creative writing lesson plan middle school

Creative Writing Lesson Plans: Week One

Looking for creative writing lesson plans? I am developing creative writing lesson ideas! 

I’ve written and revamped my creative writing lesson plans and learned that the first week is vital in establishing a community of writers, in outlining expectations, and in working with a new class.

What are some good creative writing exercises?

Some good creative writing exercises include writing prompts, free writing, character development exercises, and fun writing games.

The first week, though, we establish trust—and then we begin powerful creative writing exercises to engage young writers and our community.

How can add encouragement in creative writing lesson plans?

I’ve found students are shy about writing creatively, about sharing pieces of themselves. A large part of the first week of class is setting the atmosphere, of showing everyone they are free to create. And! These concepts will apply to most writing lesson plans for secondary students.

Feel free to give me feedback and borrow all that you need! Below, find my detailed my day-by-day progression for creative writing lesson plans  for week one.

Creative Writing Lesson Day One: Sharing my vision

Comfort matters for young writers. I’m not a huge “ice breaker” type of teacher—I build relationships slowly. Still, to get student writing, we must establish that everyone is safe to explore, to write, to error.

Here are some ideas.

Tone and attitude

For day one with any lesson plan for creative writing, I think it is important to set the tone, to immediately establish what I want from my creative writing students. And that is…

them not to write for me, but for them. I don’t want them writing what they think I want them to write.

Does that make sense? Limitations hurt young writers. My overall tone and attitude toward young writers is that we will work together, create and write together, provide feedback, and invest in ourselves. Older kiddos think that they must provide teachers with the “correct” writing. In such a course, restrictions and boundaries largely go out the window.

Plus, I specifically outline what I believe they can produce in a presentation to set people at ease.

The presentation covers expectations for the class. As the teacher, I am a sort of writing coach with ideas that will not work for everyone. Writers should explore different methods and realize what works for them. First, not everyone will appreciate every type of writing—which is fine. But as a writing community, we must accept that we may not be the target audience for every piece of work.

Therefore, respect is a large component of the class. Be sure to outline what interactions you find acceptable within your classroom community.

Next, as their writing coach, I plan to provide ideas and tools for use. Their job is to decide what tools work for their creative endeavors. My overall message is uplifting and encouraging.

Finally, when we finish, I share the presentation with students so they can consult it throughout the semester. The presentation works nicely for meet-the-teacher night, too!

After covering classroom procedures and rules, I show students a TED Talk. We watch The Danger of a Single Story by Chimamanda Adichie. My goal is to show students that I don’t have a predetermined idea concerning what they should write. This discussion takes the rest of the class period.

Establishing comfort and excitement precedents my other creative writing activities. Personalize your “vision” activities for your lessons in creative writing. Honestly, doing this pre-work builds relationships with students and creates a positive classroom atmosphere.

Creative Writing Lesson Day Two: Activating prior knowledge

Students possess prior knowledge concerning creative writing, but they might not consider that. Students should realize that they know what constitutes a great story. They might not realize that yet. An easy lesson plan for creative writing that will pay off later is to activate prior knowledge. Brainstorm creative, memorable, unforgettable stories with students. Share your thoughts too! You will start to build relationships with students who share the same tastes as you (and those that are completely different!).

Activation activity

During this activity, I want to see how students work together, and I want to build a rapport with students. Additionally, activating prior knowledge provides a smooth transition into other creative writing activities.

This creative writing activity is simple:

I ask students to tell me memorable stories—books, play, tv shows, movies—and I write them on the board. I add and veto as appropriate. Normally doing these classroom discussions, we dive deeper into comedies and creative nonfiction. Sometimes as we work, I ask students to research certain stories and definitions. I normally take a picture of our work so that I can build creative writing lessons from students’ interests.

This takes longer than you might think, but I like that aspect. This information can help me shape my future lessons.

With about twenty minutes left in class, I ask students to form small groups. I want them to derive what makes these stories memorable. Since students complete group and partner activities in this class, I also watch and see how they interact.

Students often draw conclusions about what makes a story memorable:

• Realistic or true-to-life characters.
• Meaningful themes.
• Funny or sad events.

All of this information will be used later as students work on their own writing. Many times, my creative writing lessons overlap, especially concerning the feedback from young writers.

Creative Writing Lesson Day Three: Brainstorming and a graphic organizer

From building creative writing activities and implementing them, I now realize that students think they will sit and write. Ta-da!  After all, this isn’t academic writing. Coaching creative writing students is part of the process.

Young writers must accept that a first draft is simply that, a first draft. Building a project requires thought and mistakes. (Any writing endeavor does, really.) Students hear ‘creative writing’ and they think… easy. Therefore, a first week lesson plan for creative writing should touch on what creativity is.

Really, creativity is everywhere. We complete a graphic organizer titled, “Where is Creativity?” Students brainstorm familiar areas that they may not realize have such pieces.

The ideas they compile stir all sorts of conversations:

• Restaurants
• Movie theaters
• Amusement parks

By completing this graphic organizer, we discuss how creativity surrounds us, how we can incorporate different pieces in our writing, and how different areas influence our processes.

Creative Writing Lesson, Days Four and Five: Creative Nonfiction

Students need practice writing, and they need to understand that they will not use every word they write. Cutting out lines is painful for them! Often, a lesson plan for creative writing involves providing time for meaningful writing.

For two days, we study and discuss creative nonfiction. Students start by reading an overview of creative nonfiction . (If you need mentor texts, that website has some as well.) When I have books available, I show the class examples of creative nonfiction.

We then continue through elements of a narrative . Classes are sometimes surprised that a narrative can be nonfiction.

The narrative writing is our first large project. As we continue, students are responsible for smaller projects as well. This keeps them writing most days.

Overall, my students and I work together during the first week of any creative writing class. I encourage them to write, and I cheer on their progress. My message to classes is that their writing has value, and an audience exists for their creations.

And that is my week one! The quick recap:

Week One Creative Writing Lesson Plans

Monday: Rules, procedures, TED Talk, discussion.

Tuesday: Prior knowledge—brainstorm the modeling of memorable stories. Draw conclusions about storytelling with anchor charts. Build community through common knowledge.

Wednesday: Graphic organizer.

Thursday and Friday: Creative nonfiction. Start narrative writing.

Students do well with this small assignment for the second week, and then we move to longer creative writing assignments . When classesexperience success with their first assignment, you can start constructive editing and revising with them as the class continues.

These creative writing activities should be easy implement and personalize for your students.

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Poetry Center

Five Creative Writing Lesson Plans for Middle & High School Students

A Poem About Joy:

In this lesson plan, inspired by Ross Gay's "Sorrow Is Not My Name," Teré Fowler-Chapman asks young poets to come up with a list of things that bring them joy and then write a poem inspired by one of the items on that list. The writing exercise, which is a fantastic way to bring social-emotional learning into the classroom, is preceded by a conversation on Gay's poetics and on how joy can exist even in times of sorrow.

Personal Migrations:

Saraiya Kanning, inspired by Wang Ping's "Things We Carry on the Sea," asks young writers to, "contemplate how migration has played out in their own lives, including the lives of their families." This multi-part lesson plan includes a word association game, a discussion of Ping's poem, and a group poem in which students answer the question, "What sort of things have been carried across land, sea, or even across time?" collaboratively. After this, they write their own individual poems, using a series of questions to jump start their creativity, and then craft art pieces using popsicle sticks, pipe cleaners and/or puff paint to trace paths across the surface of their chosen canvas (Kanning used cake board!). This lesson can be shortened or spread out over class periods as part of a unit on immigration and migration.

