As it was in the last edition, we have set first page as "A" and started "Title page" from "i".

Why is there a space here?

indent title on the second line so it's clear...

This should also be added under Nonfiction as well, the Hixson piece.

insert Hixson

change to "themes of the fourth edition" to avoid repeating "new" twice

The Fiction section is not appearing here... I'm not sure where it went.

I don't think we want his name here!!

AU: \(Global\) Please check if all such headings should \ be set in title case as given in the chapters.

Hyphen added here.

changed to lowercase

hyphen added here

semi colon added here

AU: Perhaps "creative"?

colon added here

AU: Please check if "The" sho\ uld be deleted as it is not a part of the name of university.

35 spelled out here

We have set first page as "A" and started "Title page" from "i". Accordingly page reference for Preface and About the Author is listed here.

AU: This style of this component of cha\ pters is given inconsistently in the contents. Please confirm one style that can be followed consistently throughout.

Content in Chapter 12 were removed at the later phase of the project, accordingly the TOC entries are removed here.

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Write or Left

(6 reviews)

principles of creative writing pdf

Sybil Priebe, North Dakota State College of Science

Copyright Year: 2016

Last Update: 2022

ISBN 13: 9798783934094

Publisher: Sybil Priebe

Language: English

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principles of creative writing pdf

Reviewed by Corinne Ehrfurth, CE Instructor, Rochester Community & Technical College on 2/10/23

Priebe's book evocatively pushes the definition of "creative writing" to teach beyond the typical genres and modes. read more

Comprehensiveness rating: 5 see less

Priebe's book evocatively pushes the definition of "creative writing" to teach beyond the typical genres and modes.

Content Accuracy rating: 5

All the content looks accurate as well as engaging and thought-provoking.

Relevance/Longevity rating: 4

Leading with tweets could easily be replaced if this social media platform goes under after all the hullabaloo with Musk at the helm.

Clarity rating: 5

While Priebe's book plays off older texts with the ABCs, theses notes--such as the B, "inclusivity" (pg. 12), frames the textbook on a progressive scale that reaches outside notions of the pre-1980s literary canon. This textbook would not fit instructors concerned with a legacy and historical approach to creative writing.

Consistency rating: 5

The pattern of exercises, student examples, questions, tips or feedback continues throughout the entire textbook to provide modeling of habits, reasoning, and qualities of the genres of creative writing while also inviting classes of students to push the boundaries.

Modularity rating: 5

Hyper-modular with sound-bite like inclusions of tweets, call-out quotes, and other breaks in the text itself. The table of contents subdivides the last chapter into subheadings that the rest of the chapters could also be split into right away. Since the author cites herself (see a blog post on pg. 24 for example), some self-referential moments occur.

Organization/Structure/Flow rating: 5

The genre-based chapters provide a familiarity to long-time instructors of creative writing while also being student-friendly for writers who want to dive right away into something particular.

Interface rating: 4

The primary font choice becomes increasingly distracting the longer one reads, as it looks as if it's from a typewriter. Students with dyslexia might have greater issues reading this text when compared with other options.

Grammatical Errors rating: 4

Chapter titles and subtitles are not capitalized, which personally bothers me but fits the trendy style that might draw in younger students and less mature writers.

Cultural Relevance rating: 3

The more one reads this textbook, the less it makes good on its promise to include diverse voices since it features Walt Whitman and other typical canonical writers' excerpts as well as white people's or organization's tweets.

I especially enjoy how interactive this textbook would feel for writing students who want to hone and practice their craft.

Reviewed by Rachele Salvini, Emerging Writer Lecturer, Gettysburg College on 11/7/22

I decided to adopt Write or Left: an OER Book for Creative Writing Classes for my Introduction to Creative Writing classes for multiple reasons. The clarity and conciseness of the textbook makes it an excellent tool for college students who are... read more

I decided to adopt Write or Left: an OER Book for Creative Writing Classes for my Introduction to Creative Writing classes for multiple reasons. The clarity and conciseness of the textbook makes it an excellent tool for college students who are approaching writing creatively for the first time. I have used a few commercial textbooks and anthologies throughout the years, and while I found them to be extremely detailed and exhaustive, students seem to struggle with theoretical sections and they expressed difficulty understanding some of the anthologized readings. While most creative writing textbooks and anthologies might be extremely helpful for teachers, some of the selected readings might not be particularly accessible for students who are approaching reading literature as writers for the first time. However, the editors of Write or Left chose readings that seem to align with the taste and aesthetic that young writers find enjoyable or at least approachable.

Content Accuracy rating: 4

Introduction to Creative Writing is a class mostly based on workshops and lively discussions, but the students also need a foundational element — they need to familiarize themselves with a vocabulary that allows them to discuss writing. Write or Left provides brief and concise definitions that help the students navigate the vocabulary surrounding the particularities of poetry, fiction, creative nonfiction, and dramatic writing.

Relevance/Longevity rating: 3

While the book does not provide a wide or particularly updated range of readings for each genre, it covers the main concepts that students need to know to start talking about writing and workshopping each other’s work — which is, I think, the main purpose of the basic Introduction to Creative Writing course.

Write or Left is an excellent tool for students who are approaching creative writing for the first time and need to familiarize themselves with the most important terms to use during reading discussion and workshop. Notably, this book also covers more innovative aspects of creative writing — flash fiction and multimodal writing — to avoid a banal and cut-and-dry institutionalization of the four main genres, and show once again the fluid, regenerating, and ever-shifting nature of creative writing.

The textbook offers very clear and consistent definitions of terms that students of creative writing should get familiar with during an introductory course.

