students and faculty for a long time.

Clarity rating: 5

Very clear, straightforward prose, and perhaps more importantly, there's a sense of each author that emerges in each section, demonstrating to students that writing, especially creative writing, comes from a person. As noted above, any technical jargon is not only explained, but also discussed, meaning that how and why one might use any particular literary technique are emphasized over simply rote memorization of terms.

Consistency rating: 4

It's consistent within each section, but the voice and approach change with each genre. This is a strength, not a weakness, and allows the textbook to avoid the one-size-fits-all approach of single-author creative writing textbooks. There are different "try this" exercises for each genre that strike me as calibrated to impress the facets of that particular genre on the student.

Modularity rating: 5

The three-part structure of the book allows teachers to start wherever they like, genre-wise. While the internal structure of each section does build upon and refer back to earlier chapters, that seems more like an advantage than a disadvantage. Honestly, there's probably enough flexibility built into the textbook that even the callbacks could be glossed over quickly enough in the classroom.

Organization/Structure/Flow rating: 5

Chapters within each genre section build upon each other, starting with basics and developing the complexity and different elements of that genre. The textbook's overall organization allows some flexibility in terms of starting with fiction, poetry, or nonfiction.

Interface rating: 4

Easy to navigate. I particularly like the way that links for the anthology work in the nonfiction section (clearly appearing at the side of the text in addition to within it) and would like to see that consistently applied throughout.

Grammatical Errors rating: 5

A few typos here and there, but you know what else generally has a few typos here and there? Expensive physical textbooks.

Cultural Relevance rating: 5

The anthology covers a diverse array of authors and cultural identities, and the textbook authors are not only conscious of their importance but also discuss how those identities affect decisions that the authors might have made, even on a formal level. If you find an underrepresented group missing, it should be easy enough to supplement this textbook with a poem/essay/story.

Very excited to use this in my Intro to CW classes--unlike other OERs that I've used for the field, this one feels like it could compete with the physical textbooks head-to-head. Other textbooks have felt more like a trade-off between content and cost.

Reviewed by Jeanne Cosmos, Adjunct Faculty, Massachusetts Bay Community College on 7/7/24

Direct language and concrete examples & Case Studies. read more

Direct language and concrete examples & Case Studies.

References to literature and writers- on track.

Relevance/Longevity rating: 5

On point for support to assist writers and creative process.

Direct language and easy to read.

First person to third person. Too informal in many areas of the text.

Units are readily accessible.

Process of creative writing and prompts- scaffold areas of learning for students.

Interface rating: 5

No issues found.

The book is accurate in this regard.

Cultural Relevance rating: 4

Always could be revised and better.

Yes. Textbook font is not academic and spacing - also not academic. A bit too primary. Suggest- Times New Roman 12- point font & a space plus - Some of the language and examples too informal and the tone of lst person would be more effective if - direct and not so 'chummy' as author references his personal recollections. Not effective.

Reviewed by Robert Moreira, Lecturer III, University of Texas Rio Grande Valley on 3/21/24

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama. read more

Comprehensiveness rating: 4 see less

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama.

As far as I can tell, content is accurate, error free and unbiased.

The book is relevant and up-to-date.

The text is clear and easy to understand.

Consistency rating: 5

I would agree that the text is consistent in terms of terminology and framework.

Text is modular, yes, but I would like to see the addition of a section on dramatic writing.

Topics are presented in logical, clear fashion.

Navigation is good.

No grammatical issues that I could see.

Cultural Relevance rating: 3

I'd like to see more diverse creative writing examples.

As I stated above, textbook is good except that it does not include a section on dramatic writing.

Table of Contents

• Introduction
• Chapter One: One Great Way to Write a Short Story
• Chapter Two: Plotting
• Chapter Three: Counterpointed Plotting
• Chapter Four: Show and Tell
• Chapter Five: Characterization and Method Writing
• Chapter Six: Character and Dialouge
• Chapter Seven: Setting, Stillness, and Voice
• Chapter Eight: Point of View
• Chapter Nine: Learning the Unwritten Rules
• Chapter One: A Poetry State of Mind
• Chapter Two: The Architecture of a Poem
• Chapter Three: Sound
• Chapter Four: Inspiration and Risk
• Chapter Five: Endings and Beginnings
• Chapter Six: Figurative Language
• Chapter Seven: Forms, Forms, Forms
• Chapter Eight: Go to the Image
• Chapter Nine: The Difficult Simplicity of Short Poems and Killing Darlings

Creative Nonfiction

• Chapter One: Creative Nonfiction and the Essay
• Chapter Two: Truth and Memory, Truth in Memory
• Chapter Three: Research and History
• Chapter Four: Writing Environments
• Chapter Five: Notes on Style
• Chapter Seven: Imagery and the Senses
• Chapter Eight: Writing the Body
• Chapter Nine: Forms

Back Matter

• Contributors
• North American Review Staff

Ancillary Material

• University of Northern Iowa

About the Book

This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States. They’ve selected nearly all of the readings and examples (more than 60) from writing that has appeared in NAR pages over the years. Because they had a hand in publishing these pieces originally, their perspective as editors permeates this book. As such, they hope that even seasoned writers might gain insight into the aesthetics of the magazine as they analyze and discuss some reasons this work is so remarkable—and therefore teachable. This project was supported by NAR staff and funded via the UNI Textbook Equity Mini-Grant Program.