Rare Bird Erasure:

"Erasure poems use words from another source to create a new poem," Saraiya Kanning writes in this lesson plan, which uses the field guide Rare and Elusive Birds of North America as a source text from which young writers create their own pieces (although you're welcome to use any book you'd like!). Each student receives a photocopied page from the book and goes on a "treasure hunt," selecting 5-10 words that in some way connect to one another. After creating their erasure poem, students can decorate the page with art materials to "create images, patterns, or designs around the words." This lesson plan includes a note on modifications for student with visual impairments.

Titles: Art on their Own:

So often in creative writing, the titling process is overlooked but important: as Sophie Daws says, "Writing a title can feel like putting the cherry on top of your great poem or it can feel like walking on eggshells, where the wrong title could ruin the whole poem and you just can’t come up with the right one!" This lesson plan, drawn from her high school zine residency, uses six prompts to offer a guided approach to coming up with a title for a finished project, from one that asks students to write down their favorite line to another that encourages them to think of how a title can add another tone or angle to their work.

Found Art Handmade Books:

Taylor Johnson bridges creative writing and visual art in this lesson plan, which focuses on crafting handmade books from recycled materials. Johnson suggests using everything from old postcards to yarn to insect wings to create a publication that's truly one of a kind. As far as words go, students can either add something they've previously written to their books whole cloth or cut up bits of their old writing and "remix" it. After the books are done, Johnson suggests creating a classroom library or exhibit for students to browse one another's books.

Image from the Boston Public Library.

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Our 2020-21 Writing Curriculum for Middle and High School

A flexible, seven-unit program based on the real-world writing found in newspapers, from editorials and reviews to personal narratives and informational essays.

Update, Aug. 3, 2023: Find our 2023-24 writing curriculum here.

Our 2019-20 Writing Curriculum is one of the most popular new features we’ve ever run on this site, so, of course, we’re back with a 2020-21 version — one we hope is useful whether you’re teaching in person , online , indoors , outdoors , in a pod , as a homeschool , or in some hybrid of a few of these.

The curriculum detailed below is both a road map for teachers and an invitation to students. For teachers, it includes our writing prompts, mentor texts, contests and lesson plans, and organizes them all into seven distinct units. Each focuses on a different genre of writing that you can find not just in The Times but also in all kinds of real-world sources both in print and online.

But for students, our main goal is to show young people they have something valuable to say, and to give those voices a global audience. That’s always been a pillar of our site, but this year it is even more critical. The events of 2020 will define this generation, and many are living through them isolated from their ordinary communities, rituals and supports. Though a writing curriculum can hardly make up for that, we hope that it can at least offer teenagers a creative outlet for making sense of their experiences, and an enthusiastic audience for the results. Through the opportunities for publication woven throughout each unit, we want to encourage students to go beyond simply being media consumers to become creators and contributors themselves.

So have a look, and see if you can find a way to include any of these opportunities in your curriculum this year, whether to help students document their lives, tell stories, express opinions, investigate ideas, or analyze culture. We can’t wait to hear what your students have to say!

Each unit includes:

Writing prompts to help students try out related skills in a “low stakes” way.

We publish two writing prompts every school day, and we also have thematic collections of more than 1,000 prompts published in the past. Your students might consider responding to these prompts on our site and using our public forums as a kind of “rehearsal space” for practicing voice and technique.

Daily opportunities to practice writing for an authentic audience.

If a student submits a comment on our site, it will be read by Times editors, who approve each one before it gets published. Submitting a comment also gives students an audience of fellow teenagers from around the world who might read and respond to their work. Each week, we call out our favorite comments and honor dozens of students by name in our Thursday “ Current Events Conversation ” feature.

Guided practice with mentor texts .

Each unit we publish features guided practice lessons, written directly to students, that help them observe, understand and practice the kinds of “craft moves” that make different genres of writing sing. From how to “show not tell” in narratives to how to express critical opinions , quote or paraphrase experts or craft scripts for podcasts , we have used the work of both Times journalists and the teenage winners of our contests to show students techniques they can emulate.

“Annotated by the Author” commentaries from Times writers — and teenagers.

As part of our Mentor Texts series , we’ve been asking Times journalists from desks across the newsroom to annotate their articles to let students in on their writing, research and editing processes, and we’ll be adding more for each unit this year. Whether it’s Science writer Nicholas St. Fleur on tiny tyrannosaurs , Opinion writer Aisha Harris on the cultural canon , or The Times’s comics-industry reporter, George Gene Gustines, on comic books that celebrate pride , the idea is to demystify journalism for teenagers. This year, we’ll be inviting student winners of our contests to annotate their work as well.

A contest that can act as a culminating project .

Over the years we’ve heard from many teachers that our contests serve as final projects in their classes, and this curriculum came about in large part because we want to help teachers “plan backwards” to support those projects.

All contest entries are considered by experts, whether Times journalists, outside educators from partner organizations, or professional practitioners in a related field. Winning means being published on our site, and, perhaps, in the print edition of The New York Times.

Webinars and our new professional learning community (P.L.C.).

For each of the seven units in this curriculum, we host a webinar featuring Learning Network editors as well as teachers who use The Times in their classrooms. Our webinars introduce participants to our many resources and provide practical how-to’s on how to use our prompts, mentor texts and contests in the classroom.

New for this school year, we also invite teachers to join our P.L.C. on teaching writing with The Times , where educators can share resources, strategies and inspiration about teaching with these units.

Below are the seven units we will offer in the 2020-21 school year.

September-October

Unit 1: Documenting Teenage Lives in Extraordinary Times

This special unit acknowledges both the tumultuous events of 2020 and their outsized impact on young people — and invites teenagers to respond creatively. How can they add their voices to our understanding of what this historic year will mean for their generation?

Culminating in our Coming of Age in 2020 contest, the unit helps teenagers document and respond to what it’s been like to live through what one Times article describes as “a year of tragedy, of catastrophe, of upheaval, a year that has inflicted one blow after another, a year that has filled the morgues, emptied the schools, shuttered the workplaces, swelled the unemployment lines and polarized the electorate.”

A series of writing prompts, mentor texts and a step-by-step guide will help them think deeply and analytically about who they are, how this year has impacted them, what they’d like to express as a result, and how they’d like to express it. How might they tell their unique stories in ways that feel meaningful and authentic, whether those stories are serious or funny, big or small, raw or polished?

Though the contest accepts work across genres — via words and images, video and audio — all students will also craft written artist’s statements for each piece they submit. In addition, no matter what genre of work students send in, the unit will use writing as a tool throughout to help students brainstorm, compose and edit. And, of course, this work, whether students send it to us or not, is valuable far beyond the classroom: Historians, archivists and museums recommend that we all document our experiences this year, if only for ourselves.

October-November

Unit 2: The Personal Narrative

While The Times is known for its award-winning journalism, the paper also has a robust tradition of publishing personal essays on topics like love , family , life on campus and navigating anxiety . And on our site, our daily writing prompts have long invited students to tell us their stories, too. Our 2019 collection of 550 Prompts for Narrative and Personal Writing is a good place to start, though we add more every week during the school year.