I am very excited with the briefness of the "theoretical" chapters, as students usually struggle with long chapters that break down the elements of craft in the four genres of creative writing. I would be happy to assign a whole chapter for the introductory class of each genre (each module).

I found it hard to make most commercial textbooks approachable for the students, who seem often confused by the readings or bored with the lengthy theoretical explanations of creative writing terms. This textbook might be implemented with readings chosen by the instructor, allowing the course to benefit from a personalized, unique approach to creative writing, which might feel more dynamic and adventurous than following a textbook or an anthology page by page. Write or Left might be a great tool for sections of Introduction to Creative Writing with a high student count, as instructors might struggle to find the time to workshop every student in each genre, and also cover the readings from a commercial textbook to make it worthwhile for students who spent a lot of money on it. In fact, a lot of Introduction to Creative Writing students might have to take Creative Writing as a requirement and not an elective course, so having them buy expensive textbooks that they might not really use throughout the semester and then ever again might be a waste.

Interface rating: 5

The textbook is extremely easy to access. I think the students will be very happy to access their book online for free.

Grammatical Errors rating: 5

I haven't found any grammatical errors.

Cultural Relevance rating: 4

The readings used as example might represent a wider range of experiences and identities, but overall I'm satisfied.

Reviewed by Yelizaveta Renfro, Assistant Professor of English, Saint Mary's College on 5/5/22

This book’s ambitious attempt to cover so much ground—fiction, poetry, nonfiction, drama, experimental fiction, and specialized genres like fantasy, science fiction, horror, and romance—is ultimately its biggest weakness. There is no way a single... read more

Comprehensiveness rating: 3 see less

This book’s ambitious attempt to cover so much ground—fiction, poetry, nonfiction, drama, experimental fiction, and specialized genres like fantasy, science fiction, horror, and romance—is ultimately its biggest weakness. There is no way a single textbook can adequately cover all of these areas (and especially a slim volume like this one). As a result, the book is only the most cursory exploration of these multiple creative forms, barely scratching the surface of the field of creative writing. I could not imagine assigning this book in any course that I teach at the college level. Even my introduction to creative course—which covers fiction, poetry, and creative nonfiction in one semester—requires a text that goes more deeply into these genres and that offers more substantial content.

I would like to see more precision and thoughtful wording, especially in defining terms. For example, the glossary definition of “fantasy” that is offered at the end of the book is, “the kind of writing that cannot take place in real life.” This is imprecise and even potentially confusing; doing the simplest internet search will yield a much a better definition. For much of the book, the information is not so much inaccurate as it is general and incomplete.

The general topics included in the book are certainly relevant, but an instructor using this text would need to supplement every step along the way. Not only are the explanations in some of the chapters too basic and brief, but the examples (when they exist at all) leave much to be desired, being limited mostly to older texts (nineteenth-century texts like an excerpt from Frankenstein or a story by Kate Chopin) or texts written by the instructor’s students (which are very typical of works produced by beginning creative writers). What students need most are high-quality, recent models for their own work. There are thousands of such works available online. While I understand that Priebe cannot reproduce these texts in her book, readers could still be pointed towards online literary journals that publish excellent creative writing.

Clarity rating: 4

The writing is generally clear, though as I noted elsewhere, definitions of terms could be more precise. The tone of the book is informal and friendly, making it easy to follow. I think that most student would find the book clear and accessible.

Consistency rating: 3

The book seems somewhat inconsistent in the depth of treatment it gives to different genres. For example, in the chapter on drama, there is an exhaustive discussion of the proper way to format a screenplay (the correct font and margins, rendering action and dialogue, and so forth), which makes up the majority of the chapter and strikes me as an unnecessary level of detail for beginning students (and the student example that is offered at the end of the chapter does not even adhere to these “proper formatting” rules). Meanwhile, other chapters are woefully lacking in necessary content. In the poetry chapter, for example, the poetic “forms” that are included seem arbitrary, and there is no real discussion of poetic meter. An introduction to poetry is incomplete without a basic overview of metrical feet.

Modularity rating: 4

In principle, it would be possible to use any of the chapters in this book as stand-alone readings for a course. Instructors could easily switch the order of the chapters around to suit their own progression through genres. The most useful chapter, in my option, is Chapter 10: Assignment and Project ideas, which offers a sizable collection of writing prompts, reading response activities, and portfolio ideas. While these are of varying usefulness and I would not offer them all as options for my students, some do stand out as excellent exercises.

Organization/Structure/Flow rating: 3

I did question the order of some of the chapters. For example, why does the chapter on flash fiction (a sub-genre of fiction) come before the general fiction chapter? And why does flash fiction have a chapter of its own, when there is barely any content? (The chapter is all of two and a half pages long.)

Interface rating: 3

The font in the pdf version that I read is not at all reader friendly and is hard on the eyes, in my opinion. I also found the screenshots of Tweets that lead off most chapters to be distracting and confusing, and the text offers no explanation or discussion of these, which adds to the impression that the book is a superficial hodgepodge, dropping in content without engaging with it.

Grammatical Errors rating: 3

While Priebe’s portion of the text is largely free of errors, the student texts that she includes do sometimes contain grammatical errors. While I understand the urge to present student writing as it is written, in a textbook I would expect writing that has been proofread.

