curriculum guide in creative writing

Think It, Write It: Creative Writing Across the Curriculum

Explore strategies and tools that students can use to write creatively across the curriculum.

The internet has been the most significant amplification of the written word since the Gutenberg printing press. It has introduced us to websites, blogs, social media posts, email, and so much more. In many ways, people write more today than ever before, and modern writers have an unmatched opportunity to share their thoughts with an extensive audience—essentially anyone with a computer and internet connection.

This writing revolution has opened up almost endless opportunities for our students to express themselves through the written word. Of course, this doesn’t mean they need to be limited to text alone. Writing can be shared in many formats and is often mashed up with other forms of media, like images, video, and audio recordings.

It’s tempting to think that academic writing is the responsibility of language arts teachers, but writing is an essential skill for our students all across the curriculum. Writing in subject areas other than language arts provides students with an authentic context for their writing, and it forces them to think more deeply about the subject matter being studied.

Writing is one of the most cognitively complex tasks that we can ask our students to perform. It can and should be done in every subject area. Writing boosts critical thinking and requires the mental organization of new learning. In turn, it increases retention while deepening the understanding of that new learning. Writing can also be leveraged to have students dive deeper into the metacognitive aspect of the learning process. This type of writing can help students better understand their thought processes while identifying how they learn best.

No matter the context or subject area, writing can help develop critical communication skills, and when shared with authentic audiences beyond the teacher, it can increase motivation and relevance for the student. In many ways, writing across the curriculum is a win–win dynamic. Students gain a deeper understanding of their content and learning process while they simultaneously develop the writing skills that will benefit them throughout their lives.

In this article, we’ll explore seven different digital formats that can be integrated across all subject areas. Within each of those formats, we’ll share writing tools and strategies that you can use to get students writing in your classroom.

7 Digital Formats to Get Students Writing

There will probably be times when you determine the writing format for your students, and there will also be times when it’s better for your students to choose their own format. Whenever it makes academic sense, consider allowing your students to choose the format. This will increase their interest and motivation in the writing project. This often keeps them more engaged and results in a better final product. While we will not list every writing platform available to you in the classroom, the following list will highlight seven top choices to get you started.

In this familiar format, students use a word processing program, like Microsoft Word or Google Docs, to write something. Here, the message and writing take center stage, and the visual format is secondary. Once the core writing has been completed, this text can be repurposed and reformatted in many ways.

Writing Tools:

• Microsoft Word
• Google Docs

Integration Ideas:

• Position paper
• Research report

Blogs are personal essays published online. Typically, bloggers will set up a website where they continue to add posts on a regular basis. Many blogging sites allow people to “follow” a blog. This allows followers to get notified whenever a new post is published. Blogs have become a popular way for writers to share their ideas with a wide audience at minimal to no cost. Blogs also allow readers to respond to posted ideas, making it more of a dialogue than a stand-alone piece of writing.

Blogging Tools:

• Google Sites ( Tips )
• Seesaw Blogs
• A full-class blog (class news, highlights, etc.)
• A passion project/topic
• Reflections on class content
• Book discussions
• Student perspectives on current events
• Class blogger of the week (students take turns)

3. Websites

Websites have become so common that we might be tempted to take them for granted. However, allowing students to create their own sites can be extremely empowering, and it offers many opportunities for creativity. Written messages can be combined with images, video, audio, interactive maps, and more. One significant supplementary benefit of students creating their own websites is that the process demystifies the concept of a website, often making students more informed and critical consumers because they know how a website is set up.

Website Creation Tools:

• An overview of a year in history
• A research project
• A documentation of the scientific process
• A learning journal documenting class progress
• A collection of creative writing
• An instructional site about a topic
• A how-to guide
• A personal learning journal

Comic strips are fun to read, but they can also serve as powerful learning artifacts when students create them to communicate a message or demonstrate their learning. Comics also allow students to be creative and tap into their artistic and visual skills. This can be very motivating for some students. To help guide students in the process, there are several online tools that provide frames, characters, settings, and more. Students can also use a slideshow or word processing tool to create their own comic strip from scratch.

Comic Strip Tools:

• Google Slides
• Microsoft PowerPoint
• StoryJumper
• MakeBeliefsComix
• Storyboard That
• Recreate a historical conversation
• Engage in digital storytelling
• Introduce a concept or topic
• Raise awareness of a social issue
• Apply vocabulary and subject-matter concepts
• Communicate satire or parody
• Tell a story

Students often take a great deal of pride in their writing when they see it published in book form. It provides an increased sense of accomplishment and affirms the worth of their words. Fortunately, it’s easier (and cheaper) than ever before for students to publish their work as a book. Several websites allow students to create digital books for free, while some charge only if you want to have them printed. Digital books provide the added advantage of being able to add multimedia alongside the written text. Again, the authentic product at the end of the process can increase student motivation in the project.

Book Creation Tools:

• Book Creator ( Tips )
• Write a piece of historical fiction
• Retell history from different points of view
• Write a biography
• Tell an original story
• Document learning
• Teach a concept
• Create a book of poetry
• Make a picture book

6. News Articles

Students can integrate newswriting into many of these formats. Specifically, this would fit well with the creation of a website. It could even be a class news site, with each student adding their own article. However, you could also take a more traditional approach and have students create a print newspaper or magazine. This defined format helps give them focus and purpose. It’s also fun to see the final result printed out and displayed in the classroom. If you are teaching remotely, the finished pages can be posted digitally to your learning management system.