In this unit we draw on many of these resources, plus some of the 1,000-plus personal essays from the Magazine’s long-running Lives column , to help students find their own “short, memorable stories ” and tell them well. Our related mentor-text lessons can help them practice skills like writing with voice , using details to show rather than tell , structuring a narrative arc , dropping the reader into a scene and more. This year, we’ll also be including mentor text guided lessons that use the work of the 2019 student winners.

As a final project, we invite students to send finished stories to our Second Annual Personal Narrative Writing Contest .

DECEMBER-January

Unit 3: The Review

Book reports and literary essays have long been staples of language arts classrooms, but this unit encourages students to learn how to critique art in other genres as well. As we point out, a cultural review is, of course, a form of argumentative essay. Your class might be writing about Lizzo or “ Looking for Alaska ,” but they still have to make claims and support them with evidence. And, just as they must in a literature essay, they have to read (or watch, or listen to) a work closely; analyze it and understand its context; and explain what is meaningful and interesting about it.

In our Mentor Texts series , we feature the work of Times movie , restaurant , book and music critics to help students understand the elements of a successful review. In each one of these guided lessons, we also spotlight the work of teenage contest winners from previous years.

As a culminating project, we invite students to send us their own reviews of a book, movie, restaurant, album, theatrical production, video game, dance performance, TV show, art exhibition or any other kind of work The Times critiques.

January-February

Unit 4: Informational Writing

Informational writing is the style of writing that dominates The New York Times as well as any other traditional newspaper you might read, and in this unit we hope to show students that it can be every bit as engaging and compelling to read and to write as other genres. Via thousands of articles a month — from front-page reporting on politics to news about athletes in Sports, deep data dives in The Upshot, recipes in Cooking, advice columns in Style and long-form investigative pieces in the magazine — Times journalists find ways to experiment with the genre to intrigue and inform their audiences.

This unit invites students to take any STEM-related discovery, process or idea that interests them and write about it in a way that makes it understandable and engaging for a general audience — but all the skills we teach along the way can work for any kind of informational writing. Via our Mentor Texts series, we show them how to hook the reader from the start , use quotes and research , explain why a topic matters and more. This year we’ll be using the work of the 2020 student winners for additional mentor text lessons.

At the end of the unit, we invite teenagers to submit their own writing to our Second Annual STEM writing contest to show us what they’ve learned.

March-April

Unit 5: Argumentative Writing

The demand for evidence-based argumentative writing is now woven into school assignments across the curriculum and grade levels, and you couldn’t ask for better real-world examples than what you can find in The Times Opinion section .

This unit will, like our others, be supported with writing prompts, mentor-text lesson plans, webinars and more. We’ll also focus on the winning teenage writing we’ve received over the six years we’ve run our related contest.

At a time when media literacy is more important than ever, we also hope that our annual Student Editorial Contest can serve as a final project that encourages students to broaden their information diets with a range of reliable sources, and learn from a variety of perspectives on their chosen issue.

To help students working from home, we also have an Argumentative Unit for Students Doing Remote Learning .

Unit 6: Writing for Podcasts

Most of our writing units so far have all asked for essays of one kind or another, but this spring contest invites students to do what journalists at The Times do every day: make multimedia to tell a story, investigate an issue or communicate a concept.

Our annual podcast contest gives students the freedom to talk about anything they want in any form they like. In the past we’ve had winners who’ve done personal narratives, local travelogues, opinion pieces, interviews with community members, local investigative journalism and descriptions of scientific discoveries.

As with all our other units, we have supported this contest with great examples from The Times and around the web, as well as with mentor texts by teenagers that offer guided practice in understanding elements and techniques.

June-August

Unit 7: Independent Reading and Writing

At a time when teachers are looking for ways to offer students more “voice and choice,” this unit, based on our annual summer contest, offers both.

Every year since 2010 we have invited teenagers around the world to add The New York Times to their summer reading lists and, so far, 70,000 have. Every week for 10 weeks, we ask participants to choose something in The Times that has sparked their interest, then tell us why. At the end of the week, judges from the Times newsroom pick favorite responses, and we publish them on our site.

And we’ve used our Mentor Text feature to spotlight the work of past winners , explain why newsroom judges admired their thinking, and provide four steps to helping any student write better reader-responses.

Because this is our most open-ended contest — students can choose whatever they like, and react however they like — it has proved over the years to be a useful place for young writers to hone their voices, practice skills and take risks . Join us!

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Creative Writing Lesson Plans

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Creative Writing

15 Classified Ads We Hope Had Happy Endings Writing prompt: choose one of these historical ads and construct a narrative that supports it. Include characters, location, and other necessary details. (Teachers may wish to check the ads for appropriateness.)

20 Mystical Bridges That Will Take You To Another World Creative writing prompt: "I walked across the bridge and ..." The photographs of real bridges on this page are astonishingly beautiful. However, the page also carries ads that may not be appropriate for the classroom. Consider copying the photographs into a new file for classroom use.

27 Magical Paths Begging To Be Walked Photographs of beautiful paths all over the world, showing a variety of seasons and geography, just waiting to inspire a poem or serve as the setting for a short story. Note: this page carries ads that may not be appropriate for the classroom. Consider copying the photographs into a new file for classroom use.

The 100-Word Challenge In this activity students respond to a prompt using not more than 100 words. Writing is posted on a class blog, where responses are invited. The activity encourages regular writing for an authentic audience. It's designed for students 16 and under.

Adding Emotions to your Story A good lesson on adding detail, "exploding" an incident, and "show, don't tell." It includes handouts and is designed for grades 3-5.

After the First Draft: 30 Fast, Easy Writing Tips for the Second Draft This 37-page document is designed for writers of novels, but many of the tips apply equally to writers of short stories. Clear, simple, and easy to read, appropriate for 5th or 6th grade (in places) and up. Adobe Reader required for access.

All Together Now: Collaborations in Poetry Writing Students write a line of poetry in response to something the teacher reads. Their lines, together, form a poem. This unit is designed for grades K-2.

Bernadette Mayer's List of Journal Ideas A list of journal topics that will work on multiple grade levels. Scroll down for a list of "Writing Experiments" that will work well in a creative writing unit.

The Book of Butterflies by Michael Leunig (Scroll down on the page.) This short (1:06) video explores the question "What happens when a book comes to life?" It will work well on almost any grade level.

By the Old Mill Stream A creative writing prompt, differentiated for elementary and middle and high school students. Students begin writing a narrative. In the second part of the prompt, they write a description.

Calling on the Muse: Exercises to Unlock the Poet Within From Education World.

Can You Haiku? from EdSitement Complete lesson plans for writing haiku, links to additional material.

Character Name Generator Choose ethnicity, decade of birth, and gender, and this site will generate an appropriate name and a possible character description.

Characterization in Literature and Theater Students explore various methods authors use to create effective characters. Students will consider what makes a character believable and create their own characterizations. They will also write a short script using the characters they created and act out the script.

The Clues to a Great Story One-page handout with 5 essential elements for good storytelling. Uses "The Ugly Duckling" and more contemporary stories for examples.

The Color of Love In this lesson students will be invited to reflect on a variety of colors and the pleasurable things that those colors invoke. They then will write a poem about someone they love following Barbara Joosse's style in I Love You the Purplest .

Creating Characters Students examine character as a significant element of fiction. They learn several methods of characterization, identify and critique these methods in well-known works of fiction, and use the methods in works of their own. Students also identify, examine, evaluate, and use the elements dialogue and point of view as methods of characterization.

