purpose of creative writing for students

What is Creative Writing? | An Introduction for Students

Last updated: 7th november 2024.

Rhys Mackenzie

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What is creative writing?

As the name suggests, creative writing is a form of writing that goes beyond the traditional realms of normal, professional, academic or technical forms of writing.

Instead, it encompasses a number of different genres and styles across a whole range of fields of both fictional and non-fiction writing; storytelling, playwriting, poetry, prose, journalistic, and more.

Though the definition can be quite vague, creative writing can, for the most part, be considered as any type of writing that is original and expressive of oneself. Typically, it can be identified by an emphasis on narrative craft, focusing on elements such as character development, narrative and plot, infusing its structure with imagination, invention and story.

In this sense, creative writing can technically be considered any writing of contemporary, original composition - it's bound by no standard conventions and uses a whole range of elements in its craft.

In an academic setting, creative writing is typically divided into fiction, poetry, or scriptwriting classes, with a focus on writing in an original style, not defined by pre-existing structures and genres.

What are the different types of creative writing?

Creative writing comes in many forms, encompassing a number of genres and styles. There are lots of different types of creative writing, which can be categorised as fiction or non-fiction. Some of the most popular being:

Biographies
Fiction: novels, novellas, short stories, etc.
Poetry and spoken word
Playwriting/scriptwriting
Personal essays

What makes a good piece of creative writing?

First and foremost, it’s important to note that there is no pre-defined description of what it means to create a ‘good’ piece of creative writing. As the very name suggests, creative writing is an imaginative process, created by the individual with all their quirks and personalities.

Creative writing doesn’t fit one set genre and therefore there will never be an umbrella definition to describe the ‘perfect’ piece. Just think about a Gothic short story and then compare it to the features of a great Romantic poem - the two are so very different - it wouldn’t be unfair to judge them together.

However, with that being said, there are a few general principles that you can follow to make your creative writing as strong as it can be - by making it as authentic and true to you as possible:

Know your audience - All great stories begin with a target audience in mind - because it’s exactly what you need to know in order to really tailor your writing and connect with them. Therefore, any creative writer should begin their writing by plotting out exactly who they want to read their work. Once you have this in mind, your writing will naturally begin to take direction and flow in a way that seems appropriate to your audience.
Write what you know - Quite often, the best stories are those which we can connect to and relate in one or another way to our own lives. Or, they’re stories which seem to authentic that you could imagine it to be about the writer’s own life. Now, this doesn’t mean that you quite literally have to write about your life, but drawing on knowledge you have about different elements of our lives to give your story some authenticity and more believability.
Creativity is key - Creativity is one of the most important elements of creative writing. It’s what sets you apart from other pieces of writing in your genre. Of course, this doesn't demand that you write a tale about a totally fantastical and mythical world with unique creatures - but simply use your creativity to think a little outside the box and put a unique twist on things; using literary devices like metaphors, alliteration, and varied sentence structure to make your work unique and interesting.
Push your imagination - One of the great things about creative writing is that there is no definition or rules on ‘how’ to write. It’s a much more subjective genre and one which relies heavily on your own interpretations. Therefore, you should push your imagination to the limits to see what the end result could be. Some of the most interesting pieces of literature are thought-provoking or make us question the writing or world around us - where could your story take us?
Plot a loose story arc - Despite the loose bounds of creative writing, it is still advisable to plot a loose story arc for any piece of literature you create. Story arcs are critical at giving your writing direction and purpose, helping you to write the whole piece at a good pace, without writing any superfluous content or ‘waffle.’ Follow your story arc, and your writing will have a strong structure, pace and direction - keeping your readers more engaged.

What are some techniques used in creative writing?

To make their writing stand out, writers often employ several creative writing techniques and literary devices, including:

Character development - The process of creating a well-rounded, realistic character with depth, personality, and clear goals or motivations.
Plot development - The story of your piece of writing - how it develops, unfolds, and moves along in time.
Point of view - The perspective from which a narrative is told. It indicates who is telling the story and how the information is conveyed to the reader. Quite often writers will play with the point of view of the central character or protagonist to trick the reader and twist their perspective.
Dialogue - Refers to the speech and conversations characters use to speak to one another. Dialogue and the language choices a character makes can be pivotal in helping define their personality.
Literary devices - Such as metaphors, similes and alliteration to make creative writing more imaginative and descriptive. These are used in a myriad of ways by writers to make their writing more vivid, interesting and engaging.

Can creative writing be taught?

Of course! Creative writing can be taught, and is a very popular subject for university students, and for those who attend our summer courses.