Newswriting Creation Tools:

• Feature a day or year in history
• Create a tribute to a scientist or mathematician
• Publish a paper recounting events in a novel
• Be a journalist for your school
• Create an opinions page with editorials
• Make your own version of a real magazine

7. Online Discussions

Most learning management systems have discussion tools built into their platforms. These can be great ways to get students writing collaboratively. It’s one thing to write for the teacher, but when a student knows that classmates will also be reading the posts, it changes the dynamic and motivation. In addition, it gives students a chance to think beyond their original post and reflect on feedback from their peers. Of course, you will want to define discussion protocols, model effective posts, and have students practice these skills. This process can ensure that the discussion experience is a positive and respectful one for all involved. Explore additional ideas for fostering substantive and respectful online discussions in a previous AOA article .

Discussion Tools:

• Learning Management System ( Canvas , Schoology , Google Classroom , etc.)
• Discuss a controversial topic
• Conduct a virtual Socratic Seminar
• Pose questions
• Reflect on learning
• Consider the impact of an event or opinion
• Brainstorm ideas

Extend Your Learning

• Why Students Should Write in All Subjects (Edutopia)
• Blogging Resources (Ditch That Textbook)
• Free Newspaper Templates (Free Google Docs Templates)
• Google Slides Newspaper Template (Templates for Teachers)
• Over 1,000 Writing Prompts for Students (The New York Times)
• Best Apps for Creating Books and Storybooks (Common Sense Education)
• Stimulate Classroom Time With These Student Website Project Ideas (WordPress)
• Comic Strip Creations Lesson Plan (Grades 3–5) (Scholastic)
• Five Ideas for Creating Comics in the Classroom (Creative Educator)

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Creative Writing

This 3-unit creative writing curriculum is designed to engage students in the power and joy of writing. It covers poetry, fiction, and drama (plays and screenplays). 

Each 4-week unit guides students through writing with a different purpose each week: to explore, to reflect, to relate, and to create.

Weeks are broken down consistently: three writing days (mon - wed), a revision day (thurs) and a share-out day (fri).

All lesson plans and student handouts are included in the curriculum document.

A Comprehensive High School Writing Curriculum Guide

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

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

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

High School Writing Curriculum: A Comprehensive Guide

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

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

Why are you writing about a high school writing curriculum?

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

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

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

Understanding the Essentials of a High School Writing Curriculum

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

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

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

Importance of a Structured Approach to Writing

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

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

Diverse Writing Assignments

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

A few of my favorite writing assignments for high school:

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

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

Calendar of Writing

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

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

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

Grammar Excellence

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

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

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

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

Meeting Standards with Writing

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

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

Importance of Writing Standards

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

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

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

Implementation of Standards

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

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

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

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

Considering mentor texts.

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

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

All of these affiliate links will take you to Amazon. You can read my disclosures about affiliate links.

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

Five Little Indians

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

The Forgotten Girls

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

The Sun Does Shine

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

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

Slavery by Another Name

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

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

Patient H.M.

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

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

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

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

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

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

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

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Creativity and Innovation in the Writing Classroom

Learn more about how to teach creativity and innovation along with, and as an important part of, traditional writing and research skills.

“You can’t use up creativity. The more you use, the more you have.” —Maya Angelou

Creativity is fundamental to the teaching of writing. Although WR 153 focuses specifically on creativity and innovation, all WR courses ask students to approach their reading, viewing, writing, and research in creative ways. One important approach to creativity is “design thinking,” which emphasizes that creativity is a non-linear, iterative process. Design thinking is based on two foundational assumptions:

• Everyone can be creative.
• Creativity can be taught.

The principles of design thinking can be used in any WR course to teach students that creativity is a process of asking questions, using multiple strategies and approaches in answering those questions, taking risks in conceiving and executing original work, developing and refining ideas in response to feedback, and learning from productive failure. The metacognitive aspects of design thinking invite students to think about their own creative processes and identify factors that promote creativity.

Although WR 153 is structured by the steps of the design process (understand, empathize, define, ideate, prototype, test, assess/reflect), all WR courses can benefit from incorporating elements of design thinking and an emphasis on creativity and innovation. Approaching writing instruction in this way can:

• Increase student engagement by focusing on creative responses to problems that students care about;
• Give students a sense of agency as a result of greater choice in what to write and how to write about it;
• Encourage taking intellectual risks and reward productive failure as a means of learning;
• Help students develop skills that are transferrable to other academic situations and their professional lives; and
• Enhance students’ personal lives by allowing them to learn about themselves and their own creative potential.

Principles of Design Thinking

Design thinking is a non-linear, iterative approach to creativity that involves between three and seven steps. Although it is based on theories of design practice that go back to the early twentieth century, it has most recently been popularized by the design firm IDEO and the Hasso Plattner Institute of Design at Stanford, commonly known as the d.school. The process involves understanding the issues involved in a design project, empathizing with the audience for an end product, defining the scope of the project, generating ideas for and creating prototypes of the product, testing and assessing those ideas and prototypes, and revisiting the steps of the design process until a final product is created.

The complete set of seven steps can be applied to the writing process in a WR course:

Understand: Students develop a foundation for their work by exploring issues and approaches relevant to the course topic, as well as previous work in the field.