This is a book that is at least aware of diversity/and inclusivity. In the opening chapter, Priebe lists the steps she has taken: “Most of the he/she pronouns have been flipped for they/them pronouns,” “‘White-sounding’ names have been replaced by more diverse ones,” “‘Husband’ or ‘wife’ have been replaced by ‘partner,’” and “The majority of examples in this book, by students or otherwise, are not written by white, heterosexual, cisgender men.” While I commend Priebe for her efforts, some of these moves strike me as cosmetic fixes, and the example published and student-written texts do not obviously reflect diverse perspectives (that is, they don’t explicitly tackle issues of race, gender, sexual orientation, ability, etc.). I would imagine that as Priebe continues to gather more information for future editions of this book, the diversity of voices represented will increase.

While I would not use this book in my college courses in its present form, I do think that is has a lot of potential and that future iterations of the book are likely to have enhanced content. As Priebe collects more student writing samples and as students fill in the numerous empty “Questions/Activities” sections that occur at the end of many chapters, this book may very well grow into a rich resource for creative writing instructors. I am planning to revisit this book in future editions to see what new material it has to offer.

Reviewed by Megan Green, Assistant Teaching Professor, Bowling Green State University on 4/25/22

This book offers a useful, concise guide for beginning creative writers. While many of the topics could be expanded upon, it fulfills its promise to offer only condensed snapshots of each subject. It would make a helpful addition to readings... read more

This book offers a useful, concise guide for beginning creative writers. While many of the topics could be expanded upon, it fulfills its promise to offer only condensed snapshots of each subject. It would make a helpful addition to readings chosen by a professor and to selective texts about elements that may require more insightful approaches and in-depth discussions. Chapters that may require additional readings for most introductory classes include the chapters about flash fiction and drama.

The content offers accurate, up-to-date information about creative writing.

Relevance/Longevity rating: 5

The chapter topics are highly relevant and up-to-date. I particularly enjoyed that the author chose to incorporate a chapter on multimodal works, which is something I have found numerous authors either glance over or fail to explore. Likewise, the choice to conclude with a section about how to get published offers relevant and significant points that students should be made aware of at an early stage.

Priebe implements small doses of humor throughout the book that are engaging (I do wish there were more, though!) and utilizes Plain Language to make the reading accessible.

Each chapter is structured identically, beginning with readings about the chapter's topics and ending with exercises.

Each chapter is short and could, in itself, be an easy reading assignment. However, chapters have smaller reading sections that can be assigned. Instructors should be aware that many exercises are written as thoughts to instructors rather than students and, thus, may require editing.

Each chapter offers concise readings over topics followed by exercises. Multiple exercises are listed so teachers can find one or two they would like to employ, and many are creative and effective at reiterating learning objectives.

The book is offered in multiple formats, including PDF, Word, and Google Doc. In the PDF version I perused, there were no interface issues.

There are a very few small mechanical and/or grammatical mistakes.

Cultural Relevance rating: 5

The author makes it a point to offer a variety of works in this textbook rather than canonical works that are oftentimes the labor of White male authors. Non-binary language also makes the text more inclusive.

The strongest element of this work is its suggested exercises, many of which may be used as in-class activities to further explore topics.

Reviewed by Clifford Buttram, Assistant Professor of Management, University of Saint Francis on 3/22/22

The discussion of key writing areas is organized in a smoothly flowing manner. From Poetry to Experimental and Children's Literature, the content was well organized and indexed efficiently for understanding and analysis. The book is neither too... read more

The discussion of key writing areas is organized in a smoothly flowing manner. From Poetry to Experimental and Children's Literature, the content was well organized and indexed efficiently for understanding and analysis. The book is neither too long or too short (page length) to still be quite effective.

While I'm not a Creative Writing expert, I found the book quite accurate regarding the elements of idea formation and flow from an author or writer's perspective. I've written three historical fiction books and am currently working on a ten novella set in the same category. In choosing to review this book, I found it's accuracy in how an author thinks, organizes, and creates scenarios to be very helpful. The many quotes and references helped me greatly in forming new ideas and writing strategies, even in one chapter or sub chapter of my current book. I found no bias in any chapters, however, the informative proved was both relevant and useful.

I feel this book is not only relevant, but highly useful as a handbook companion piece. Although the title refers to a textbook, I found its organization to be formatted in a more usable sense as a handbook. A reader could focus on one chapter, a few chapters, or the entire book as a strong and handy reference. Although I read the entire book, a particular focus for me were the Fiction, Drama, and Flash Fiction chapters. Each provided much needed guidance and advice for idea creation and tips to improve elemental writing.

The chapter organization was clear throughout the book. Each chapter utilized an introduction of the key topic, self-questions, reading strategies, and exercises. I also enjoyed the dispersed quotes throughout the chapters that helped to support the key points within the chapter.

As noted above, the consistency of each chapter (organization) helped ensure a stronger understanding and immersion into the specific area of writing by chapter. The author cleverly injects quotes, references, and definitions to combine an effort to improve the reader's ability to apply these concepts. Additionally, this allows for a more even flow of information, even in chapters that may not be in the reader's interest.

Each chapter is distinct, however, the coordination and organization of the entire book creates a crescendo effect for the reader. Although each chapter is specific, it can be both compartmentalized and utilized as a complete handbook. This modularity further enables a reader to use the book as a specific reference or a complete handbook/guide.

The book was well organized and logical. The reading was made easier by the flow of information and the combination of data, quotes, and references used throughout the book.

I did not note any interface issues.

I did not note any grammatical errors.

The text is neither culturally insensitive or offensive. I noted that the character/third person student examples were mostly benign which helped to decipher the author's intent. In Chapter 2, a section noted as 'Your Voice' spoke to holes in diversity when writing. I found this helpful for students to understand that not all areas of writing interest are not interesting to everyone. However, one should write to increase the value to the audience and the writer. I found this to be excellent advice and guidance.