About the Contributors

J.D. Schraffenberger  is a professor of English at the University of Northern Iowa. He is the author of two books of poems,  Saint Joe's Passion  and  The Waxen Poor , and co-author with Martín Espada and Lauren Schmidt of  The Necessary Poetics of Atheism . His other work has appeared in  Best of Brevity ,  Best Creative Nonfiction ,  Notre Dame Review ,  Poetry East ,  Prairie Schooner , and elsewhere.

Rachel Morgan   is an instructor of English at the University of Northern Iowa. She is the author of the chapbook  Honey & Blood , Blood & Honey . Her work is included in the anthology  Fracture: Essays, Poems, and Stories on Fracking in American  and has appeared in the  Journal of American Medical Association ,  Boulevard ,  Prairie Schooner , and elsewhere.

Grant Tracey   author of three novels in the Hayden Fuller Mysteries ; the chapbook  Winsome  featuring cab driver Eddie Sands; and the story collection  Final Stanzas , is fiction editor of the  North American Review  and an English professor at the University of Northern Iowa, where he teaches film, modern drama, and creative writing. Nominated four times for a Pushcart Prize, he has published nearly fifty short stories and three previous collections. He has acted in over forty community theater productions and has published critical work on Samuel Fuller and James Cagney. He lives in Cedar Falls, Iowa.

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Eight Free Creative Writing Lessons

February 17, 2012 by Ami 17 Comments

I know I throw around the word favorite all the time. But this is the truth: teaching creative writing lessons is my favorite. 

I have taught creative writing enrichment for summer school students. I have taught creative writing in various homeschool settings and co-ops. I have taught big students and little students. And I love it. 

Since I love to share homeschool co-op class ideas , I have compiled the creative writing lessons from a co-op class that I taught. 

Creative Writing Lessons for a Homeschool Co-op Class

First, please remember that any teacher can use these creative writing lessons. You don’t need to be teaching homeschoolers. You can be a classroom teacher or a homeschool teacher at home with one student. You can even be a librarian who needs a fun program series.

Second, I used these creative writing lesson plans with upper elementary students (with maybe a few 7th graders thrown in). However, you can adapt and use them for older students or younger students!

Creative Writing Lesson Plans

Creative writing lesson one.

The first lesson focuses on cliché and metaphor. It prompts students to consider how words matter.

Grab lesson one here .

Creative Writing Lesson Two

The second lesson teaches students about sensory details: why they are important and how to include them in their writing. Students will begin using sensory details to evoke smells and sounds and sights.

Grab lesson two here.

Creative Writing Lesson Three

The third lesson introduces showing vs. telling. Students learn how to recognize authors who utilize showing, and students are able to articulate the difference between showing and telling.

Grab lesson three here.

Creative Writing Lesson Four

The fourth lesson teaches students how to capture images. We use examples of poetry and prose to discuss this important writing skill.

Grab lesson four here.

Creative Writing Lesson Five

The fifth lesson introduces the story elements of character and conflict.

Note: You may choose to split this lesson into two lessons since it covers two big elements. I only had nine weeks with my students, so I had to jam character and conflict together.

Grab lesson five here.

Creative Writing Lesson Six

The sixth lesson introduces the students to point of view and perspective. We have fun reading poems and using pictures to write descriptions from different points of view.

Grab lesson six here.

Creative Writing Lesson Seven

The seventh lesson puts everything we’ve learned together. I read the students some fractured fairy tales, and we watch some, too. Students then use the prewriting activities and their imaginations to begin drafting their own fractured fairy tales.

Grab lesson seven here.

Creative Writing Lesson Eight

The eighth lesson focuses on revision. After a mini-lesson, students partner up for peer editing.

Grab lesson eight here .

For our final class day, students bring revised work, and I host coffee shop readings. This is a memorable experience for students (and their teacher).

Creative Writing Lessons FAQ

Since posting these creative writing lessons, I have had lots of questions. I decided to compile them here in case you have the same question.

Q: What are copywork quotes? A: Copywork quotes are simply great quotes that students copy as part of their homework assignments. You can use any quotes about writing. I’ve included my favorites throughout the printable packs.

Q: Can I use this with a younger or older student? A: Absolutely! Just adapt it to meet the needs of your student.

Q: Can I use this for my library’s programming or my homeschool co-op class? A: Yes! I just ask that it not be used for profit.