Empathize: Students practice empathy by demonstrating their awareness and understanding of the audience for whom they write or create.

Define: Based on their observations and insights, students articulate a problem or question that will motivate their work over the course of the semester.

Ideate: Students generate new ideas and possible solutions by challenging assumptions and engaging in a variety of creative activities.

Prototype: Students start to create solutions and implement their ideas into written, digital or other forms in order to capture ideas, but also redefine choices.

Test: Students share drafts with others in order to gain feedback and insight into improving final versions.

Assess/Reflect: Students reflect on and evaluate their peers’ and their own processes and final outcomes.

The steps of the design thinking process are not meant to be followed in a rigid way. They should be flexible and customizable to the particular project: students may need to define, ideate, and prototype multiple times and in various modes/genres before they are ready to create a final draft. The skills students gain in going though these steps should be transferrable to other projects and courses.

Learn more about design thinking:

• “What is Design Thinking and Why Is It So Popular?” by Rikke Friis Dam and Teo Yu Siang provides an overview of design thinking.
• David Kelly of IDEO explains the history of design thinking in “How to Design Breakthrough Inventions,” an interview with 60 Minutes .
• “How to Solve Problems Like a Designer,” which includes an interview with Tim Brown of IDEO, explains the basic principles of design thinking.

Understand and Empathize

The first step of the design process asks students to understand not only the course material, but also the resources necessary for their particular project. Since this usually involves additional reading/viewing, the “understand” step is part of the research and information literacy component of WR15X. Assignments that focus on this step may include conducting library or online research, categorizing research material using BEAM/BEAT, and creating annotated bibliographies.

Define, Ideate, and Prototype

Before they begin the process of generating ideas, it is often useful for students to define, at least in a preliminary way, what question or problem their paper/project is addressing. Assignments that help students define their projects may include questionnaires that ask students to state what they intend to work on and why, as well as more formal paper/project proposals.

In the IDEO design process, the goal of ideation is to generate a multitude of ideas without rejecting those that may seem impractical or even silly. Ideas can be rejected later, after a sufficient number of ideas have been generated. The most common ideation assignment involves various forms of brainstorming, often in teams. Ideas should be written down in some way, such as on sticky notes or index cards. To encourage divergent thinking in the brainstorming process, consider posting some fundamental principles in the classroom, such as these from IDEO:

• Defer judgment.
• Encourage wild ideas.
• Stay focused on the topic.
• Build on the ideas of others .

In the IDEO design process, prototypes are models that can be easily revised and even discarded if necessary. Prototypes for writing courses might include outlines, storyboards, slide decks, oral or video presentations, and preliminary drafts. Prototypes should be tested and assessed in some way that allows for reconsideration and revision before students turn in their final products.

Learn more about brainstorming and prototyping:

• “What is Brainstorming?” by Rikke Friis Dam and Teo Yu Siang provides helpful information and ideas for the ideation step of the design process.
• This example of “Brainstorming at IDEO” shows one popular way of brainstorming with sticky notes.

Test and Assess/Reflect

The final steps of the design process, testing and assessing/reflecting, are not meant to be the final steps in completing a student’s paper/project. After testing and assessing a prototype, students will likely need to reconsider and revise their papers/projects, which will take them back to earlier steps—they may need to conduct further research, generate additional ideas, or refine their prototypes. The design process is meant to be iterative, with students returning to steps in the process as needed until they have completed a final draft.  

Just as designers test their prototypes, students should test drafts of their papers/projects by sharing them with others. Assignments that focus on this step usually involve workshopping with one or more peers, but testing may also include making an oral or video presentation to the class, meeting with the professor or a writing tutor, or sharing the student’s work with any other reader/viewer capable of providing feedback. Students may also test their papers/projects using techniques such as reverse outlining to assess the strength and clarity of their arguments.

The final step in the design process, assessing the student’s work, may lead back to any earlier step as students come to understand what they still need to work on to complete their papers/projects. This step may also involve the broader metacognitive task of reflecting on the student’s creative process. Assignments that focus on this step may include a variety of reflective exercises, including a final reflection for the course.

A Note on Assessment

“Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.” —Samuel Beckett

Because WR 153 courses can include such a wide range of papers and project, contract grading is recommended. Other WR courses that incorporate creativity and innovation may also wish to use contract grading, either for specific assignments or the course as a whole. More information on contract grading can be found here .

An important component of creativity and innovation is productive failure. We learn to create new things or develop new skills by failing and trying again until we succeed. Productive failure is failure that leads to new knowledge, insight, or innovation. Courses that focus on creativity can encourage productive failure by requiring prototypes that will be reconsidered and revised extensively, asking students to share examples of failure as valuable learning experiences, and assigning reflective work on how students have grown through failure over the course of the semester.

Learn more about productive failure:

Both readings below argue for the importance of productive failure. The Burger article contains specific examples of how to validate and reward productive failure in the classroom.

• “Next Time, Fail Better” by Paula M. Krebs, The Chronicle of Higher Education , May 11, 2012.

Further Reading

The quickest and easiest way to understand design thinking is to start with videos that explain the concept, where it originated, and how it can be used to address a variety of problems.

• In “How to Design Breakthrough Inventions,” David Kelly of IDEO and the Stanford d.school talks about design thinking in an interview on 60 Minutes and CBS This Morning .
• In “How to Solve Problems Like a Designer,” Vox provides a general overview of design thinking, featuring IDEO CEO Tim Brown.