I found the book to be an excellent resource for a creative writer. The final chapter discussed Children's Literature and how the previous chapters were applicable to this specific genre. The final chapter (Assignment and Project Ideas) was quite useful for a writer experiencing a block or one simply working a new idea. One recommendation would be to title the book as a Handbook or Reference Guide as the Table of Contents and structure is formatted to provide specific and detailed information on specific creative writing elements. At 168 pages, it has the length for a small textbook, but a better fit as a Handbook for creative writers of all genres. There are many ideas, strategies, and helpful tips throughout the book to help most writers think and write more clearly and effectively.

Reviewed by Justine Jackson Stone, Special Purpose Faculty, Radford University on 3/8/22

The book’s overall intention is to present condensed chapters on the various genres of creative writing, and while condensed, the content is too terse. Chapters one through eight are generalized approaches that provide basic information with some... read more

Comprehensiveness rating: 2 see less

The book’s overall intention is to present condensed chapters on the various genres of creative writing, and while condensed, the content is too terse. Chapters one through eight are generalized approaches that provide basic information with some examples few and far between. The chapter on flash fiction is brief, only lasting from pages 53-57. The textbook also appears to be incomplete, missing student writing examples in addition to other literary recommendations. In chapter nine, the large overview of different genres such as horror, young adult, etc. provides some recommended writers for students, but this is not consistent throughout the textbook. In order for students to improve their creative writing skills, they need to read. A recommended reading list would make this textbook more effective. The index is well-done and easy to read. The glossary could benefit from additional terms added, but it’s a good start for students to grasp the terminology.

The content is accurate. For a college-level course, however, some of the content is quite juvenile. For example, a writing prompt on page 100 asks the writer to “Tell the story of a dragon who owns a jelly bean factory in an experimental way.” This prompt seems far more appropriate for elementary and middle school students. If the author suggested this prompt as an activity for how to write a children’s book, I could understand its inclusion.

The content of the book is expansive but basic. Overall, the textbook will remain relevant, though a teacher using this book would need to find supplemental material to increase student understanding of the different categories of creative writing. In addition, chapter nine briefly discusses publication opportunities and includes instructions on how to publish directly through Amazon. I found this to be an odd inclusion and question if it is necessary.

Clarity rating: 3

The author uses a conversational and informal tone throughout, which students tend to appreciate. Terms are well-defined for a basic understanding, though more context or examples would deepen student learning. The author tends to share more of her own personal experiences with writing rather than those of her students, which I think misses the mark for her intended audience. In addition, her humor ranges from childish to lewd, which I found at times to be off-putting.

Consistency rating: 4

Terminology is included in each chapter, though due to the condescending nature of the textbook, instructors may consider using supplemental material. In chapter two, the author covers a few fundamentals of creative writing such as point of view, character, setting, etc. For an introduction to creative writing class, it may be necessary to expand these definitions as some students may not have prior knowledge of understanding of these terms. The framework is fairly solid though lacking in student examples. I do appreciate the ample inclusion of creative writing prompts as students tend to find these useful and fun.

Modularity rating: 3

The author effectively uses subheadings to organize information. Information was well-displayed, avoiding larger blocks of text. Each chapter was clearly laid out, and the index was easy to follow. The text is very self-referential to the author. In example 2 of chapter zero, one of the activities states the following: “When we write, we’re using the alphabet. Duh. Yet, how many times have we used these letters to organize or brainstorm? Try using the alphabet to brainstorm different things characters could say in different pieces of fiction and drama and nonfiction.” The author uses herself in this example, including statements such things as, ‘J = “Jeezus Marth and Mary… will you please hurry up?’ (p. 16). I think the exercise would have been more effective if a character bio was given and then examples were provided rather than assuming the reader knows anything about the author. In addition, phrases like ‘Duh’ and other slang can be confusing for students who do not speak English as a first language.

I do not think the chapters are effectively organized. The fiction chapter should come before the flash fiction chapter, and I would personally place nonfiction after fiction instead of drama coming next. In chapter two of the review of the elements, I would personally discuss character first before point of view. I also ponder if it would be better to know these terms first before doing creative exercises to have a basic foundation before students start writing.

Interface rating: 1

The inclusion of Twitter screen captures at the beginning of each chapter is grossly unnecessary. They do not add anything to the chapter context and do not fit well into the design. Without a caption to explain these pictures' inclusion, I do think students could find them confusing. As far as I can tell, there’s no text over the image or note that the images are decorative. The charts included in chapter zero may be useful to some, but I did not find them overly beneficial. Finally, I found the textbook fonts to be hard on the eyes while reading.

The text was mostly free of grammatical errors. The author sometimes uses internet text speech or ALL CAPS, which I find to be inappropriate for a college textbook. In one of the dialogue examples, the author writes, “’Oh.My.God. For real?’” (p. 16). In another example, the author writes, “Writer’s block can happen to ANYONE” (p. 22). There are other ways to create emphasis, and if we want students to be published, they should know how to emphasize their work without gimmicks.

The book does contain adult language which may not be appropriate for all readers. As far as inclusion goes, the author has made a point to be inclusive, stating on page 12: “'White-sounding’ names have been replaced by more diverse ones … ‘husband’ or ‘wife’ have been replaced by ‘partner’ … and ‘the majority of examples in this book, by students or otherwise, are not written by white, heterosexual, cisgender men.’” In addition, the author discusses “holes in diversity” in chapter two, which is an incredibly important topic to address.