Those who pursue the subject of Creative Writing will typically study a variety of texts from different periods of time to learn more about the different genres of writing within the field. They’ll become familiar with some of the leading creative writers from generations past to present, as well as some lesser-known and emerging writers in the industry.

Inspired by what they’ve learnt in the classroom, it’s not uncommon for Creative Writing students to also participate in regular workshops and scratch sessions, where they bring a piece of their writing along to class and have it read by other students and the tutor. They’ll leave with constructive feedback on how to improve their writing, or recommendations of other works which they may want to read to take influence from.

How to start creative writing

If you’re interested in getting those creative juices flowing and improving your writing craft, read some of our tips below on how to start creative writing:

Read as much as you can - For creative writers, inspiration comes from a whole range of sources, but most commonly, from other writers. There’s some excellent examples of creative writing throughout history that all writers should be inspired by. Read a variety of genres by different authors to get a real feel for what type of writing you may want to do. Need some inspiration? Check out our blog: 15 Classic Books to Read
Start journaling - Starting a journal can really help to unleash your inner creativity. Getting into the habit of writing each day about literally anything that’s preoccupied you that day will help you practice the art of writing. The more regularly you journal, the more you’ll build your confidence. You never know, you could even find your next great idea from something you’ve journaled about!
Attend a Creative Writing summer course - If you’re just starting out as a creative writer and looking to collaborate, share ideas with others and workshop your writing, then joining a creative writing summer school could be a great option. Our creative writing summer courses are designed to help you extend your creative writing toolkit; you’ll analyse some of the industry’s greatest writers, as well as workshop some of your own writing with your peers.
Practice using literary devices - Literary devices, such as metaphors, similes and rhyme can really help you write more vividly and create really descriptive, imaginative scenes. Practice using them regularly and you’ll soon watch your own creative writing start to flourish. Need some ideas to help you get practising? Look around your house and pick a random object. Then, practice using 5 literary devices to describe that same object - see where your creativity can take you!
Write, write, write! - When it comes to how to start creative writing, one of the biggest pieces of advice we can offer is to pick up your pen or laptop, and start writing. Whether you have a single conversation starter for a character, or a complete narrative arc, you will only begin your creative writing journey when you physically do it. Even if you have no idea on what to write - look for writing prompt inspiration from all around you. The more you practice unleashing your creativity, the easier it will be to write over longer periods of time.

Frequently Asked Questions (FAQs)

What age groups are the oxford summer courses designed for.

Our courses cater to students aged 9-24, with tailored programs to suit different age groups and academic levels.

What is included in the Oxford Summer Courses?

Our comprehensive summer courses include all teaching and academic content, accommodation, meals (including formal dinners), a prize-giving ceremony, all-day trips and activities, airport transfers, travel and medical insurance, and a welcome pack.

Can international students apply for the courses?

Yes, we welcome students from all over the world to join our summer courses in Oxford and Cambridge.

What are the benefits of taking a Creative Writing summer course?

Our Creative Writing summer courses offer students the opportunity to learn from experienced tutors, develop their writing skills, and gain inspiration from the historic surroundings of Oxford and Cambridge.

How can I apply for the Oxford Summer Courses?

You can apply for our courses online through our application portal . Once your application is submitted, we will be in touch with the next steps.

Creative writing is a remarkable voyage that invites us to unleash our imagination, share our stories, and inspire others. It offers countless personal and professional benefits, nurturing self-expression, empathy, and creativity. So, grab a pen, open your mind, and embark on this enchanting journey of creative writing with Oxford Summer Courses. Let your words paint a vivid tapestry that captivates hearts and minds under the guidance of experienced tutors from Oxford and Cambridge. Join us as we explore the magic of creative writing and discover the transformative power it holds within through the renowned Oxford Summer Courses summer school.

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About the author

Rhys mackenzie is the website marketing manager at oxford summer courses. with extensive experience in seo and digital content management, they are passionate about showcasing the best that oxford has to offer. their previous role at experience oxfordshire gave them a deep appreciation for the city's unique cultural and academic offerings. learn more about rhys here ., share this article.

Discover the enchantment of creative writing with Oxford Summer Courses. Unleash your imagination, explore different genres, and enhance your communication skills. Nurture self-expression, empathy, and creativity while gaining valuable writing techniques.

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Why Creative Writing Still Has a Place in My Classroom

The earliest piece of writing I can remember producing was a story, written in phonetic spelling on small pieces of scrap paper stapled together. Mimicking as best I could a “real” picture book, I called it Yuc, Yuc, u Slug , and it was based on an experience I’d had the day before, when my best friend and I turned over a large rock and found beneath it ... a frightful slug! This must have been in late kindergarten or early 1st grade, as my writing development closely mirrored my reading development.