Creative State of Mind: Focusing on the Writing Process In this lesson, students examine the lyrics of rap artist Jay-Z for literary elements including rhyme, metaphor, puns and allusions, then consider what he says about his own writing process. Finally, they analyze additional lyrics and apply lessons from Jay-Z's process to their own reading and writing.

The Cutting Edge: Exploring How Editing Affects an Author's Work Students examine the writing of short-story author Raymond Carver as well as their own writing to explore how editing can affect the text, content and context of an author's work.

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17 Absolutely Gosh-Wow Writing Lessons for Middle School

Below you’ll find a breakdown of our 17 killer writing lessons for middle school, which you can get here .

No doubt you’ll want to check out the lessons first. Click the thumbnail below to preview these amazing middle school writing lessons.

Looking for middle school short stories? Go here .

Looking for 1,029 killer middle school writing prompts? Go here .

Middle School Writing Lessons

So what’s in our lesson plans? Check it out:

1: Who’s the Goat: Debating the Greatest of All Time

2: Mapping the Neighborhood: Creating Maps to Generate Story Ideas

3: My Obituary: The Story of Your Life

4: Double, Double, Toil & Trouble: Writing Recipes for Magic Potions

5: My Principal is an Alien: Writing for the Tabloids

6: You’re Hired! LinkedIn Profiles for Fictional Characters

7: Snow White & the 7 Genres: Rewriting Disney Classics

8: The Choice is Yours: Writing an Adventure as a Class

9: Nuts and Bolts: Writing an Instruction Manual

10: The Watermelons of Despair: Rewriting Classic Titles

11: My Ideal Bookshelf: Illustrating Your Favorite Stack of Books

12: Love Letters From the Undead: Writing Letters From Fictional Characters

13: Harold in the Matrix: Unreliable Narrators in Picture Books

14: Message in a Bottle: Writing Letters to Your Future Self

15: What the Candlestick Saw: Writing From the POV of Inanimate Objects

16: Story Maps: Creating Maps to Visualize Stories

17: The Great American Road Trip: Writing About Travel on the Road

How to Use These Lesson Plans

Our lesson plans are designed to be used in two ways. You can either use them as individual one-off lessons to liven up your writing curriculum. Or you can use them to build upon specific writing units.

For example, creative writing units can benefit from our lessons on point of view, unreliable narrators, and creating LinkedIn profiles for fictional characters.

However, you could use our Who’s the GOAT? and Great American Road Trip lessons as stand alone lessons that are fun and engaging but don’t necessarily connect to a wider unit.

What Grade Level Are These Lessons Appropriate For?

We design our lesson plans to be utilized by a wide range of educators. These writing lessons are not grade-specific, and they can be adapted for students from 5th grade up through 12th grade.

Depending upon the specific needs and ability levels of your students, they can be expanded or contracted. Want your students to dive more deeply into POV? Have them write longer pieces or produce multiple pieces from different points of view. Want them to focus on just the basics of their obituary? Assign two paragraphs instead of multiple pages.

We believe teachers deserve lesson plans that provide a clear path but that leave plenty of room for educators to adapt and adjust for their own purposes.

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Writer’s Workshop Middle School: The Ultimate Guide

Feb 23, 2021

Writer’s Workshop Middle School: The Ultimate Guide defines the writer’s workshop model, its essential components, pros and cons, step-by-step set-up, and further resources.

What is the writer’s workshop model?

Writer’s workshop is a method of teaching writing developed by Donald Graves and Donald Murray , amongst other teacher-researchers.

The writer’s workshop provides a student-centered environment where students are given time, choice, and voice in their learning. The teacher nurtures the class by creating and mentoring a community of writers.

So, why does the writer’s workshop in middle school matter?

Students learn more during the writer’s workshop because you can mentor them toward what they need to know and practice, and they have lots of time to write and read in order to improve at their own pace (to an extent). 

For example, if the skill I need to teach is how authors use mood and tone to create meaning , then I would use a mentor text to teach that concept. However, after reading, the focus will not be on answering questions about the text in written form. Instead, I demonstrate how writers choose particular words and the arrangement of those words to create a mood and tone. 

Students then try creating mood and tone with their own pieces of writing. Only after students have practiced their own creations, do I then circle back around to other literature for students to practice literary analysis of mood and tone and its effect on meaning.

Why I focus on writing in the ELA classroom?

I’ve found students are more likely to read assigned texts if I’ve given them a reason to use those texts. That reason? To apply what they learn from mentor texts to their choice writing. Middle school students love to express themselves in creative ways, and by giving students this choice, you build engagement and motivation to continue learning.

The essential components of the writer’s workshop in middle school are:

• Time to write daily 
• Student choice 
• Exploring the writer’s voice
• Building a community of writers
• Mentor teaching 

1. Time to Write Daily

Students need a chance to write daily. Various ways you can do this are through Bell Ringers at the beginning of the class, writing during the mini-lesson, and writing projects during workshop time. My students use writing journals because they need a space to think before they face a blank computer screen.

Students do read in my classes. However, their purpose for reading is to become better writers. This reading is either assigned, student choice, or a choice between the assigned reading and student choice, depending on the skill or concept I’m targeting that week. 

This is how I break up our daily writing:

• Write Now (bell ringer) 
• Mini-lesson and sharing 
• Writing/Reading Workshop while I confer with writers 
• Short turn and talk, log off computers and pack up 

Below is an example of my story writer’s workshop time transformation. This is what I use when we are writing narratives. I’m using a fantasy magic theme here:

2. Student Choice

To keep students motivated to write, you want to build in student choice whenever and wherever possible. Just to clarify, you don’t have to give them choices for everything they do. 

For one thing, that would be as overwhelming as shopping on the cereal aisle at your local grocery store. Just too many choices. 

When I introduce a concept, I may give them a few choices on how students can practice that concept. If I give them a writing assignment, I often allow them ONE choice in topic, genre, audience, or mode of writing. 

If you need students to complete an assignment/activity within a certain time period, tell them ahead of time. Let them know they can turn in an excerpt if they want to write something longer than you expect. 

Of course, this is not always possible. They need to learn how to write within certain time parameters. So, let them practice this through timed writings or word sprints .

One way to help students with choice is to have them do listing activities frequently. They could even have a section in their writing notebooks just for lists of ideas.  

3. Exploring the writer’s voice

Writer’s voice – that elusive term that most writers have no idea how to achieve until they’ve written for a while, and then finally realize they have it. The ultimate goal for me as a writing teacher is to help my students to find their voice.

I want students to be able to explore what is important to them personally and to explore how they can share this with others. From encouraging students to participate in small group sharing to author’s celebrations, students need the opportunity to see their writing voice matters.

There are so many different ways for kids to publish safely online – Edublogs, Adobe Spark, Google Sites, FlipGrid, etc. 

4. Building a community of writers in your writer’s workshop for middle school

Middle school students are very social, but even the quiet writers need to socialize often with other writers. This component of the writer’s workshop for middle school is what makes this model an actual workshop.

Students share their writing with each other. Usually, I allow for natural partnerships and groups to form. However, at the beginning of the year, I often pair up students for short activities. This helps everyone feel more comfortable with each other.   

One way I build a community of writers is to play the name game at the beginning of the year. We all stand in a circle and we toss a ball to each other and say our name and all the people who have had the ball tossed to them. It gets fun when students start to forget names. They all start out being self-conscious but end up laughing and smiling.  

Another way to build a community is during share time. I have students write in their notebooks as soon as they come into the classroom as a warm-up, starter activity that I call Write Nows. These Write Nows are projected up on the screen, and students write for 2-5 minutes. After this, I ask students to turn and talk to a neighbor about what they wrote. 