If you would like to deepen your understanding of design thinking, there are a number of websites that address the concept in greater detail.

IDEO is a design and consulting firm that popularized the concept of design thinking. According to IDEO’s website, “Thinking like a designer can transform the way organizations develop products, services, processes, and strategy. This approach, which is known as design thinking, brings together what is desirable from a human point of view with what is technologically feasible and economically viable. It also allows people who aren’t trained as designers to use creative tools to address a vast range of challenges.” The IDEO website has a number of useful resources on design thinking:

• A definition of design thinking .
• A brief history of design thinking .

IDEO U, the educational arm of IDEO, has a separate website that contain more information on design thinking as well as additional resources.

• What is design thinking?
• Resources related to design thinking .
• An overview of brainstorming .
• Resources related to innovation .

The Interactive Design Foundation provides useful information on design thinking on its website. According to “What is Design Thinking and Why Is It So Popular?” by Rikke Friis Dam and Teo Yu Siang, “Design Thinking is an iterative process in which we seek to understand the user, challenge assumptions, and redefine problems in an attempt to identify alternative strategies and solutions that might not be instantly apparent with our initial level of understanding. At the same time, Design Thinking provides a solution-based approach to solving problems. It is a way of thinking and working as well as a collection of hands-on methods.” This article describes the basic concept of design thinking and five basic steps: empathize, define, ideate, prototype, test.

Books on design thinking are generally aimed toward a popular audience. They draw on anecdotal evidence rather than research to support their claims, but they can be valuable resources for understanding how design thinking is applied in a variety of settings, including both corporations and the educational sector. To provide a sense of how design thinking developed over time, these books are listed chronologically:

• The Art of Innovation by Tom Kelly, Doubleday, 2001.
• Change by Design: How Design Thinking Transforms Organizations and Inspires Innovation by Tim Brown, HarperCollins, 2009, revised and updated 2019.
• Design Thinking: Understanding How Designers Think and Work by Nigel Cross, Bloomsbury, 2011.
• Design Thinking: A Guide to Creative Problem Solving for Everyone by Andrew Pressman, Routledge, 2018.
• The Design Thinking Toolbox: A Guide to Mastering the Most Popular and Valuable Innovation Methods by Michael Lewrick, Patrick Link, and Larry Leifer, Wiley, 2020.

Resources on design thinking in writing pedagogy:

If you would like to focus specifically on how the design thinking process relates to writing pedagogy, there are number of academic articles that address design thinking in the writing classroom as well as the larger issue of creativity as it relates to composition. To provide a sense of how the scholarship on creativity and design thinking in writing pedagogy developed over time, these articles are listed chronologically:

• “The Cognition of Discovery: Defining a Rhetorical Problem” by Linda Flower and John R. Hayes, College Composition and Communication 31.1 (1980), 21-32.
• “Process Paradigms in Design and Composition: Affinities and Directions” by Charles Kostelnick, College Composition and Communication 40.3 (1989), 267-81.
• “Wicked Problems in Design Thinking” by Richard Buchanan, Design Issues 8.2 (1992), 5-21.
• “Design and the New Rhetoric: Productive Arts in the Philosophy of Culture” by Richard Buchanan. Philosophy & Rhetoric 34 (2001), 183-206.
• “From Analysis to Design: Visual Communication in the Teaching of Writing” by Diana George, College Composition and Communication 54.1 (2002), 11-39.
• “Embracing Wicked Problems: The Turn to Design in Composition Studies” by Richard Marback, College Composition and Communication 61.2 (2009), 397-419.
• “Design as a Unifying Principle: English Departments in a New Media World” by Maureen Goldman, Design Principles and Practices: An International Journal 5.3 (2011), 249-257.
• “Sustainability as a Design Principle for Composition: Situational Creativity as a Habit of Mind” by Matthew Newcomb, College Composition and Communication 63.4 (2012), 593-615.
• “Design Thinking: Past, Present, and Possible Futures” by Ulla Johansson-Sköldberg et al., Creativity and Innovation Management 22.2 (2013), 121-146.
• “Writing in Design Thinking: Deconstructing the Question of Being” by Tassoula Hadjiyanni and Stephanie Zollinger, International Journal of Architectural Research 7.1 (2013), 116-127.
• Design Thinking and the Wicked Problem of Teaching Writing by Carrie S. Leverenz, Computers and Composition 33 (2014), 1-12.
• “What Can Design Thinking Offer Writing Studies?” by James P. Purdy, College Composition and Communication 65.4 (2014), 612-641.
• “Wicked Problems in Technical Communication” by Chad Wickman, Journal of Technical Communication 44 (2014), 23-42.
• “The UnEssay: Making Room for Creativity in the Composition Classroom” by Patrick Sullivan, College Composition and Communication 67.1 (2015), 6-34.
• “Design Thinking Via Experiential Learning: Thinking Like an Entrepreneur in Technical Communication Courses” by Jennifer Bay et al . , Programmatic Perspectives 10.1 (2018), 172-200.
• “Dissensus, Resistance, and Ideology: Design Thinking as a Rhetorical Methodology” by April Greenwood et al., Journal of Business and Technical Communication 33.4 (2019), 400-424.
• “Using Design Thinking to Teach Creative Problem Solving in Writing Courses” by Scott Wible, College Composition and Communication 71.3 (2020), 399-425.