Do you have any questions about teaching creative writing? What’s your biggest hang-up when it comes to teaching creative writing? I’d love to hear from you and help you solve the issue.

January 7, 2016 at 1:57 pm

Hi Theresa,

As long as you are not profitting from using them, they are yours to use! Enjoy! Wish I could be there to help facilitate all those young writers! 

[…] Creative Writing Class […]

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The Best Apps for Distraction-Free Writing

We are bombarded by distractions every moment of every day. Some of them are of our own making; others are basically unavoidable. As I sat writing this story my Fitbit reminded me to get up and move, I received well over 100 emails, Duolingo told me it was time for a lesson, Google let me know it was screening a suspicious call , and I received an alert to water my plants. All of this noise would make it hard to accomplish any task, but it’s particularly problematic when you’re trying to write.

Even the tiniest of distractions can completely disrupt your flow when you’re trying to put words down on a page, and so a whole cottage industry has cropped up around making tools for distraction-free writing. These apps can’t stop telemarketers from calling you or deflect the deluge of Instagram notifications, but they do strip away the extraneous nonsense found in traditional word processors like rulers, toolbars, and tables, and focus on what’s most important: words.

Distraction-free writing apps come in a variety of shapes and sizes, and at various price points. Here are a few of my favorites.

Google Docs

Sometimes the best tool is the one you’re already using. Google Docs wouldn’t qualify as “distraction-free” by most measures. It has all the bells and whistles you’d expect from an office suite. But if you go up to the View menu and click “Full screen,” you get a surprisingly clean and minimal interface.

In full screen mode, you see a page with words, rulers along the top and sides, and a document outline on the left. That’s it. The toolbar and most other interface elements are removed. You can hide the rulers and document outline as well; just go to the View menu.

To make Docs as close to the other distraction-free apps in this roundup, go to Tools, Preferences, and turn on Enable Markdown. This allows you to format your work with simple text cues like putting words between asterisks to style them with italics. My biggest complaint is that there’s no dark mode for Google Docs at the moment.

The best feature of Google Docs though, is the price: Free.

At the other end of the price spectrum is iA Writer . The desktop app for macOS is $50. And if you want to use it on your iPad or iPhone, that’s another $50. Windows and Android users get a bit better of a deal at $30, but the experience isn’t quite as smooth, and features generally come to Apple’s platforms first.

That being said, I think it might provide the best experience of the bunch. Even in standard mode, iA Writer is a clean and minimal text editor with a decent amount of customization and support for simple Markdown formatting .

But the real magic happens when you click the focus mode button in the top bar. There are a few ways to customize focus mode, but by default the line you’re actively typing on is highlighted and centered. As you move on to the next line, the completed text fades to a dull gray and moves upwards. It’s not too different from what you’d experience with a typewriter.

iA Writer has dark mode and shortcut integration for macOS, iOS, and iPadOS. Plus it’s just plain pretty. Given the high price though, you have to be pretty dedicated to the idea of a distraction-free working environment to spring for iA Writer.

The basic layout and feature set of Ulysses isn’t terribly different from iA Writer. There’s a sidebar for navigating and organizing your files, and a large main pane for composing. But it’s definitely more feature-rich, including tools for goal tracking and proofreading. Thanks to its simple but thoughtful organization system, you could probably even use Ulysses as a note-taking app in a pinch.

Like iA Writer it has a typewriter mode with line highlighting and text scrolling. But you have to turn on the various parts of it individually the first time. One of its bigger draws is its styles that allow you to export documents using templates customized for scripts, novels, blog posts, and more.

The knock against Ulysses is that it’s available only as a $40 annual subscription. And it’s strictly for macOS, iOS, and iPadOS. If you’re a Windows user, you’re out of luck.

FocusWriter

This is perhaps the most bare-bones of the bunch, but it shouldn’t be overlooked. FocusWriter has all the basics you’d expect from a text editor, including spell check and the ability to have multiple documents open simultaneously. It also has tools for serious writers, like stat tracking and goal setting.

Unlike most of the other apps here, FocusWriter uses rich text (RTF) for formatting instead of Markdown. It probably has the most customizable interface of the bunch, though. You can meticulously choose the interface colors, fonts, and background.

One of the biggest draws will be that it’s free and open source, though right now it’s available for Windows and Linux only. While you can probably get it running on macOS if you know your way around a command line, it will take some legwork, and there’s no mobile client or file syncing.

The idea of distraction-free writing is, inherently, kind of gimmicky. But OmmWriter is probably the most gimmicky of the bunch. It doesn’t just strip away the extraneous nonsense; it aims to immerse you in an environment conducive to a flow state. That includes gentle soundscapes to help you focus and even various typing sound effects to enhance the vibes.

If you want more audible feedback while typing, but don’t want to invest in a nice mechanical keyboard, this might do the job. Though, the very slight lag between your fingers hitting the keys and the sound coming out of the speakers bugged me.