Write or Left: an OER textbook for creative writing classes is the kitchen sink of creative writing books, and unfortunately, is too broad in scope to be effective. While the author clearly states this is an introductory textbook for creative writing classes “with condensed chapters,” the notion that a student should learn poetry, flash fiction, fiction, drama, nonfiction, and experimental writing in a single semester is haphazard. Rather than developing a solid foundation of each type of creative writing, students and teachers alike are expected to blitz through each chapter, complete some creative writing prompts, and miraculously be competent. Combine this with the notion that students shouldn’t be assigned grades for their creative writing (p. 13), and it’s no wonder academia often sneers at creative writing as a field of study. While I do applaud the author’s efforts to make this textbook more diverse and inclusive in its examples, I found the overall book greatly lacking in content to be effective in the classroom.

Table of Contents

  • Chapter 1: Intro to Creative Writing
  • Chapter 2: Review of Elements
  • Chapter 3: Poetry 
  • Chapter 4: Flash Fiction
  • Chapter 5: Fiction 
  • Chapter 6: Drama 
  • Chapter 7: Nonfiction   
  • Chapter 8: Experimental Literature
  • Chapter 9: Final Chapter
  • Chapter 10: Assignment and Project Ideas

Ancillary Material

About the book.

In this book, we'll go over some of the general principles of writing practices as well as advice and tips on how to write creatively, but mainly, you’ll be introduced to as many genres and categories as possible. We won’t get bogged down in doing the writing process “perfectly” or creating “perfect literature.” The goal is to learn about as many genres as possible, practice writing in those genres, and get feedback.

About the Contributors

Sybil Priebe lives in the upper Midwest with her partner-in-crime and crabby old cat. She teaches various composition courses at the North Dakota State College of Science in Wahpeton, ND. She likes books, bicycles, and blasphemy.

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Principles of Creative Writing: An Ultimate Guide

Explore the art of storytelling with our blog on the Principles of Creative Writing. Uncover the key techniques that transform words into captivating narratives. From character development to plot intricacies, we'll guide you through the fundamental principles that breathe life into your writing, helping you craft compelling and imaginative stories.

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Table of Contents  

1)  Understanding Creative Writing Principles 

2)  Principles of Creative Writing 

    a)  Imagination knows no bounds   

    b)  Crafting compelling characters   

    c)  Plot twists and turns 

    d) Setting the stage 

    e)  Point of View (POV) and voice    

    f)  Dialogue - The voice of your characters 

    g)  Conflict and tension 

    h)  Show, don't tell 

    i)  Editing and revising with precision   

    j)  The power of theme and symbolism 

    k)  Pacing and rhythm 

    l)   Emotionally resonant writing 

    m)  Atmosphere and mood 

3)  Conclusion  

Understanding Creative Writing Principles  

Before we move on to the Principles for Creative Writers, let’s first understand the concept of Creative Writing. Creative Writing is an exploration of human expression, a channel through which Writers communicate their unique perspectives, experiences, and stories.   

This form of writing encompasses various genres, such as fiction, poetry, drama, and more. Unlike Technical or Academic Writing, Creative Writing is driven by the desire to evoke emotions, engage readers, and transport them to alternate worlds.  

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Principles of Creative Writing  

Now that you know the meaning of Creative Writing, let’s explore its principles.  

Principles of Creative Writing

Principle 1: Imagination k nows n o b ounds   

Your imagination is a treasure trove of ideas waiting to be explored. To cultivate your creative imagination:  

a)  Allow yourself to think without limitations. 

b)  Let thoughts collide and see where they lead. 

c)  Keep a journal to jot down fleeting ideas and use them as springboards for your writing.  

Break free from conventional thought patterns—experiment with "what if" scenarios – twist familiar elements into something new. Blend genres, combine unrelated concepts, or put your characters in unexpected situations .       

Principle 2: Crafting c ompelling c haracters   

Characters are the heart of your story. Develop characters with distinct personalities, motivations, strengths, and flaws. Delve into their backgrounds, understanding their past experiences and how they shape their choices. Consider their beliefs, fears, desires, and relationships with others in the story .   

Readers connect with characters they can relate to. Make your characters multifaceted by giving them relatable qualities. Flaws make characters human, so don't hesitate to bestow imperfections upon them. Your readers will find themselves emotionally invested in their journeys as they face challenges and grow.    

Principle 3: Plot t wists and t urns   

A well-crafted story thrives on plot twists and turns. These unexpected shifts keep readers engaged, encouraging them to explore the unknown alongside your characters. The art of plot twists lies in weaving surprises that challenge characters' assumptions and drive the story in unexpected directions.   

Develop logical and unforeseen twists, leaving your audience eager to discover what happens next. Experiment with various narrative structures. Choose the structure that best serves your story's theme and tone.  

Principle 4: Setting the s tage  

Transport readers into your story's world by vividly describing its physical elements – sights, sounds, smells, and textures. The setting isn't merely a backdrop; it's a living, breathing entity that influences the mood and atmosphere of your narrative. Create an immersive experience that makes readers feel like they're living the story alongside your characters. Make the setting integral to your storytelling, whether a bustling urban landscape or serene countryside. 

Principle 5: Point of View (POV) and v oice     

Point of View (POV) and voice are essential tools that shape how your story is perceived. POV determines the perspective through which readers experience the narrative – whether through a character's eyes (first person), an external observer (third person limited), or an all-knowing narrator (third person omniscient). Each POV offers a distinct vantage point, influencing what readers know and how they connect with the characters.   

On the other hand, voice is the unique style and tone of your writing that reflects the narrator's personality and worldview. Skilful manipulation of POV and voice deepens readers' immersion and connection with the story .       