General resources on creativity:

If you are interested in resources that focus on the larger issue of creativity, one place to start is with videos that define what creativity is and how it can be cultivated, including in an academic setting.

• Ken Robinson’s “What is Creativity” addresses the general issue of how we can both define and encourage creativity.
• Elizabeth Gilbert’s “Your Elusive Creative Genius” offers one way to think about creativity and deal with fear of failure.
• David Kelly’s “How to Build Your Creative Confidence” discusses how we can be more confident in our creativity and build creative confidence in others.

There are a number of books that focus more generally on creativity. Some of these books are theoretical, while some focus practically on how we can become more creative in work and life. The books by Tom and David Kelly, and by Sarah Stein Greenberg, approach creativity from the design thinking paradigm used at the Stanford d.school.

• Creativity: The Psychology of Discovery and Invention by Mihaly Csikszentmihaly, HarperPerennial, 1996.
• The Cambridge Handbook of Creativity , edited by James C. Kaufman and Robert J. Sternberg, Cambridge University Press, 2003, revised and updated 2019.
• The International Handbook of Creativity , edited by James C. Kaufman and Robert J. Sternberg Cambridge University Press, 2006.
• Developing Creativity in Higher Education: An Imaginative Curriculum , edited by Norman Jackson, Martin Oliver, Malcolm Shaw, and James Wisdom, Routledge, 2006.
• Creative Confidence: Unleashing the Creative Potential Within Us All by Tom Kelly and David Kelly, HarperCollins, 2013.
• Habits of the Creative Mind: A Guide to Reading, Writing, and Thinking , by Richard E. Miller and Ann Jurecic, Macmillan, 2015, revised and updated 2020.
• Creative Acts for Curious People: How to Think, Create, and Lead in Unconventional Ways by Sarah Stein Greenberg, Ten Speed Press, 2021.

The following books are listed separately because they reflect creative practices in specific fields, such as creative writing, the visual arts, and dance. They contain ideas and exercises that are transferrable to writing classes and may be helpful in designing WR courses.

• The Artist’s Way: A Spiritual Path to Higher Creativity by Julia Cameron, Tarcher/Putnam, 1992, reissued 2002.
• Bird by Bird: Some Instructions on Writing and Life by Anne Lamott, Anchor Books, 1994.
• The Creative Habit: Learn It and Use It for Life by Twyla Tharp, Simon & Schuster, 2003.
• Steal Like an Artist: 10 Things Nobody Told You About Being Creative by Austin Kleon, Workman Publishing Company, 2012.
• Big Magic: Creative Living Beyond Fear by Elizabeth Gilbert, Riverhead Books, 2015.
• You Are an Artist: Assignments to Spark Creation by Sarah Urist Green, Penguin, 2020.

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• Creative Writing Pedagogies for the Twenty-First Century

In this Book

• Edited by Alexandria Peary and Tom C. Hunley
• Published by: Southern Illinois University Press
• View Citation

Table of Contents

• Title Page, Copyright
• 1. Rhetorical Pedagogy
• Tom C. Hunley and Sandra Giles
• 2. Creative Writing and Process Pedagogy
• 3. Mutuality and the Teaching of the Introductory Creative Writing Course
• Patrick Bizzaro
• 4. A Feminist Approach to Creative Writing Pedagogy
• Pamela Annas and Joyce Peseroff
• 5. Writers Inc.: Writing and Collaborative Practice
• Jen Webb and Andrew Melrose
• pp. 102-125
• 6. Writing Center Theory and Pedagogy in the Undergraduate Creative Writing Classroom
• Kate Kostelnik
• pp. 126-152
• 7. Service Learning, Literary Citizenship, and the Creative Writing Classroom
• Carey E. Smitherman and Stephanie Vanderslice
• pp. 153-168
• 8. Creative Literacy Pedagogy
• Steve Healey
• pp. 169-193
• 9. The Pedagogy of Creative Writing across the Curriculum
• Alexandria Peary
• pp. 194-220
• 10. A Basic Writing Teacher Teaches Creative Writing
• Clyde Moneyhun
• pp. 221-242
• 11. Digital Technologies and Creative Writing Pedagogy
• Bronwyn T. Williams
• pp. 243-268
• 12. Ecological Creative Writing
• James Engelhardt and Jeremy Schraffenberger
• pp. 269-288
• pp. 289-292
• Contributors
• pp. 293-298
• pp. 299-310

Additional Information

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K to 12 BASIC EDUCATION CURRICULUM SENIOR HIGH SCHOOL -ACADEMIC TRACK K to 12 Senior High School Humanities and Social Sciences Strand -Creative Writing/Malikhaing Pagsulat

Grade: 11/12 Semester: 1st Semester Subject Title: Creative Writing/Malikhaing Pagsulat No. of Hours/ Semester: 80 hours/ semester Prerequisite: 21 st Century Literature from the Philippines and the World Subject Description: The course aims to develop practical and creative skills in reading and writing; introduce students to the fundamental techniques of writing fiction, poetry, and drama; and discuss the use of such techniques by well-known authors in a variety of genres. Each class will be devoted to the examination of techniques and to the workshop of students' drafts toward the enrichment of their manuscripts. Students learn how to combine inspiration and revision, and to develop a sense of form. CONTENT CONTENT STANDARD