Throughout my childhood, I wrote many stories and poems, and in all of them, I can see the combined influence of the reading I did and my own lived experiences. The same is true for many of my students today. In an activity toward the beginning of the school year, I ask them to tell me about their reading and writing histories and often hear the fond memories they have of the early stories they’ve written. Some even bring those stories into class and reminisce about the fun they had writing them.

As students progress through school, though, it seems that their reading and writing experiences become increasingly lopsided: They continue to read works of fiction and poetry, but they must make a dramatic shift away from the imaginative writing of their childhoods toward analytical paragraphs and essays. The Common Core State Standards have compounded this effect by emphasizing analytical writing at much earlier ages, while not explicitly requiring fiction or poetry writing at any age. I know kindergarten teachers who now prompt students to answer questions about an author’s choices during story time, and creative writing is taking even more of a back seat in many language arts classrooms.

This is a mistake for many reasons, but especially if we want students to read more critically.

Imagine you’re taking a ride in the back seat of someone’s car and you’re asked to offer a critique of their driving. Now imagine you have very limited experience as a driver yourself. You might be able to describe how the ride feels to you—bumps, turns, acceleration, sudden stops—and perhaps formulate some opinion about the driver based on these feelings. But you wouldn’t be able to analyze what the driver is doing (or not doing) to create the effect you feel as a passenger. When the driver shifts into low gear to go up a hill in the rain, for example, you probably wouldn’t notice—and even if you did, you’d find it difficult to understand why this was an effective choice without having experience with the particular problem the driver is addressing.

When we ask students to be critics of literary works without giving them consistent, relevant experience writing literary pieces themselves, we put students at a similarly awkward disadvantage.

Rewriting the Script

Literary analysis is something kids can do in a meaningful way under the right conditions. Authentic reading of whole novels and other texts is one condition I advocate strongly. Increasingly, I’ve come to believe that another essential condition for students to analyze and critique writers’ moves is the chance to be in the driver’s seat as literary artists themselves.

Here is one example of how students’ fiction writing propels critical thinking in my classroom:

It was March, and my 8th grade students had finished reading My Heartbeat , a young-adult novel by Garret Freymann-Weyr. While half the class discussed the book, I had the other half work independently on a creative-writing assignment: They had to put themselves in the role of author and write one scene in which they alter an element of the novel. The choices included adding a character, shifting the point of view, changing the setting, giving a “boring” scene “a makeover,” or—the most popular option—killing a character. The creative but focused nature of the task easily captured everyone’s interest, and students of all levels dug in with excitement.

After several days, we came together as a whole class to share the writing. I asked students to read aloud from their writing without introduction or explanation and I asked listeners to take some notes on each reading. The prompts for ensuing discussion were:

1. Based on what you heard, what did the student choose to do differently from the original author?

2. What literary techniques or elements stand out to you in this piece?

We brainstormed and recorded a menu of techniques as a starting place for discussing the second question, including things like dialogue, descriptive language, interior monologue, and foreshadowing. Some we had practiced in previous fiction-writing assignments; others we only discussed as readers. We added to the menu throughout the readings.

The scenes were a lot of fun to hear. Every student approached the assignment differently, and the concept of the role of the “author” was suddenly very tangible for everyone. It’s often challenging for students to remember there is a real person with a real life behind a novel or any text, using his or her imagination and making decisions. Reading fiction is such a powerful virtual experience that kids tend to interact with it as if it were an extension of their own lives, rather than the creative production of a stranger. For young children, the distinction isn’t very important: A story should simply be enjoyed! But as we help students become critics, that distinction becomes essential. In this case, the authors were simply the classmates sitting right in front of us.

Literary Devices

When students share their writing like this, endless opportunities arise to discuss the choices of each writer and their impact. Jonathon, for example, changed the contemporary setting of the novel to 1894. In the novel, the narrator’s brother, Link, is struggling to come to terms with his sexual orientation. Here is an excerpt from Jonathon’s scene:

“I’m not gay,” Link said. “James is.” My heart dropped. I suddenly began to fear for James’ life. The year was 1894. Any openly gay person could be killed by angry mobs. Being gay was not only a sexuality, but also an open bounty on your head for anyone to take. I now realized why Link wanted to deny it. …

In addition to the obvious change in setting, several students also noticed a shift in the conflict. “The conflict got bigger, because of the time period,” one student observed. This created a perfect opportunity for students to see how different literary elements affect one another. The common-core standards in English/language arts emphasize this concept. In fact, 7th grade reading-standard RL.7.3 asks students to “analyze how particular elements of a story or drama interact (e.g., how setting shapes the characters or plot).” In this case, creative writing created an obvious springboard for students’ understanding of that standard.