Sometimes this writing is a review of the previous day or another activity that goes along with the skill we are learning. Other times it is a prewriting activity that helps break writer’s block .

Write a Letter to your Students

To help students get to know me as a community member, I write a letter to them and they write back to me. This starts the relationship-building between my students and me within the first week, and I conference with the students about their letters. This also gets them into the swing of a writer’s workshop.

My students love this letter-writing activity that I’ve done every year for the past 24 years. It’s a hit every year and establishes the tone and mood of our workshop.

5. Teacher as Writing Mentor

One of the most important components of the writer’s workshop in middle school is you – the writing teacher.

To teach writing well, you should write along with your students. Over the years, I’ve written on transparencies, used a document camera, and filmed myself writing. All of these methods work. Generally, I write along with students during the bell-ringer activity, which I call Write Now, but sometimes I’ve prewritten the Write Now.

Additionally, I show students my various writing projects, both published and unpublished, during daily lessons.

My students have seen this blog, heard my podcasts , listened to me read aloud from stories I’ve written and/or published. My students are the ones who pushed me to publish my first YA books . You’ll be amazed at what you come up with and how this creates a bond with your students that lasts a lifetime.

Also, by completing the writing assignments you assign, you’ll be able to empathize with and anticipate the writer’s struggle with each assignment.

Terms to Know for Writing Workshop

This is not an exhaustive list, but one that will be added to as I find more terms that should be added here.

Activity:   the practice of a skill or process, especially when gaining new knowledge

Assignment: a product created by the student after practicing a skill or process that may be revised up until a particular due date

Bell ringer: a beginning of the period activity (I call these Write Nows in my class)

Blended learning environment: in-person LIVE teaching and learning or digital learning with recorded lessons

Conference: a meeting between teacher and student about their writing

Journal write:  handwriting in a journal for ideas, bell ringers, collecting information, etc.

Mini-lesson: a short 5-10 minute lesson that teaches either a whole or partial skill or process

Mastery Learning: quizzing students on their conceptual knowledge, giving them different activities based on the results of their quizzes – either reteach or extend – and quizzing again. Revisions can also be mastery-learning pieces. 

Mentor texts: well-written, multicultural texts used to demonstrate a literary concept or style

Rubric: a breakdown of the skill into levels of learning – students revise to earn a higher level

Writing Workshop Middle School Pros and Cons

• Builds student relationships with you and each other – lots of SEL
• Easier to differentiate for students than the traditional classroom model
• Grading can be accomplished during conferences
• Students are more engaged and begin to enjoy writing
• They might even enjoy reading more, too
• Mini-lessons are short, sweet and to the point, less prep time for presentations 
• Breaking through writer’s block
• Teaching students how to use the technology 
• Helping students revise if they don’t have access to technology
• Adapting to technology challenges that arise (switch to writing journals or change Internet browsers) 
• Deadlines can be difficult to manage sometimes

As far as time management is concerned – one of the things I am going to stress to my students is the need for getting assignments turned in, even if it’s not perfect. I need to be able to keep them to deadlines. So, this year, I’m going to teach my student’s Parkinson’s Law :

How to start a writer’s workshop for middle school

These are the steps I’m taking this year to start my writer’s workshop, and I’ve used these for quite a few years now. Some steps may be done simultaneously on the same day. There will be future blog posts about each of these steps.

• Create a welcoming classroom space.
• Decide what technology you will be using – hardware and software. If you need help with Canvas LMS, click here .
• Send out your course syllabus with materials students will need for your course.
• Create a course outline based on your school’s curriculum guides or state standards. 
• Plan and post your first 2 weeks of lessons and assignments into your online course (if you are using technology in your course).
• Establish classroom expectations and routines.
• Build a classroom community of writers.
• Show students how to navigate your course online.
• Write a letter to your students and have them write back to you as their first assignment.
• Confer with your writers as they are writing their letters and make a list for yourself of things students need to work on with their writing.
• Set up writing journals and begin writing workshop routines.
• During mini-lessons, teach the 5 tricks that break writer’s block .
• Students write in journals to gather ideas and begin writing pieces.
• Assign a short writing piece and confer with writers during workshop time. 
• Teach ONE revision strategy during a mini-lesson, depending on your curriculum.
• Teach ONE editing strategy during a mini-lesson, depending on your curriculum.
• Allow writers to revise and edit before turning in their first short writing assignment.
• Celebrate your writers with the Author’s Chair presentations.
• Continue writer’s workshop by using daily bell ringers, mini-lessons about writing and reading, sharing, writing/reading workshop, conferencing, and turn and talk.
• Breakaway from the writer’s workshop routine every once in a while to play – escape rooms, read-arounds, watch a movie, celebrate authors, group brainstorm, catching up on overdue assignments.

References for Writing Workshop in Middle School

Atwell, Nancie. In the Middle: A Lifetime of Learning about Writing, Reading, and Adolescence. Heinemann, 2014.

Graves, Donald H. “All Children Can Write.” http://www.ldonline.org/article/6204/  

Lane, Barry. After The End: Teaching and Learning Creative Revision. Heinemann, 2015.  

Murray, Donald. “The Listening Eye: Reflections on the Writing Conference”  https://secure.ncte.org/library/NCTEFiles/Resources/Journals/CE/1979/0411-sep1979/CE0411Listening.pdf

Learning materials for Writing Workshop for Middle School

Writing Literary & Informative Analysis Paragraphs

Students struggle with writing a literary analysis , especially in middle school as the text grows more rigorous, and the standards become more demanding. This resource is to help you scaffold your students through the process of writing literary analysis paragraphs for CCSS ELA-Literacy RL.6.1-10 for Reading Literature and RI.6.1-10 Reading Information. These paragraphs can be later grouped together into writing analytical essays.

PEEL, RACE, ACE, and all the other strategies did not work for all of my students all of the time, so that’s why I created these standards-based resources.

These standards-based writing activities for all Common Core Reading Literature and Informational standards help scaffold students through practice and repetition since these activities can be used over and over again with ANY literary reading materials.

Included in these resources:

• step-by-step lesson plans
• poster for literary skills taught in this resource
• rubrics for assessments standards-based
• vocabulary activities and notes standard-based
• graphic organizers that incorporate analysis of the literature and information standard-based
• paragraph frames for students who need extra scaffolding standard-based
• sentence stems to get students started sentence-by-sentence until they master how to write for each standard
• digital version that is Google SlidesTM compatible with all student worksheets

List Making: This resource helps students make 27 different lists of topics they could write about.

Sensory Details:  This resource will help you to teach your students to SHOW, not tell. Descriptive writing with a sensory details flipbook and engaging activities that will get your students thinking creatively and writing with style.

Included in this resource are 2 digital files:

• Lesson Plans PDF that includes step-by-step lesson plans, a grading rubric to make grading faster and easier, along with suggestions for what to do after mind mapping.
• Google SlidesTM version of the Student Digital Writer’s Notebook allows students endless amounts of writing simply by duplicating a slide.

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Creative Writing: Middle School Lesson Plan

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Enhance a unit on historical fiction with an engaging writing lesson. Learners bring the Industrial Era to life as they compose their own historical fiction pieces based on primary source images of Pittsburgh steel workers. 