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Aries Sanqui

TOPIC / LESSON NAME 21 st Century Literature from the region where the school is based in relation to the literature of other regions in various genres and forms in consideration of three (3) canonical authors and works of Philippine National Artists in Literature CONTENT STANDARDS The learner will be able to understand and appreciate the elements and contexts of 21 st century Philippine Literature from the regions (National Capital Region)

Baby Jane Panganiban

JM S Sarabia

This paper is compilation of my Lit. 1 in The University of Mindanao all the stories and topic found in the syllabus are all here

Trimax Espino

Voltaire Oyzon

Many emerging writers in the Eastern Visayas are the product of workshops (i.e., The UP VisWrite and Lamiraw). These creative writing workshops espouse Western literary aesthetics and practices. As a result, any workshop hopefuls writing in a so-called " traditional " Waray style will inevitably fail to achieve recognition. Such Waray writers will not make the final list of workshop fellows. These workshops are patterned after the Silliman creative writing workshop, which is patterned after the Iowa writing workshop format in the US. Writing practices of " traditional " Waray writers are aesthetically different from what these creative writing workshops promote. Every aspiring writer in Waray, Cebuano, or Inabaknon will gain recognition only when his/her mettle is tested in the writing workshop. The creative writing workshops in Eastern Visayas serve as the gatekeeper of Waray literature. This is where new writers should be made. Victor N. Sugbo summarized the pressing challenge Waray literature faces today when he said: "with all the creative writing workshops in place in Eastern Visayas, the task of the academe is to bring writing back to the community."I argue that misguided aesthetic practices of today's typical creative writing workshops run counter to this task pointed out by Sugbo, the revival of writing in the Eastern Visayas. In fact, the creative writing workshops alienate the emerging writers from their literary traditions by introducing the young writers to the Western mode of writing without acquainting them first to their indigenous traditions.

Michelle Ann Balatbat

American Journal of Education and Technology

RANILO PARDITO

The study assessed the level of effectiveness of Creative Writing Curriculum Guide used by teachers of senior high school in the Division of Quezon. Specifically, the study assessed the level of effectiveness of Creative Writing Curriculum Guide in terms of: Content Standard, Performance Standard and Learning Competency. The study used descriptive research design in the presentation of the findings of the study and purposive sampling in the selection of the respondents. There were 30 senior high school teacher-respondents from the selected National Senior High Schools. Although the findings show that the respondent’s assessments on the Creative Writing Curriculum Guide in terms of content standard, performance standards and learning competencies were Moderately Effective, there is still a need for improvement in the performance standards based on the general weighted mean. The finding shows that majority of the senior high school students, 532 or 43.04% obtained Satisfactory perform...

armela japor

Handoyo Puji Widodo , Avilanofa Budi

The present study examines the extent to which Poetry Writing 2.0 can create an expressive and creative Eng-lish language learning environment. Drawing on ethnographic online posting and interview data, qualitative findings show the following main benefits of blended poetry writing: (1) this blended instruction builds an engaging writer and reader community; (2) it allows for negotiating topics of poems; (3) pictures or photographs as visual artifacts bring poetry writing to life; (4) Poetry Writing 2.0 can provide further impetus for peer and teacher scaffolding as dialogic support for students; (5) Facebook is seen as a social networking site for enacting expressive and creative language instruction; and (6) students prefer having their poems assessed in a humanistic way in order to experience the joy of poem writing. The contribution of the study is to enhance a better understanding of how poetry as a creative writing genre could be a catalyst for expressive and meaningful language instruction. The ultimate goal of the instruction is to help students engage in poetry writing as a platform for learning to write creatively.

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The Master of Fine Arts degree in Creative Writing is awarded for the successful completion of 36 credits in one of the following concentrations: Fiction, Nonfiction, Poetry, Arts Writing, or Writing for Children and Young Adults. Popular graduate minors include Impact Entrepreneurship and Transmedia and Digital Storytelling . WriteOn NYC! , a New School–funded fellowship program, provides MFA students with high-quality teaching experience in area middle schools and high schools. Students may also enroll in campus-wide course electives on subjects such as teaching preparation, languages, and media practice.

• Degree Master of Fine Arts (MFA)
• Format Full-time, on campus
• Duration 2 years
• Start Term Fall

The Creative Writing MFA curriculum consists of the following degree requirements:

• Writing Workshops (12 credits)
• Literature Seminars (12 credits)
• Writer's Life Colloquium (4 credits)
• Literature Project (4 credits)
• Writing Thesis (4 credits)

In the first three semesters, students take one writing workshop and one literature seminar. Workshops are always taken within the chosen concentration, but students can take a literature seminar in another genre. 

In all four semesters, students take the Writer's Life Colloquium (1 credit). The credit is earned by participating in a minimum of eight approved Creative Writing events at The New School. Examples of regular events embraced by the Writer's Life Colloquium are the public readings co-sponsored with Cave Canem Foundation, The Story Prize, the National Book Foundation (presenters of the National Book Awards), the National Book Critics Circle, the Community of Literary Magazines and Presses (CLMP), PEN America, the Academy of American Poets, the Society of Children's Book Writers and Illustrators, the Poetry Society of America, and the Publishing Triangle, as well as public readings and discussions devoted to each of the MFA concentrations. The Writer's Life Colloquium also hosts special seminars, teaching lectures, publishers' symposia, and visiting writer residencies arranged exclusively for graduate writing students.