Otherwise, the UI is pretty bare, with a resizable text box in the center and a few buttons to the right for changing settings. It’s the cheapest of the commercial options here at $9.93 for macOS or Windows. But you can also give it a whirl in your browser by playing with a stripped down version for free.

Scrivener has a dedicated following among long-form writers, and for good reason. While the app does have an excellent distraction-free mode, complete with typewriter-style scrolling, it also sports advanced organizing tools that you’re sure to appreciate if you’re working on a book or a screenplay. It’s made specifically with longer writing projects in mind.

Its project outlines make it simple to collect research or rearrange ideas until you find what clicks. When it comes time to actually write, the full screen composition mode gets rid of everything but the text box. It’s the most minimal of editors.

Scrivener is available on macOS and Windows for $60, or iOS for $24. Unfortunately you will have to purchase a separate license for each platform, which could get expensive if you use multiple devices.

This is perhaps the best deal of the bunch if you’re looking for a true distraction-free experience without having to jump through a lot of hoops. For $15, Calmly offers some customization of the interface and basic stat tracking, but mostly it’s just focused on writing.

Like many of the other apps, Calmly is Markdown based, so your resulting files are just plaintext and easily transferred between apps. What you won’t find here are any file management tools or flashy export options, though it does allow you to insert images and add comments, which many of the other apps don’t.

Calmly is available as a desktop app for Windows, Linux, and macOS, but there’s also a stripped down web-based version that is free.

Obsidian isn’t really a distraction-free writing app; it’s a full-featured notetaker. But its clean UI and reliance on Markdown make it a pretty solid writing tool. Plus, its wealth of customization options and deep catalog of extensions mean you can turn Obsidian into the specific writing environment that suits your needs. You can add typewriter-like modes, or set up goal tracking to monitor your productivity. You can just as easily remove features and strip away any of the bits you don't want.

The best part is that Obsidian is free for personal use. If you want to use it as more than just a text editor, I highly recommend you spring for the $4 monthly subscription. This enables file syncing, which keeps all your work in order across all your devices. Obsidian is also platform agnostic and available for macOS, iOS, iPadOS, Windows, Android, and Linux. Just don't let browsing and trying out all those extensions become a distraction itself.

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• Faculty Issues
• Shared Governance
• ‘Red Wedding’: Storied Stanford Creative Writing Program Laying Off Lecturers

The university says creative writing faculty recommended returning its Jones Lectureships to their “original intent” as short-term teaching appointments for talented writers. A lecturer of 20 years said he thinks there’s a “peasants and lords issue” in the program.

By  Ryan Quinn

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Stanford University is laying off its current Jones Lecturers.

Some Stanford University lecturers are likening it to the “red wedding” in Game of Thrones —a massacre of characters by their supposed allies amid what had been billed as a celebratory feast.

Last Wednesday, a dean, a senior associate dean and a co-director of Stanford’s storied and popular creative writing program held a Zoom meeting with the program’s 23 Jones Lecturers, according to some of those lecturers, who were chosen from the ranks of those who have held the university’s prestigious Stegner Fellowship for writers.

The university leaders complimented the Jones Lecturers over Zoom. “They praised us to the moon,” Tom Kealey, a lecturer for two decades, told Inside Higher Ed . “Endlessly” praised was how Edward Porter, a lecturer of eight years, put it.

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Then, Kealey said, the leaders announced they would all be losing their jobs within the next two academic years. “The worst part is to be praised while you’re being fired,” Porter said. According to notes he took of the meeting, Nicholas Jenkins, the program’s co-director, said something to the effect of “you’re excellent, but others will be excellent in the future.”

There was an added sense of betrayal. The deans—Debra Satz, dean of the School of Humanities and Sciences, and Gabriella Safran, senior associate dean of humanities and arts—said this wasn’t their decision, according to Kealey. In Medium posts on the ordeal, he wrote that they said it came from “the senior professors of creative writing.”

“These are literally our teaching colleagues of the last five to 15 years,” Kealey wrote. “And they decided in a previous secret meeting to fire all 23 of their junior colleagues.” In another post, he wrote that “it was only the MALE professors who voted to fire us.” ( Inside Higher Ed reached out Tuesday to some of the male creative writing professors on Tuesday, but received no responses.)

In an unsigned announcement last Wednesday on the university’s website, Stanford said it is returning to the “original intent of the Jones Lectureships: one-year appointments with the possibility of renewal for a limited term.” That announcement said the recommendation came from faculty members on a “Working Group of Creative Writing Academic Council faculty,” but it didn’t name them.

Satz, Safran and Jenkins said in an emailed joint statement to Inside Higher Ed that "this change will again allow Stegner Fellows the opportunity to apply to be Jones Lecturers once they have completed their fellowships. Jones Lecturers will have one-year appointments with the possibility of renewal for up to four additional years."

While it’s no longer rare for non-tenure-track faculty members to be laid off by higher education institutions facing budget woes, Stanford is a wealthy institution and creative writing is, by its own admission, a popular program.