Instructional Ideas

• Prior to or right after this activity, read a historical fiction piece together
• Create a historical fiction collection of short stories using learners' finished stories

Classroom Considerations

• This lesson is specific to the Industrial Era in Pittsburgh. Consider using images more close to home for learners from a different region
• A worksheet is included to help kids organize their thoughts
• Although there are a few photographs within the lesson, the Carnegie Library collection has many more
• Create an interdisciplinary unit between social studies and language arts

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A Step-by-Step Plan for Teaching Narrative Writing

July 29, 2018

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“Those who tell the stories rule the world.”  This proverb, attributed to the Hopi Indians, is one I wish I’d known a long time ago, because I would have used it when teaching my students the craft of storytelling. With a well-told story we can help a person see things in an entirely new way. We can forge new relationships and strengthen the ones we already have. We can change a law, inspire a movement, make people care fiercely about things they’d never given a passing thought.

But when we study storytelling with our students, we forget all that. Or at least I did. When my students asked why we read novels and stories, and why we wrote personal narratives and fiction, my defense was pretty lame: I probably said something about the importance of having a shared body of knowledge, or about the enjoyment of losing yourself in a book, or about the benefits of having writing skills in general.

I forgot to talk about the  power of story. I didn’t bother to tell them that the ability to tell a captivating story is one of the things that makes human beings extraordinary. It’s how we connect to each other. It’s something to celebrate, to study, to perfect. If we’re going to talk about how to teach students to write stories, we should start by thinking about why we tell stories at all . If we can pass that on to our students, then we will be going beyond a school assignment; we will be doing something transcendent.

Now. How do we get them to write those stories? I’m going to share the process I used for teaching narrative writing. I used this process with middle school students, but it would work with most age groups.

A Note About Form: Personal Narrative or Short Story?

When teaching narrative writing, many teachers separate personal narratives from short stories. In my own classroom, I tended to avoid having my students write short stories because personal narratives were more accessible. I could usually get students to write about something that really happened, while it was more challenging to get them to make something up from scratch.

In the “real” world of writers, though, the main thing that separates memoir from fiction is labeling: A writer might base a novel heavily on personal experiences, but write it all in third person and change the names of characters to protect the identities of people in real life. Another writer might create a short story in first person that reads like a personal narrative, but is entirely fictional. Just last weekend my husband and I watched the movie Lion and were glued to the screen the whole time, knowing it was based on a true story. James Frey’s book  A Million Little Pieces  sold millions of copies as a memoir but was later found to contain more than a little bit of fiction. Then there are unique books like Curtis Sittenfeld’s brilliant novel American Wife , based heavily on the early life of Laura Bush but written in first person, with fictional names and settings, and labeled as a work of fiction. The line between fact and fiction has always been really, really blurry, but the common thread running through all of it is good storytelling.

With that in mind, the process for teaching narrative writing can be exactly the same for writing personal narratives or short stories; it’s the same skill set. So if you think your students can handle the freedom, you might decide to let them choose personal narrative or fiction for a narrative writing assignment, or simply tell them that whether the story is true doesn’t matter, as long as they are telling a good story and they are not trying to pass off a fictional story as fact.

Here are some examples of what that kind of flexibility could allow:

• A student might tell a true story from their own experience, but write it as if it were a fiction piece, with fictional characters, in third person.
• A student might create a completely fictional story, but tell it in first person, which would give it the same feel as a personal narrative.
• A student might tell a true story that happened to someone else, but write it in first person, as if they were that person. For example, I could write about my grandmother’s experience of getting lost as a child, but I might write it in her voice.

If we aren’t too restrictive about what we call these pieces, and we talk about different possibilities with our students, we can end up with lots of interesting outcomes. Meanwhile, we’re still teaching students the craft of narrative writing.

A Note About Process: Write With Your Students

One of the most powerful techniques I used as a writing teacher was to do my students’ writing assignments with them. I would start my own draft at the same time as they did, composing “live” on the classroom projector, and doing a lot of thinking out loud so they could see all the decisions a writer has to make.

The most helpful parts for them to observe were the early drafting stage, where I just scratched out whatever came to me in messy, run-on sentences, and the revision stage, where I crossed things out, rearranged, and made tons of notes on my writing. I have seen over and over again how witnessing that process can really help to unlock a student’s understanding of how writing actually gets made.

A Narrative Writing Unit Plan

Before I get into these steps, I should note that there is no one right way to teach narrative writing, and plenty of accomplished teachers are doing it differently and getting great results. This just happens to be a process that has worked for me.

Step 1: Show Students That Stories Are Everywhere

Getting our students to tell stories should be easy. They hear and tell stories all the time. But when they actually have to put words on paper, they forget their storytelling abilities: They can’t think of a topic. They omit relevant details, but go on and on about irrelevant ones. Their dialogue is bland. They can’t figure out how to start. They can’t figure out how to end.

So the first step in getting good narrative writing from students is to help them see that they are already telling stories every day . They gather at lockers to talk about that thing that happened over the weekend. They sit at lunch and describe an argument they had with a sibling. Without even thinking about it, they begin sentences with “This one time…” and launch into stories about their earlier childhood experiences. Students are natural storytellers; learning how to do it well on paper is simply a matter of studying good models, then imitating what those writers do.

So start off the unit by getting students to tell their stories. In journal quick-writes, think-pair-shares, or by playing a game like Concentric Circles , prompt them to tell some of their own brief stories: A time they were embarrassed. A time they lost something. A time they didn’t get to do something they really wanted to do. By telling their own short anecdotes, they will grow more comfortable and confident in their storytelling abilities. They will also be generating a list of topic ideas. And by listening to the stories of their classmates, they will be adding onto that list and remembering more of their own stories.

And remember to tell some of your own. Besides being a good way to bond with students, sharing  your stories will help them see more possibilities for the ones they can tell.

Step 2: Study the Structure of a Story

Now that students have a good library of their own personal stories pulled into short-term memory, shift your focus to a more formal study of what a story looks like.

Use a diagram to show students a typical story arc like the one below. Then, using a simple story (try a video like The Present or Room ), fill out the story arc with the components from that story. Once students have seen this story mapped out, have them try it with another one, like a story you’ve read in class, a whole novel, or another short video.

Step 3: Introduce the Assignment

Up to this point, students have been immersed in storytelling. Now give them specific instructions for what they are going to do. Share your assignment rubric so they understand the criteria that will be used to evaluate them; it should be ready and transparent right from the beginning of the unit. As always, I recommend using a single point rubric for this.

Step 4: Read Models

Once the parameters of the assignment have been explained, have students read at least one model story, a mentor text that exemplifies the qualities you’re looking for. This should be a story on a topic your students can kind of relate to, something they could see themselves writing. For my narrative writing unit (see the end of this post), I wrote a story called “Frog” about a 13-year-old girl who finally gets to stay home alone, then finds a frog in her house and gets completely freaked out, which basically ruins the fun she was planning for the night.

They will be reading this model as writers, looking at how the author shaped the text for a purpose, so that they can use those same strategies in their own writing. Have them look at your rubric and find places in the model that illustrate the qualities listed in the rubric. Then have them complete a story arc for the model so they can see the underlying structure.

Ideally, your students will have already read lots of different stories to look to as models. If that isn’t the case, this list of narrative texts recommended by Cult of Pedagogy followers on Twitter would be a good place to browse for titles that might be right for your students. Keep in mind that we have not read most of these stories, so be sure to read them first before adopting them for classroom use.