Principle 6: Dialogue - The v oice of y our c haracters   

Dialogue is a powerful tool for revealing character relationships and advancing the plot. It's the medium through which characters reveal their personalities, motivations, and conflicts. Make your dialogue sound natural by paying attention to speech patterns, interruptions, and nuances.   

Each character should possess a distinctive voice, reflecting their background, emotions, and quirks. Effective dialogue moves the plot forward, adds depth to relationships, and provides insight into characters' inner worlds.    

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Principle 7: Conflict and t ension     

Conflict drives your story forward. Whether internal (within a character's mind) or external (between characters or forces), conflicts create stakes and keep readers invested. Make conflicts meaningful by connecting them to your characters' goals and desires. Tension, on the other hand, keeps readers engaged by evoking curiosity and emotional investment.  

Principle 8: Show, d on't t ell   

"Show, don't tell" is a principle that encourages subtlety and reader engagement. Instead of directly stating emotions or information, show them through actions, behaviours, and sensory details. Allow readers to draw their own conclusions, fostering a deeper connection to the narrative.   

For example, instead of stating, "She was sad," show her wiping away a tear and gazing out the rain-soaked window. This approach not only immerses readers in the story but also invites them to interpret and empathise with the characters' experiences.  

Creative Writing Training

Principle 9: Editing and r evising with p recision   

Your first draft is just the beginning. Editing and revising refine your work into its best version. Editing is not just about correcting grammar; it's about refining your prose to convey your message with clarity and impact. Read your work critically, checking for consistency in tone, pacing, and character development. Trim unnecessary elements and tighten sentences to eliminate any ambiguity. Embrace the art of revision to sculpt your rough draft into a polished masterpiece.  

Principle 10: The p ower of t heme and s ymbolism   

Themes and symbolism add meaning to your writing, inviting readers to explore more profound insights. A theme is your story's central idea or message, while symbolism uses objects, actions, or concepts to represent abstract ideas. By infusing your narrative with meaningful themes and symbolism, you create a tapestry of thought-provoking connections that engage readers on both intellectual and emotional levels. 

Principle 11: Pacing and r hythm   

The rhythm of your writing affects how readers engage with your story. Experiment with sentence lengths and structures to create a natural flow that guides readers seamlessly through the narrative. Vary pacing to match the intensity of the scenes; fast-paced action should have short, punchy sentences, while contemplative moments can benefit from longer, more introspective prose. Mastering rhythm and flow keep readers entranced from start to finish.   

Principle 12: Emotionally r esonant w riting  

Emotionally resonant writing

The goal of Creative Writing is to evoke emotions in your readers. Develop empathy for your characters and encourage readers to feel alongside them. Tap into your own experiences and emotions to connect with readers on a human level. Emotionally charged writing doesn't just entertain; it leaves a mark on readers' hearts, reminding them of shared experiences and universal truths.  

Principle 13: Atmosphere and m ood   

The atmosphere and mood of a story set the tone for readers' experiences. Through careful selection of words, sentence structures, and descriptive details, you can shape the emotional ambience of your narrative. Whether you're writing an exciting thriller, a magical fantasy, or a serious drama, infuse your writing with an atmosphere that wraps readers in the emotions you want them to feel. 

Conclusion   

The Principles of Creative Writing provide a roadmap for crafting stories that captivate and inspire. These principles allow you to transform your writing from ordinary to extraordinary easily. As you work on becoming a Creative Writer, remember that practice is key. Each principle mentioned here is like a tool in your Writer's toolbox, waiting to be improved and used effectively. 

Elevate your writing skills with our Creative Writing Training . Join today to unleash your creativity!   

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TEACHING CREATIVE WRITING

Profile image of Najeeb Alsoufi

Contents: 1. The Development and Definition of Creative Writing Concept 2. Importance of Creative Writing 3. Creative Writing Skills 4. Principles of Creative Writing 5. The Necessity of Creative Writing 6. Teaching Creative Writing 7. Classroom Tested Teaching Techniques 8. Benefits of Creative Writing for learners 9. Relative Studies on Creative Writing

Related Papers

Alief Noor Farida

Writing is often assumed as uneasy skill to either learn or teach. For students, they find it difficult to develop ideas in writing. On the other hand, teachers, many of them, only ready with the materials but confuse with the appropriate ways to teach. This paper intends to describe and discuss a method of teaching writing namely writing workshop to improve students ’ writing skill through travel writing. Writing workshop proposed by Calkins that consists of mini lesson, work time, peer conferring and/or response groups, share sessions, and publication celebration is applied in writing class for methodological purposes. In mini lesson, teacher offers something to the class that is meant to introduce a writing strategy done at the beginning of the workshop. During work time point, students start their new piece of writing. Teacher moves among students conferring with them while checking their works. Peer conferences or response groups provide a forum for students to talk about works...

principles of creative writing pdf

Sheffield Maravilla

The aim of this research is to determine the effect of creative writing activities on the skill of university students in writing story genre text. Unequaled control group model which is half experimental is used in this research. 1/A section (experimental group) of standard class and 1/B section (control group) of evening class from Turkish Language Teaching Department of Gazi Education Faculty of Gazi University constitute the sample of the research. 60 students participate in the research in total. The data obtained from the result of creative writing activities processed in 10 weeks are evaluated with regard to “The Scale of Story Writing Skill ”. It has been revealed that according to scale of story writing skill there is statistically a significant difference between the points [t(29) = -5,172; p≤,05 ] the students got from the post-test in the experimental and the control group. In other words, creative writing activities are more effective than traditional writing education in improving story writing skill. Besides, creative writing activities have a significant effect on content dimension [ t(29) = -3,668; p≤ ,05 ]; planning dimension [ t(29) =-3, 151; p≤ ,05 ]; characterization dimension [ t(29) = -5,666; p≤ ,05]; setting dimension [t(29) =-4,479; p≤ ,05 ] , and time dimension [ t(29) =-4,471; p≤ ,05 ] of story structure. According to these results, creative writing activities should be mentioned in Turkish courses and confidence in classroom should be taught in the relevant department of teacher training agencies and preservice teachers should be trained as qualified ones in terms of both practical and theoretical aspects of creative writing.