“We have a large number of fully enrolled classes, many with significant waitlists and some where the waitlists are longer than the enrollment roster,” Jenkins said in a February 2023 article on the university’s website. He also said, “We’re in a remarkable period of hiring during which we’re fortunate enough to be bringing to campus an extraordinarily talented array of significant artists and teachers.”

But the lecturers say they’re the ones teaching most of the creative writing classes for undergraduates, and that their years of experience improve teaching. Kealey said some lecturers teach five classes a year; others teach four. He wrote on Medium of the senior creative writing professors that “the 10 of them … taught 13 undergraduate classes last year (and 19 overall, less than two classes taught per professor).”

The leaders said during the Zoom meeting the decision wasn’t about money, according to Porter. “It’s maddening to have outstanding enrollment and be phased out anyway,” he said. While the university has said it wants to simply return the Jones Lectureships to the short stints they used to be, Kealey suggests the tenured professors in his department had other motives.

“I think there’s a peasants and lords issue here,” Kealey said.

A Long Time Coming?

In 1946, Wallace Stegner, who would go on to win the Pulitzer Prize for fiction for Angle of Repose , founded Stanford’s creative writing program. The Stegner Fellowships are named in his honor.

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E. H. Jones, who had an oil fortune, funded the fellowships and also established the connected Jones Lectureships, according to the university’s announcement from last week. It said these were meant to be “limited, fixed-year teaching appointments, allowing exceptional Stegner Fellows some time and support to prepare a manuscript for publication, hone their teaching skills and transition to a longer-term teaching career elsewhere.”

But “over time this framework of term-limited appointments was not followed,” the university said. It did not say when that change occurred. It might have had something to do with Eavan Boland.

Boland, an Irish poet, led the creative writing program for 20 years until her sudden death in 2020. “Eavan was just a fierce defender of the program,” Kealey said. He said her death “was a great loss to all of us.”

When Boland joined the program, Kealey said, it had maybe 20 or 25 classes. But Boland wanted every student who so desired to be able to take a creative writing class. Kealey said lecturers went to residence halls in early years to speak with students about the program. Over about 15 years, Kealey said, the program grew to offer about 120 classes.

Porter said Boland “developed a large cadre of about 20 to 25 lecturers.” Even though they were on one-year contracts, Porter said, they kept getting renewed. He said it’s true that Boland did move the lectureships away from their original intent—but that it was beneficial for students, teaching and the program.

“There are a lot of human skills to playing this game, and those don’t come in a year,” Porter said. “We have letters, testimonials from students about how much we’ve meant to them. We’re also very available to them—we talk to them outside of class, there’s a sense of continuing mentorship if they want it.”

Now, Porter said, “there is at least the appearance” of the university creating “artificial scarcity,” suggesting there’s no room for the new, younger Stegner Fellows writers to get a leg up by becoming Jones Lecturers “because these crusty old folks are hogging up all the real estate.” Safran, the senior associate dean, said, per Porter’s meeting notes, that “in some years few or no Stegners were able to advance.”

Kealey said, “There’s no shortage of space for new Stegner Fellows to be hired into the Jones Lectureships, but, I don’t know, the professors wanted to do a scorched earth with this, and that’s what they’ve done.”

The lecturers said they pushed for, and received, raises from the university in September 2023. “Exactly a year later we’re all fired,” so “connect the dots here,” Kealey said. “I think the lords didn’t like that—didn’t like the peasants speaking up.”

Porter talked about “balancing one set of values against the other.” He said the tenured or tenure-track “creative writing faculty doesn’t teach many classes and many of them are not involved—they don’t care about the undergraduates. It’s not their job to care; it’s their job to write books, be famous and raise money, and that’s very necessary.”

And part of the purpose of the Jones Lectureship program is to give new writers a step up. But Porter worries about the other side of the equation being lost. “It’s our job to care about the undergrads,” he said.

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Last updated on Dec 23, 2022

Creative Writing: 8 Fun Ways to Get Started

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Savannah Cordova

Savannah is a senior editor with Reedsy and a published writer whose work has appeared on Slate, Kirkus, and BookTrib. Her short fiction has appeared in the Owl Canyon Press anthology, "No Bars and a Dead Battery". 

Creative writing is a written art form that uses the imagination to tell stories and compose essays, poetry, screenplays, novels, lyrics, and more. It can be defined in opposition to the dry and factual types of writing found in academic, technical, or journalistic texts.

Characterized by its ability to evoke emotion and engage readers, creative writing can tackle themes and ideas that one might struggle to discuss in cold, factual terms.

If you’re interested in the world of creative writing, we have eight fantastic exercises and activities to get you started.

1. Use writing prompts every week

Coming up with ideas for short stories can be challenging, which is why we created a directory of 1700+ creative writing prompts covering a wide range of genres and topics. Writing prompts are flexible in nature, they are meant to inspire you without being too constrictive. Overall, they are a great way to keep your creative muscles limber.