Step 5: Story Mapping

At this point, students will need to decide what they are going to write about. If they are stuck for a topic, have them just pick something they can write about, even if it’s not the most captivating story in the world. A skilled writer could tell a great story about deciding what to have for lunch. If they are using the skills of narrative writing, the topic isn’t as important as the execution.

Have students complete a basic story arc for their chosen topic using a diagram like the one below. This will help them make sure that they actually have a story to tell, with an identifiable problem, a sequence of events that build to a climax, and some kind of resolution, where something is different by the end. Again, if you are writing with your students, this would be an important step to model for them with your own story-in-progress.

Step 6: Quick Drafts

Now, have students get their chosen story down on paper as quickly as possible: This could be basically a long paragraph that would read almost like a summary, but it would contain all the major parts of the story. Model this step with your own story, so they can see that you are not shooting for perfection in any way. What you want is a working draft, a starting point, something to build on for later, rather than a blank page (or screen) to stare at.

Step 7: Plan the Pacing

Now that the story has been born in raw form, students can begin to shape it. This would be a good time for a lesson on pacing, where students look at how writers expand some moments to create drama and shrink other moments so that the story doesn’t drag. Creating a diagram like the one below forces a writer to decide how much space to devote to all of the events in the story.

Step 8: Long Drafts

With a good plan in hand, students can now slow down and write a proper draft, expanding the sections of their story that they plan to really draw out and adding in more of the details that they left out in the quick draft.

Step 9: Workshop

Once students have a decent rough draft—something that has a basic beginning, middle, and end, with some discernible rising action, a climax of some kind, and a resolution, you’re ready to shift into full-on workshop mode. I would do this for at least a week: Start class with a short mini-lesson on some aspect of narrative writing craft, then give students the rest of the period to write, conference with you, and collaborate with their peers. During that time, they should focus some of their attention on applying the skill they learned in the mini-lesson to their drafts, so they will improve a little bit every day.

Topics for mini-lessons can include:

• How to weave exposition into your story so you don’t give readers an “information dump”
• How to carefully select dialogue to create good scenes, rather than quoting everything in a conversation
• How to punctuate and format dialogue so that it imitates the natural flow of a conversation
• How to describe things using sensory details and figurative language; also,  what  to describe…students too often give lots of irrelevant detail
• How to choose precise nouns and vivid verbs, use a variety of sentence lengths and structures, and add transitional words, phrases, and features to help the reader follow along
• How to start, end, and title a story

Step 10: Final Revisions and Edits

As the unit nears its end, students should be shifting away from revision , in which they alter the content of a piece, toward editing , where they make smaller changes to the mechanics of the writing. Make sure students understand the difference between the two: They should not be correcting each other’s spelling and punctuation in the early stages of this process, when the focus should be on shaping a better story.

One of the most effective strategies for revision and editing is to have students read their stories out loud. In the early stages, this will reveal places where information is missing or things get confusing. Later, more read-alouds will help them immediately find missing words, unintentional repetitions, and sentences that just “sound weird.” So get your students to read their work out loud frequently. It also helps to print stories on paper: For some reason, seeing the words in print helps us notice things we didn’t see on the screen.

To get the most from peer review, where students read and comment on each other’s work, more modeling from you is essential: Pull up a sample piece of writing and show students how to give specific feedback that helps, rather than simply writing “good detail” or “needs more detail,” the two comments I saw exchanged most often on students’ peer-reviewed papers.

Step 11: Final Copies and Publication

Once revision and peer review are done, students will hand in their final copies. If you don’t want to get stuck with 100-plus papers to grade, consider using Catlin Tucker’s station rotation model , which keeps all the grading in class. And when you do return stories with your own feedback, try using Kristy Louden’s delayed grade strategy , where students don’t see their final grade until they have read your written feedback.

Beyond the standard hand-in-for-a-grade, consider other ways to have students publish their stories. Here are some options:

• Stories could be published as individual pages on a collaborative website or blog.
• Students could create illustrated e-books out of their stories.
• Students could create a slideshow to accompany their stories and record them as digital storytelling videos. This could be done with a tool like Screencastify or Screencast-O-Matic .

So this is what worked for me. If you’ve struggled to get good stories from your students, try some or all of these techniques next time. I think you’ll find that all of your students have some pretty interesting stories to tell. Helping them tell their stories well is a gift that will serve them for many years after they leave your classroom. ♦

Want this unit ready-made?

If you’re a writing teacher in grades 7-12 and you’d like a classroom-ready unit like the one described above, including slideshow mini-lessons on 14 areas of narrative craft, a sample narrative piece, editable rubrics, and other supplemental materials to guide students through every stage of the process, take a look at my Narrative Writing unit . Just click on the image below and you’ll be taken to a page where you can read more and see a detailed preview of what’s included.

What to Read Next

Categories: Instruction , Podcast

Tags: English language arts , Grades 6-8 , Grades 9-12 , teaching strategies

52 Comments

Wow, this is a wonderful guide! If my English teachers had taught this way, I’m sure I would have enjoyed narrative writing instead of dreading it. I’ll be able to use many of these suggestions when writing my blog! BrP

Lst year I was so discouraged because the short stories looked like the quick drafts described in this article. I thought I had totally failed until I read this and realized I did not fai,l I just needed to complete the process. Thank you!

I feel like you jumped in my head and connected my thoughts. I appreciate the time you took to stop and look closely at form. I really believe that student-writers should see all dimensions of narrative writing and be able to live in whichever style and voice they want for their work.

Can’t thank you enough for this. So well curated that one can just follow it blindly and ace at teaching it. Thanks again!

Great post! I especially liked your comments about reminding kids about the power of storytelling. My favourite podcasts and posts from you are always about how to do things in the classroom and I appreciate the research you do.

On a side note, the ice breakers are really handy. My kids know each other really well (rural community), and can tune out pretty quickly if there is nothing new to learn about their peers, but they like the games (and can remember where we stopped last time weeks later). I’ve started changing them up with ‘life questions’, so the editable version is great!

I love writing with my students and loved this podcast! A fun extension to this narrative is to challenge students to write another story about the same event, but use the perspective of another “character” from the story. Books like Wonder (R.J. Palacio) and Wanderer (Sharon Creech) can model the concept for students.

Thank you for your great efforts to reveal the practical writing strategies in layered details. As English is not my first language, I need listen to your podcast and read the text repeatedly so to fully understand. It’s worthy of the time for some great post like yours. I love sharing so I send the link to my English practice group that it can benefit more. I hope I could be able to give you some feedback later on.

Thank you for helping me get to know better especially the techniques in writing narrative text. Im an English teacher for 5years but have little knowledge on writing. I hope you could feature techniques in writing news and fearute story. God bless and more power!

Thank you for this! I am very interested in teaching a unit on personal narrative and this was an extremely helpful breakdown. As a current student teacher I am still unsure how to approach breaking down the structures of different genres of writing in a way that is helpful for me students but not too restrictive. The story mapping tools you provided really allowed me to think about this in a new way. Writing is such a powerful way to experience the world and more than anything I want my students to realize its power. Stories are how we make sense of the world and as an English teacher I feel obligated to give my students access to this particular skill.

The power of story is unfathomable. There’s this NGO in India doing some great work in harnessing the power of storytelling and plots to brighten children’s lives and enlighten them with true knowledge. Check out Katha India here: http://bit.ly/KathaIndia

Thank you so much for this. I did not go to college to become a writing professor, but due to restructuring in my department, I indeed am! This is a wonderful guide that I will use when teaching the narrative essay. I wonder if you have a similar guide for other modes such as descriptive, process, argument, etc.?