Dr. Shelina Bhamani

This research aimed to improve written expression (composition) skills of 5th grade students of an elite private school. The research was designed under the paradigm of action research. A total sample of 39 students' from the same grade was chosen for the study. The baseline assessment was carried out to explore the pre-intervention writing skill score of the students prior to the intervention cycle one. Later, intervention and writing skill support strategies were carried out for eight weeks. In the end, post-test was carried out to explore the differences occurred in the writing score of the students as a post intervention effect. The findings obtained from the quantitative data showed the improvement in the written expression skills of the students. It was observed that through taking the above mentioned measures, the teachers can help students improve their writing skills.

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ENGLISH JOURNAL OF INDRAGIRI

gina larasaty

In this era, writing is one of the skills that should be mastered by the students, because it will be useful in the future. Writing has a purpose of entertaining and of giving the information, for example, in creative writing. This research aimed to know the students’ perception of abilities they acquired after they participated in creative writing at the university level. The method of this research is descriptive analysis. The Participants of this research are coming from students in the fourth semester of English Department in Wiralodra University who took the Poetry subject Then the study resulted in the identification of abilities the students acquired after learning creative writing, the students are more self-confidence, critical reading and gain their vocabulary, grammar and punctuation in writing.

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This is proceedings paper from Scientific Writing subject about The students' perception of Creative Writing in enhancing Academic Writing

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Outi Kallionpää

In my Master ́s thesis I have researched teaching of creative writing for high school students. I have also created the concept called the Essential Understanding of Creative Writing, which I think is the base and the starting point of teaching creative writing. The term is hypothesis and it roughly means the subjectively understood essence of creative work and writing process, as well as the strengthening the inner motivation and author identity by writer. Collaboration seems to support the Essential Understanding of Creative Writing. That is why I have designed the teaching material using collaborative methods like role play and e-learning. 1. How the Essential Understanding of Creative Writing could be described? When teaching creative writing at High School I have noticed that it is not effective to teach fiction writing by narrative and literature concepts, text structure or genres if the student does not understand the operative environment of creative writing. And if the stud...

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Principles of Creative Writing

According to the Creative Writing program of the Graduate School of Arts and Sciences Teaching Center in Columbia University, writers must keep in mind the following principles to further enhance their writing skills:

Read before writing.

Writers must be familiar with the fundamental techniques of fiction and non-fiction writing. This is achieved through extensive reading and examining published literary materials such as books, magazines, literary folios, journals, and all the other forms of literature. By doing so, the writer becomes aware of various strategies in writing and learns about new writing styles. Reading models or samples of literary works will guide the young writer to write creatively. This will also give the writer an idea to employ his or her own unique writing style.

Learn to make revisions.

Effective writers are always aware and conscious of their writing craft. They criticize their own work to improve it. As a writer, one should practice editing or proofreading one’s work. It is also ideal to ask other readers to evaluate one’s work to ensure a good flow of words and presentation of ideas.

Know the true nature of creative writing.

Every writer must learn that creative writing is not only about using one’s imagination, but also presents ideas, themes, arguments, and questions. It provides valuable insights into the human mind and the world.

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  1. 20 Ideas To Creative Writing

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COMMENTS

  1. PDF Creative Writing Fundamentals

    Creative Writing Fundamentals _____ 1 Creative Writing is a very subjective discipline and mode of writing. However, there are some universal elements to consider and strengthen, no matter what genre you wish to write in. This guide will briefly go over images, voice, setting and story, which are central to any kind of Creative Writing you wish ...

  2. PDF General Principles of Creative Writing

    Creative Writing and its Significance Structure 1.0 Objectives 1.1 Introduction 1.2 What is Creative Writing? 1.3 Scope and Area of Creative writing 1.4 Analysing a Creative Composition 1.5 Things that must be avoided by a Writer 1.6 Gradation of Creative Writing from Pulp to Great Writers 1.7 Origin of Thought and Birth of an Idea

  3. PDF Lesson 1. INTRODUCTION LESSON AIM WHAT IS CREATIVE WRITING?

    INTRODUCTION LESSON AIM Describe elements and forms of creative writing. WHAT IS CREATIVE WRITING? The word creative is defined in various ways. The following are just some of the definitions: "The ability to create" "Imaginative" "Productive and imaginative" "Characterised by expressiveness and originality"

  4. PDF Creative Writing

    Elements1 Voice: An author's unique style and way of saying things. You should be able to recognize an author's written voice the way you recognize a person's spoken voice. In creative writing, one goal is to develop your written voice. Your voice should come across as natural, clear, and consistent, as unique to you as a fingerprint.

  5. PDF Creative Writing

    Creative Writing This pioneering book introduces students to the practice and art of creative writing and creative reading. It offers a fresh, distinctive and beautifully written synthesis of the discipline.

  6. PDF CreativeWriting 1.1: Essential WritingSkills

    Course Breakdown The course unit is divided into ten projects, each with a series of research tasks, exercises, and assignments. Project 1 is a general introduction to the unit. Project 2 is called Starting to Write, which will introduce you to some of the principles of creative writing.