If you’re struggling for motivation, how does a hard deadline and a little prize money sound? Prompts-based writing contests are a fantastic way to dive into creative writing: the combination of due dates, friendly rivalries, prize money, and the potential to have your work published is often just what’s needed to propel you over the finish line. 

We run a weekly writing contest over on Reedsy Prompts , where hundreds of writers from all around the world challenge themselves weekly to write a short story between 1,000 and 3,000 words for a chance to win the $250 prize. Furthermore, the community is very active in providing constructive feedback, support, and accountability to each other 一 something that will make your efforts even more worthwhile.

Take a peek at our directory of writing contests which features some of the most prestigious open writing competitions in the world. 

2. Start journaling your days

Another easy way to get started with creative writing is to keep a journal. We’re not talking about an hour-by-hour account of your day, but journaling as a way to express yourself without filters and find your ‘voice in writing’. If you’re unsure what to journal about, think of any daily experiences that have had an impact on you, such as… 

Special moments . Did you lock yourself out of your house? Or did you catch a beautiful sunset on your way back from groceries? Capture those moments, and how you felt about them.

People . Did you have an unusual exchange with a stranger at the bar? Or did you reconnect with someone you haven’t seen in years? Share your thoughts about it.

World events . Is there something happening in the world right now that is triggering you? That’s understandable. You can reflect on it (and let some steam off) while journaling.

Memories . Did you go down memory lane after a glass of wine? Great, honor those memories by trying to recollect them in detail on paper so that they will always stay vivid in your mind.

Life decisions . Are you having an existential crisis about what to do with your life? Write down your thought process, and the pros and cons of the possible decisions in front of you. You’ll be surprised to discover that, not only is it a great creative writing exercise, but it can also actually help you sort your life out! 

If you struggle to write consistently, sign up for our How to Write a Novel course to finish a novel in just 3 months.  

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3. Create an anonymous social media account

Like anonymous blogging, an incognito Twitter account sidesteps the pressure that comes with attaching your name to your work. Anonymously putting tiny stories out into the ether gives you the freedom to create without worrying about the consequences — which is great, so long as you don’t use it as an opportunity to troll people or spread conspiracy theories. 

You could use the anonymous account in different ways. For example, you could…

• Tweet from unique perspectives (e.g. a dog observing human behavior );
• Create a parody account of real or fictional people (e.g. an English poet from the Middle Ages );
• Challenge yourself to write tiny flash fiction stories that fit into Twitter threads.

Just remember, you’re not doing this to fool anyone into thinking that your account is real: be a good citizen and mark yourself a fiction account in your bio. 

But if you’re not really a social media kinda person, you may enjoy our next tip, which is a bit more on the analog side.

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4. Find an old photo and tell its story

Find a random old photo — maybe on the web, maybe from a photo album in a yard sale — and see what catches your attention. Look closely at it and try to imagine the story behind it. What was happening? Who are the people in it and how are they really feeling? Do they share a relationship, and of what kind? What are their goals and dreams?

In other words, bring the photo to life with your imagination. Don't be afraid to take artistic license with your story, as the goal is to be creative and have fun while writing. 

How do you know it’s creative writing?

5. Create a character from a random name

Just as our universe started from a few simple elements, you can create a character from a few basic information, like their name, culture, and gender. Reedsy’s handy character name generator can help you with that, offering random names based on archetypes, Medieval roots, fantasy traits and more. A few examples? A Celtic heroine named Fíona O'Keefe, a hero’s sidekick named Aderine, or a Korean track star named Park Kang-Dae.

Once you've chosen their name, begin to develop their personality. Set a timer for 5–10 minutes and write anything that comes to mind about them. It could be a page from their FBI dossier, a childhood diary entry, or simply a scene about them boiling an egg.

Just ‘go with the flow’ and don’t stop writing until your time is up. Repeat the process a few times to further hone the personality. If you like what you end up with, you can always go deeper later by creating a character bible . 

If a stream-of-consciousness exercise is not your thing, you can try to imagine your character in a specific situation and write down how’d they respond to it. For example, what if they were betrayed by a friend? Or if they were elected in power? To help you imagine situations to put your character in, we made a free template that you can download below. 

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Reedsy’s Character Questionnaire

40 questions to help you develop memorable characters.

6. Construct a character by people-watching

People watching is “the action of spending time idly observing people in a public place.” In a non-creepy way, ideally. Sit on a bench on a public square or on a road-side table at your favorite café, and start observing the people around you. Pay attention to any interesting quirks or behaviors, and write it down. Then put on your detective’s hat and try to figure out what that tells you about them.

For example, the man at the table next to you at the restaurant is reading the newspaper. His jacket and hat are neatly arranged next to him. The pages make a whipping sound as he briskly turns them, and he grimaces every time he reads a new article. Try to imagine what he’s reading, and why he’s reacting the way he is. Then, try to build a character with the information you have. It’s a fun creative exercise that will also, hopefully, help you better empathize with strangers. 