In their final semester, students work closely with a faculty advisor to complete a Writing Thesis (a substantial work of fiction, nonfiction, poetry, or writing for children and young adults) and a Literature Project in their concentration.

The program provides students with a framework and sustained blocks of time to work extensively on their own writing. Guided by our faculty of professional writers and authors, students focus on their manuscripts, both in the workshop and in individual conferences with their chosen instructor. The emphasis is on the creative acts of self-editing and revision. Workshops meet once a week in a 2.5-hour session. Structure and content are adapted to the area of concentration: Arts Writing, Fiction, Poetry, Nonfiction, and Writing for Children and Young Adults.

Traditional and contemporary literature is investigated from the specialized perspective of the active writer. Course offerings represent all the MFA concentrations, but vary each semester according to the interests of the faculty. All literature seminars concentrate on crucial aspects of craft as well as issues of literary history and theory. Seminars meet once a week in a two and a half hour session.

Graduate writing students at The New School participate in an ongoing colloquium of visiting writers, critics, writing teachers, editors, publishers, and literary agents. It reflects the wide range of cultural activity at The New School and the belief that students benefit from exposure to many voices and genres.

Examples of regular events embraced by the Writer's Life Colloquium are the public readings co-sponsored with Cave Canem Foundation, The Story Prize, National Book Foundation (presenters of the National Book Awards), National Book Critics Circle, Community of Literary Magazines and Presses (CLMP), PEN America, Academy of American Poets, Society of Children's Book Writers and Illustrators, Poetry Society of America, and Publishing Triangle, as well as public readings and discussions devoted to each of the MFA concentrations. The Writer's Life Colloquium also involves special seminars, teaching lectures, publishers' symposia, and visiting writer residencies arranged exclusively for graduate writing students.

In your last semester as an MFA student, you will work closely with your thesis advisor - a writing instructor of your choosing - to produce a substantial Creative Thesis manuscript in your area of concentration. You will also write a “Critical” Project.

The New School offers undergraduate creative writing in an undergraduate major, an honors program in Writing & Democracy, and summer courses and intensives. The BA in Creative Writing is a major available to students of the Bachelor’s Program for Adults and Transfer Students. The Writing & Democracy Honors Program is the first academic program to treat writing, equality, and justice as a single subject and to implement its philosophy in its internal structure. The program may be added to any major university-wide. In Summer Intensives , undergraduate students earn up to six credits in three weeks of dedicated reading and writing with The New School’s prestigious faculty. Creative writing classes are offered to the entire undergraduate community at The New School.

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What is a Creative Writer and What Do They Do?

Understanding the Numbers When reviewing job growth and salary information, it’s important to remember that actual numbers can vary due to many different factors — like years of experience in the role, industry of employment, geographic location, worker skill and economic conditions. Cited projections do not guarantee actual salary or job growth.

Many of life’s great stories that are told in the form of literature, film, short stories and poetry, among many other outlets, first get their start in the minds and on the pages of creative writers.

Creative writing is a professional discipline that is unique in many ways and has the potential to take your career in a vast array of different directions.

If creative writing is a field you’re interested in pursuing, it’s important to keep in mind that while it can be a challenging and competitive profession, it also offers a number of distinctive benefits.

What Are the Different Types of Creative Writing?

“Creative writing” is a broad term that, when it comes to professional careers, encapsulates many different forms of writing.

“There are so many genres,” said Melissa Hart , an instructor in the online Master of Fine Arts (MFA) program in Creative Writing  at Southern New Hampshire University (SNHU).

Hart, who has a Bachelor of Arts in Literature and an MFA in Creative Writing, has authored seven fiction and nonfiction books and published articles and essays in The New York Times, Smithsonian, CNN, The Washington Post, Slate and The Los Angeles Times, among others.

She said the career pathways for creative writers are virtually unlimited.

“Creative writers can be poets and screenwriters, personal essayists, novelists, short story writers,” Hart said, explaining that even within the world of creative writing , there are a number of creative avenues you can take. Some of these include:

• Flash fiction
• Hybrid forms
• Researched nonfiction
• Writing that embraces audio and video

What Are the Main Duties of a Creative Writer?

Much like their earning potential, the daily duties of a creative writer can vary greatly depending on what projects they’re working on at any given time, Hart said.

“I think duties differ writer to writer,” she said. “In my work, I practice writing almost every day — usually rough drafts, and then revisions, of novel chapters and nonfiction book chapters, magazine and newspaper articles and essays and newsletter posts.”

According to the BLS , how you spend your days as a creative writer depends largely on what type of writer you are, some of which include:

• Biographer – writing about the accounts of an individual’s life.
• Copywriter – working in advertising and marketing writing persuasive ad copy.
• Novelist – authoring books of fiction based on imaginary plots and characters.
• Screenwriter – creating scripts for movies and television.
• Speechwriter – developing orations for government leaders, political candidates and business leaders.

And in today’s digital world, another form of writing that continues to thrive is blogging , which is defined by global website development leader Wix as articles posted to a website focused on a specific area of interest.

Social media writing , too, continues to emerge with many large organizations like Mailchimp establishing specific standards for its social media writing.

What Credentials Do You Need to Become a Creative Writer?