  7. PDF PREFACE AND TABLE OF CONTENTS The Practice of Creative Writing Heather

    Print and Digital Options for The Practice of Creative Writing: A Guide for Students, 4e. Choose the format that works best for your course, and ask about our pack-aging options that offer savings for students. To order the fourth edition, use ISBN 978-1-319-21595-8. Achieve Writer's Help.

  8. (PDF) "Underlying Features and Principles of Creative Writing for

    (PDF) "Underlying Features and Principles of Creative Writing for Teaching and Learning" Paradigms, A Research Journal of Commerce , Economics and Social Sciences, University of Central...

  9. PDF A vital principle of creative writing

    A vital principle of creative writing What follows are some brief notes about two Classical and Renaissance rhetorical terms that lead into first, mention of a vital principle of creative writing and secondly, some thoughts on how this principle applies to descriptive writing.

  10. PDF Foundations Creative Writing

    8 Foundations: Creative Writing The five projects in Part One of this foundation course will help you to get to grips with some of the basics of creative writing: getting those first words down on paper (or on your computer screen); freewriting as a tool to help you free up your imagination; keeping a writer's notebook

  11. PDF the psychology of creative writing

    The Psychology of Creative Writing takes a scholarly, psychological look at multiple aspects of creative writing, including the creative writer as a person, the text itself, the creative process, the writer's development, the link between creative writing and mental illness, the personality traits of comedy and screenwriters, and how to teachcre...

  12. Elements of Creative Writing

    Introduction Fiction 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

  13. PDF A Matter of Value: Creative Writing Strategies and Their ...

    that creative writing is often considered "a separate and almost privileged place in the academy where art is produced" (17). In the literature that looks at the intersections of creative writing and composition, there seems to be many questions as to how and even if creative writing transfers over to composition: what is considered creative?

  14. PDF ACADEMIC WRITING

    Academic Writing "Writing" is usually understood as the expression of thought. This book redefines "writing" as the thought process itself. Writing is not what you do with thought. Writing is thinking. Better living through interpretation: that's the promise of academic writing, which is a foundational course in most schools because ...

  15. Write or Left

    In this book, we'll go over some of the general principles of writing practices as well as advice and tips on how to write creatively, but mainly, you'll be introduced to as many genres and categories as possible. We won't get bogged down in doing the writing process "perfectly" or creating "perfect literature." The goal is to learn about as many genres as possible, practice ...

  16. PDF Creative Writing from Theory to Practice:Multi-Tasks for ...

    3) The creative writing multi-tasks have a considerable impact on developing the experimental group's creative writing competence, compared with the control group. 1.4 Significance The significance of this study arises from its various roles in building and creating positive attitudes and confidence toward creative writing among EFL students.

  17. PDF The Art and Craft of UNIT 2 GENERAL PRINCIPLES OF Creative Writing

    GENERAL PRINCIPLES OF CREATIVE WRITING Structure 2.0 Aims and Objectives 2.1 Introduction 2.2 Dimensions of Clarity and Transparency 2.2.1 Decide what you want to make clear 2.2.2 Clarity depends upon proper education 2.2.3 Clarity requires a concrete definition of your subject 2.2.4 Knowing your reader 2.2.5 Rigidity may affect clarity

  18. Principles of Creative Writing: An Ultimate Guide

    a) Imagination knows no bounds b) Crafting compelling characters c) Plot twists and turns d) Setting the stage e) Point of View (POV) and voice f) Dialogue - The voice of your characters g) Conflict and tension h) Show, don't tell i) Editing and revising with precision j) The power of theme and symbolism k) Pacing and rhythm

  19. (PDF) TEACHING CREATIVE WRITING

    The Effect of Creative Writing Activities on the Story Writing Skill. The aim of this research is to determine the effect of creative writing activities on the skill of university students in writing story genre text. Unequaled control group model which is half experimental is used in this research. 1/A section (experimental group) of standard ...

  20. PDF Creative Writing

    creative writing in higher education; there are fine examples available in print (Dawson, 2005;Myers,1995). The first five chapters explore principles and procedures of creative writing that apply generally to the writing and techniques of fiction, creative nonfic-tion, poetry and, to some extent, drama. Guests to this party include reading,

  21. (PDF) CHAPTER 12 EFFECTIVE WRITING SKILLS: GENERAL AND ...

    PDF | The focus of this chapter is to discuss how one can write effectively. Writing as a skill of language is crucial not only to the academic but also... | Find, read and cite all the...

  22. Applied imagination; principles and procedures of... (PDF)

    The principles and pro- cedures set forth are in no way revolutionary; they have been known and used by creative thinkers, both artists and scientists, for many centuries. The revolutionary aspect, if such there is, is the eflEect of a formal and systematized approach to a fuller utihzation of the creative imagination.

  23. Principles of Creative Writing

    Learn to make revisions. Effective writers are always aware and conscious of their writing craft. They criticize their own work to improve it. As a writer, one should practice editing or proofreading one's work. It is also ideal to ask other readers to evaluate one's work to ensure a good flow of words and presentation of ideas.

  24. Principles of Prosecutor Lenience by Jeffrey Bellin :: SSRN

    It defines prosecutorial lenience and proposes three principles to guide its exercise: prosecutor lenience should be (1) non-arbitrary, (2) equal, and (3) abundant. It then applies the principles in common prosecutorial lenience scenarios, like insufficient evidence, justice-based lenience, transactional lenience, triage, nullification, and mercy.