7. “Map” something you feel strongly about into a new context

Placing your feelings into new contexts can be a powerful creative writing exercise. The idea is to start from something you feel strongly about, and frame it into a completely different context. 

For example, suppose your heart is torn apart after you divorce your life-long partner: instead of journaling or crafting an entire novel  about it, you could tell a story about a legendary trapeze duo whose partnership has come to an end. If you’re struggling with politicking and petty power dynamics at the office: what if you “mapped” your feelings onto an ant who resents being part of a colony? Directing your frustration at a queen ant can be a fun and cathartic writing experience (that won’t get you in trouble if your co-workers end up reading your story).   

8. Capture the moment with a haiku

Haikus are poems from the Japanese tradition that aim to capture, in a few words, daily moments of insight (usually inspired by nature). In a nutshell, it’s about becoming mindful of your surroundings, and notice if you can see something in a new or deeper way 一 then use contrasting imagery to express whatever you noticed. 

Here’s an example:

Bright orange bicycle

Speeding through the autumn leaves

A burst of color waves

It may sound a bit complicated, but it shouldn’t be 一 at least not for the purpose of this exercise. Learn the basics of haiku-writing , then challenge yourself to write one per day for a week or month. At the end, you’ll be able to look back at your collection of poems and 一 in the worst case scenario 一 revisit small but significant moments that you would have otherwise forgot about.   

Creative writing can be any writing you put your heart and soul into. It could be made for the purpose of expressing your feelings, exploring an idea, or simply entertaining your readers. As you can see there’s many paths to get involved with it, and hundreds of exercises you can use as a starting point. In the next post , we’ll look more in detail at some creative writing examples from some fellow authors. 

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Two Tumbleweeds Writing Dice - Creative Writing Game for Adults, Writers & Teachers - Set of 9 Dice for Story Inspiration - Gifts for Writers - 1+ Players

Writing Dice

• INCLUDES: 9 color-coded wood dice (1 inch with easy-to-read text) that cover Who, What, When, Where, & Why in depth. Just roll, brainstorm, & write!
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• MULTIPLE WAYS TO PLAY: Full instructions include suggested exercises to get you started, as well as teaching variations for the classroom.
• GREAT GIFT: Makes a perfect gift for writers, writing students, authors, and teachers.

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Product Dimensions	2.63 x 2.63 x 3.05 inches
Item Weight	4.2 ounces
ASIN	B0CBNNXY43
Item model number	WD1
Manufacturer recommended age	15 years and up
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Conquer writer's block with Writing Dice

From the creators of Foodie Dice & Art Dice comes a new way to inspire creativity, Writing Dice. When faced with a blank page, it can be hard to know where to start. Whether you’re an established writer or just want to find creativity through the written word, Writing Dice provides a thoughtful framework that will guide & inspire any type of creative writing—from stories & novels, to screenplays & comics. With millions of combos, you’re bound to encounter something that helps you find your flow. So roll the dice. Write fearlessly. You never know what’s inside you until you try! Makes a perfect gift for writers, authors, writing students, and teachers.

Looking for more inspiration or a memorable gift? Check out our other sets of dice:

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Product Highlights	The solution to artist's block. These 9 color-coded wood dice provide endless inspiration for making art. Just roll, brainstorm, & create!	Analog fun for anyone! These 54 carefully curated activities will feed your mind, body, and soul—and provide a perfect excuse to step away from screens. Create connection, elevate your mood, and bid farewell to boredom—one roll at a time!	Tired of the question, What's for Dinner? Inspire creative meals made with whole ingredients with just a roll. Makes a perfect gift for anyone who likes to cook. Includes a Take Out Die for the nights you don’t feel like cooking.	Take your cocktail game to the next level. These 9 laser-engraved wood dice (spirit, mixer, sugar, liqueur, citrus, fruit, herb, spice, and bitters) provide inspiration for creating hand-crafted cocktails and mocktails made with fresh ingredients.

Two sisters who wanted to work together on something fun, we started out on a mission to inspire creativity in the kitchen with our first product, Foodie Dice, but we found that our own creativity didn't end there. Since then, we've added other thoughtfully designed items to our product collection, all designed with the purpose of inspiring creativity, connection, fun, & flow!

When you purchase one of our products you're supporting a USA-based, women-owned small business. We appreciate our customers and are here if you need support for any of our products.

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• 5 star 4 star 3 star 2 star 1 star 3 star 82% 12% 3% 2% 1% 3%
• 5 star 4 star 3 star 2 star 1 star 2 star 82% 12% 3% 2% 1% 2%
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Customers say

Customers like the quality, appearance and options of the game dice. For example, they mention it's an excellent tool for connection with creativity, it keeps the creative juices flowing and it'll make a great gift for creators and creatives. That said, some complain about the missing pieces and the fact that the letters are faded.