Hart pointed out that creative writing is a unique profession in that it doesn’t require a degree or academic credential of any kind in order to succeed.

“You don't need any credentials," she said. "You just need an open mind and a willingness to learn your craft in the genre that most interests you.”

However, high-quality college programs in creative writing can be an excellent way for writers who have natural talent and abilities to further develop their skills, Hart said. For instance, in the SNHU online Bachelor of Arts (BA) program in Creative Writing and English, students develop and sharpen their skills in a number of areas, including:

• Writing and editing techniques
• Literary form, genre, structure, style, analysis and critical thinking
• Application of storytelling elements
• Use of genre conventions  and techniques
• Professional portfolio building

There is also an abundance of resources you can look into on your own to better position yourself for a career as a creative writer .

“There are piles of books, for instance, on how to write children's fiction,” Hart said. “Ditto poetry, screenplays, creative nonfiction... and there are so many resources online, as well.”

Is Creative Writing a Skill or a Talent?

Another aspect of creative writing that makes it a unique professional field, Hart said, is that it involves both natural talent and skills that can be learned.

“Perhaps a person is born with an innate talent for storytelling, but reading and practicing and studying creative writing for years will give you the skills you need to write fiction and nonfiction and poetry that appeals to readers,” she said.

Hart said that she’s had a love of language since the age of five, which is when she started writing short stories. It was her passion for writing and storytelling that inspired her to work hard developing her skills.

“All that practice gave me skills as a creative writer,” she said. “I believe I developed a talent for writing in particular genres because I studied them so deeply.”

Is it Hard to Learn Creative Writing?

While for many, learning to be a creative writer could be characterized as hard, Hart explained that “time consuming” is probably a better way of putting it.

“For instance, I just spent three years learning to cross-country ski when I’d never been on skis before,” she said. “I think it generally takes people at least three years to grow adept at creative writing in a particular genre because you’re constantly reading and deconstructing literature and thinking about it and writing and rewriting and rewriting some more.”

That said, among the many benefits of a career in creative writing is the flexibility and freedom it provides, Hart said.

“Creative writers can work anywhere they want,” she said. “I've written novel chapters in my car outside my daughter's dance studio, on airplanes, on the bank of a local river while my kid looked for newts.”

According to Hart, many of her students work in a corner of their house with noise-canceling headphones, while others write on their lunch breaks or in bed late at night.

“You can train yourself to get into a creative writing space the moment you open your laptop,” she said. “It just takes a while.”

Find Your Program

Is creative writing a good career.

What determines if writing is a “good” career will vary person to person, but there are a lot of considerations to keep in mind if it’s a path you’re interested in following, Hart said.

“It’s a good career for me, because I get to write about topics and issues which interest me,” she said. "However, it's my husband who has the great health insurance. If I didn't have health insurance, it might not be a viable career option because freelance writers and authors don't get subsidized health insurance — we must pay for our own."

While freelance writers and authors typically do find and fund their own health insurance, there is a growing number of writer unions and guilds that can assist with health insurance plans, according to Find the Plan , an online hub for freelance writers. And non-freelance copywriters, social media writers and blog writers usually get health benefits through the organization for which they work.

Does Creative Writing Pay Well?

Unlike other professional fields — in areas like business, engineering, education, medicine and law, among others — that typically have a salary range based on experience and the level of your degree, there is a vast disparity in what creative writers earn.

While high-profile, bestselling authors can command six-figure advances for their work, they comprise just a small fraction of those earning a living as creative writers, Hart said.*

“Most of us are midlist writers, earning modest advances and royalty checks,” she said. “It's interesting to note that I can earn as much off of two 4,000-word researched essays for magazines as I can for one of my young adult novels.”

Hart said that it’s common for creative writers to generate their income from a combination of different forms of writing for a variety of outlets, along with other professional activities where they’re paid for their professional expertise. For example, Hart said she earns her living through a combination of:

• Fiction writing
• Nonfiction writing
• Private teaching and instruction through her website
• Teaching college-level creative writing

According to the U.S. Bureau of Labor Statistics (BLS), the mean annual wage for writers and authors in 2023 was $87,590.*

“But creative writing isn't about the money, for me,” she said. “It's about getting to join the conversation and put something beautiful and inspiring out into the world.”

Discover more about SNHU's online bachelor’s in creative writing : Find out what courses you'll take, skills you'll learn and how to request information about the program.

*Cited job growth projections may not reflect local and/or short-term economic or job conditions and do not guarantee actual job growth. Actual salaries and/or earning potential may be the result of a combination of factors including, but not limited to: years of experience, industry of employment, geographic location, and worker skill.

Cary Jordan is an Iowa-based writer with more than 20 years of writing and editing experience on a wide range of issues related to higher education. Cary has held administrative and cabinet-level positions at multiple colleges and universities, and his writing has spanned topics related to undergraduate education as well as graduate education in the areas of business, law, medicine and engineering, among others.

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About southern new hampshire university.

SNHU is a nonprofit, accredited university with a mission to make high-quality education more accessible and affordable for everyone.

Founded in 1932, and online since 1995, we’ve helped countless students reach their goals with flexible, career-focused programs . Our 300-acre campus in Manchester, NH is home to over 3,000 students, and we serve over 135,000 students online. Visit our about SNHU  page to learn more about our mission, accreditations, leadership team, national recognitions and awards.