As more students shared, we heard a number of carefully foreshadowed tragic deaths of various characters. The chance to share and discuss raises students’ awareness of how these literary concepts work and helps them name their own techniques. Many students didn’t realize they effectively used foreshadowing until their writing was discussed.

In her scene, Soraya took the point of view of the unpopular, overbearing father character. In the book, the father makes it clear he wants a heterosexual son, but we only hear his voice through dialogue told by Ellen, the first-person narrator. But Soraya explored his emotions and internal conflict: I see Link asleep on the couch. His eyes have dark circles under them, and I begin to wonder if it’s because of me. I begin to wonder if his stress was always caused by me. ... she wrote.

In the group, students noted the strong interior monologue in Soraya’s scene. Then someone said, “It’s like she made a whole character out of the father.” I added “character development” and “complex character” to the menu of writing techniques, words we had used before but that hadn’t made it onto our earlier brainstorm.

“Why isn’t the father a ‘whole’ or complex character in the book?” I asked. “Because Ellen is the narrator, so you really can’t know what the father is thinking,” a student answered. “So, given that, what could an author do to write a book that has several whole or complex characters?” I asked. “You could switch off narrators,” one student suggested. “Like in Wonder ,” another added, referring to a popular young-adult novel that features multicharacter narration. “Or you could write in third person,” another student offered.

Once again, our experimentation with writing fictional narratives created opportunity for students to see how authors’ choices around narration and point of view affect the story and the reader’s experience.

The Art of Storytelling

Another interesting moment came when Lana allowed a classmate to read her scene. It was quite intense; every word in the piece seemed carefully thought out. It began with Link studying with excruciating focus for a math test. Then she wrote:

“I stood up, ready to go to James’ house, when Link’s head fell loudly onto the table.

“Link!” I yelled, running to him. White bubbles foamed out of his mouth, and tears trickled down his face, mixing with sweat from earlier. His body was shaking aggressively. Link’s eyes began to roll back into the inside of his head, when I hurried to pick up my phone. I dialed 9-1-1, and the ambulance soon arrived.

As we listened, I caught Lana scanning the faces in the room with a look that was difficult to read. The scene continued as we followed characters to the hospital. Then, in the same serious tone, we found out that Link has a tumor in his brain. At that point, James, his best friend, started coughing uncontrollably and admitted he has cancer. There were some gasps from the class. Lana’s face cracked a slight smile. The situation got more and more extreme, and several students let out laughs, but Lana’s narrator never broke character.

When we discussed the scene, students immediately remarked on her descriptive language. “I notice that some people laughed. Did Lana use humor?” I asked. Students were quiet, and I imagine they were unsure as to whether their laughs were appropriate.

“Not exactly, but it was still funny at times,” someone said. I probed. “Lana, did you expect people to find your scene funny?” “Yeah, kind of,” she said, with a mischievous smile. “It was tragic, but …” another student said, trailing off. “There was something not completely serious about it, right?” I offered. We discussed tone, and I ended up introducing the term “satire” to describe the effect of Lana’s scene. In a way, after hearing more than a few tragic death scenes of characters by other students, Lana seemed to be satirizing us!

Students rarely get to experience such an immediate interaction between author and audience through text. From “the driver’s seat,” and as members of a learning community, students can gain awareness of their own intentions as they write stories and become more keen analysts of authors’ intentions. They get to encounter, firsthand, the problems authors encounter in crafting stories and they discover and play with literary techniques to solve these problems. The lessons, both explicit and implicit, are powerful.

Like the driving critic who lacks driving experience, students without genuine experiences creating literary art and reflecting on the process can easily be left to look to the teacher for “answers” as to what the author is up to in his or her use of literary techniques. That causes frustration, as it diminishes students’ ability to activate their own critical thinking in this area.

There are clear arguments for the social-emotional value of empowering students to write creatively. And anecdotally speaking, I’ve found engagement is extremely high and classroom management is a breeze when students get to write stories. But I’m convinced that fiction writing is a much more important component of a rigorous English education than is commonly believed. Imaginative writing contributes not only to the development of many “soft skills” like empathy and community, but also to the hard skill of literary analysis.

Coverage of the implementation of college- and career-ready standards and the use of personalized learning is supported in part by a grant from the Bill & Melinda Gates Foundation. Education Week retains sole editorial control over the content of this coverage.