AI-generated from the text of customer reviews

Customers like the quality of the game dice. They say it's worth buying to help reignite those creative thoughts, and is an excellent tool for connection with creativity. They also say it keeps the creative juices flowing and is a constant source of inspiration. Customers also say the dice are a great teacher tool and a good product that helps in developing artistic skills.

"...to get students thinking about their writing as well as makes brainstorming intentional which can be a challenge for students who may not see value...." Read more

"...who's always been into writing, has found them to be a constant source of inspiration , using them to break through writer's block and explore new..." Read more

"...they're just dice with 6 sides, but they've proven to be a fantastic starting out point and have broken me out of my writer's block...." Read more

"...With that out of the way, I find the product interesting and useful I just wish for a better quality product from two tumbleweeds which have proven..." Read more

Customers find the game dice fun to use, and say it's a great writing tool. They also say it sparks creativity and is great for game night with friends or family.

"I loved this as a gift for an English Teacher. So many creative writing prompts . I would use in a classroom from K-12!" Read more

"...He will be teaching this fall and the dice will help spark creativity in his writing classes ." Read more

"...ingenious tool not only helps in developing artistic skills but also adds a fun , interactive element to the creative process, making it an excellent..." Read more

"The words are obviously limited , since they're just dice with 6 sides, but they've proven to be a fantastic starting out point and have broken me..." Read more

Customers find the game dice a great gift for creators and creatives. They also say it's an excellent gift for art teachers and fellow artists. Customers also mention that it'll bring some smiles and is a fun gift for artists of all levels. They say it makes a perfect stocking stuffer for the holidays.

"Get it. It's a great gift for your writer friends and family." Read more

"...element to the creative process, making it an excellent gift for artists of all levels ." Read more

" Nice little gift don’t know much about it but it’s what they wanted" Read more

"...These work very well for me, and I think they would make excellent gifts for art teachers or fellow artists...." Read more

Customers find the appearance of the game dice beautiful, cute, and lovely. They also say the colors are pretty, and the dice are real wood and painted nicely. Customers also say it's a great addition to any art room or classroom, and that the ideas are creative and unique.

"While setting up my art studio, I discovered this creative , attractively packaged product that I've already gifted to a friend...." Read more

"...The prompts they offer are diverse and unique , making each roll an adventure in storytelling...." Read more

"These dice are really cool but they might have a quality control issue. Some of the lettering is blurry and hard to read...." Read more

"The design is really great , I am I gonna have a lot of fun alone or with friends. The manufacturing is really poor...." Read more

Customers find the options on the game dice impressive, saying it offers many options for creating. They also appreciate the large range of combinations to use, saying the dice get creative ideas going. They say the prompts are diverse and unique, making each roll an adventure. Customers also love the concept and categories, saying they add a fun, interactive element to the creative process.

"...The prompts they offer are diverse and unique, making each roll an adventure in storytelling...." Read more

"...in developing artistic skills but also adds a fun, interactive element to the creative process , making it an excellent gift for artists of all levels." Read more

" Lots of variety on each die for type of medium, style, colors, etc. to just roll the Dyson give you ideas of what to create when you feel blocked" Read more

"I love the concept and categories . The words were printed a bit blurry on some. It comes with ideas on how to use the dice which I found helpful." Read more

Customers find the game dice simple yet ingenious. They say it sparks creativity and is a great tool for teachers. They also say it's perfect for early finishers and indoor recess.

"This is a great tool for me as a teacher ...." Read more

"...to get your creative juices flowing, these dice are a fantastic addition to your toolkit . Highly recommended!" Read more

"...This simple yet ingenious tool not only helps in developing artistic skills but also adds a fun, interactive element to the creative process, making..." Read more

"Sparks creativity! Fun and easy to use ! Excellent quality!" Read more

Customers find the game dice stress-free, relaxing, and joyful. They also say it starts their spark and provides hours of peace and quiet for parents. Customers also mention that the combos are hilarious and joyful, and the game helps break them out of their block.

"...These dice make story telling and writing that much more fun and stress free ! It's a small package so we can bring them with us wherever we go!" Read more

"...a mental block, these help challenge me to be creative and break me out of my that block . Easy to clean and store" Read more

"...Some combos are hilarious and others just joyful . Enjoy these." Read more

"...These will jump start your spark and be a relaxation tool at the same time ." Read more

Customers are dissatisfied with the missing pieces in the game dice. They say the letters are faded and hard to read. Some customers also mention that the dice look used and have discoloration or paint spots.

" letters were partially missing on some dice" Read more

"...1 star off for them looking a bit worn already? Like the print on the dice looked faded or misprinted...." Read more

"...However I was bummed to open up the package and find what look like already used dice ...." Read more

"A dice is missing a chuck and a missing word ! $20 for this really." Read more

Reviews with images

Two Tumbleweeds should return manufacture to US shores or at least not make in china anymore...

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