Hey Melanie, Jenn does have another guide on writing! Check out A Step-by-Step Plan for Teaching Argumentative Writing .

Hi, I am also wondering if there is a similar guide for descriptive writing in particular?

Hey Melanie, unfortunately Jenn doesn’t currently have a guide for descriptive writing. She’s always working on projects though, so she may get around to writing a unit like this in the future. You can always check her Teachers Pay Teachers page for an up-to-date list of materials she has available. Thanks!

I want to write about the new character in my area

That’s great! Let us know if you need any supports during your writing process!

I absolutely adore this unit plan. I teach freshmen English at a low-income high school and wanted to find something to help my students find their voice. It is not often that I borrow material, but I borrowed and adapted all of it in the order that it is presented! It is cohesive, understandable, and fun. Thank you!!

So glad to hear this, Nicole!

Thanks sharing this post. My students often get confused between personal narratives and short stories. Whenever I ask them to write a short story, she share their own experiences and add a bit of fiction in it to make it interesting.

Thank you! My students have loved this so far. I do have a question as to where the “Frog” story mentioned in Step 4 is. I could really use it! Thanks again.

This is great to hear, Emily! In Step 4, Jenn mentions that she wrote the “Frog” story for her narrative writing unit . Just scroll down the bottom of the post and you’ll see a link to the unit.

I also cannot find the link to the short story “Frog”– any chance someone can send it or we can repost it?

This story was written for Jenn’s narrative writing unit. You can find a link to this unit in Step 4 or at the bottom of the article. Hope this helps.

I cannot find the frog story mentioned. Could you please send the link.? Thank you

Hi Michelle,

The Frog story was written for Jenn’s narrative writing unit. There’s a link to this unit in Step 4 and at the bottom of the article.

Debbie- thanks for you reply… but there is no link to the story in step 4 or at the bottom of the page….

Hey Shawn, the frog story is part of Jenn’s narrative writing unit, which is available on her Teachers Pay Teachers site. The link Debbie is referring to at the bottom of this post will take you to her narrative writing unit and you would have to purchase that to gain access to the frog story. I hope this clears things up.

Thank you so much for this resource! I’m a high school English teacher, and am currently teaching creative writing for the first time. I really do value your blog, podcast, and other resources, so I’m excited to use this unit. I’m a cyber school teacher, so clear, organized layout is important; and I spend a lot of time making sure my content is visually accessible for my students to process. Thanks for creating resources that are easy for us teachers to process and use.

Do you have a lesson for Informative writing?

Hey Cari, Jenn has another unit on argumentative writing , but doesn’t have one yet on informative writing. She may develop one in the future so check back in sometime.

I had the same question. Informational writing is so difficult to have a good strong unit in when you have so many different text structures to meet and need text-dependent writing tasks.

Creating an informational writing unit is still on Jenn’s long list of projects to get to, but in the meantime, if you haven’t already, check out When We All Teach Text Structures, Everyone Wins . It might help you out!

This is a great lesson! It would be helpful to see a finished draft of the frog narrative arc. Students’ greatest challenge is transferring their ideas from the planner to a full draft. To see a full sample of how this arc was transformed into a complete narrative draft would be a powerful learning tool.

Hi Stacey! Jenn goes into more depth with the “Frog” lesson in her narrative writing unit – this is where you can find a sample of what a completed story arc might look. Also included is a draft of the narrative. If interested in checking out the unit and seeing a preview, just scroll down to the bottom of the post and click on the image. Hope this helps!

Helped me learn for an entrance exam thanks very much

Is the narrative writing lesson you talk about in https://www.cultofpedagogy.com/narrative-writing/

Also doable for elementary students you think, and if to what levels?

Love your work, Sincerely, Zanyar

Hey Zanyar,

It’s possible the unit would work with 4th and 5th graders, but Jenn definitely wouldn’t recommend going any younger. The main reason for this is that some of the mini-lessons in the unit could be challenging for students who are still concrete thinkers. You’d likely need to do some adjusting and scaffolding which could extend the unit beyond the 3 weeks. Having said that, I taught 1st grade and found the steps of the writing process, as described in the post, to be very similar. Of course learning targets/standards were different, but the process itself can be applied to any grade level (modeling writing, using mentor texts to study how stories work, planning the structure of the story, drafting, elaborating, etc.) Hope this helps!

This has made my life so much easier. After teaching in different schools systems, from the American, to British to IB, one needs to identify the anchor standards and concepts, that are common between all these systems, to build well balanced thematic units. Just reading these steps gave me the guidance I needed to satisfy both the conceptual framework the schools ask for and the standards-based practice. Thank you Thank you.

Would this work for teaching a first grader about narrative writing? I am also looking for a great book to use as a model for narrative writing. Veggie Monster is being used by his teacher and he isn’t connecting with this book in the least bit, so it isn’t having a positive impact. My fear is he will associate this with writing and I don’t want a negative association connected to such a beautiful process and experience. Any suggestions would be helpful.

Thank you for any information you can provide!

Although I think the materials in the actual narrative writing unit are really too advanced for a first grader, the general process that’s described in the blog post can still work really well.

I’m sorry your child isn’t connecting with The Night of the Veggie Monster. Try to keep in mind that the main reason this is used as a mentor text is because it models how a small moment story can be told in a big way. It’s filled with all kinds of wonderful text features that impact the meaning of the story – dialogue, description, bold text, speech bubbles, changes in text size, ellipses, zoomed in images, text placement, text shape, etc. All of these things will become mini-lessons throughout the unit. But there are lots of other wonderful mentor texts that your child might enjoy. My suggestion for an early writer, is to look for a small moment text, similar in structure, that zooms in on a problem that a first grader can relate to. In addition to the mentor texts that I found in this article , you might also want to check out Knuffle Bunny, Kitten’s First Full Moon, When Sophie Gets Angry Really Really Angry, and Whistle for Willie. Hope this helps!

I saw this on Pinterest the other day while searching for examples of narritives units/lessons. I clicked on it because I always click on C.o.P stuff 🙂 And I wasn’t disapointed. I was intrigued by the connection of narratives to humanity–even if a student doesn’t identify as a writer, he/she certainly is human, right? I really liked this. THIS clicked with me.

A few days after I read the P.o.C post, I ventured on to YouTube for more ideas to help guide me with my 8th graders’ narrative writing this coming spring. And there was a TEDx video titled, “The Power of Personal Narrative” by J. Christan Jensen. I immediately remembered the line from the article above that associated storytelling with “power” and how it sets humans apart and if introduced and taught as such, it can be “extraordinary.”

I watched the video and to the suprise of my expectations, it was FANTASTIC. Between Jennifer’s post and the TEDx video ignited within me some major motivation and excitement to begin this unit.

Thanks for sharing this with us! So glad that Jenn’s post paired with another text gave you some motivation and excitement. I’ll be sure to pass this on to Jenn!

Thank you very much for this really helpful post! I really love the idea of helping our students understand that storytelling is powerful and then go on to teach them how to harness that power. That is the essence of teaching literature or writing at any level. However, I’m a little worried about telling students that whether a piece of writing is fact or fiction does not matter. It in fact matters a lot precisely because storytelling is powerful. Narratives can shape people’s views and get their emotions involved which would, in turn, motivate them to act on a certain matter, whether for good or for bad. A fictional narrative that is passed as factual could cause a lot of damage in the real world. I believe we should. I can see how helping students focus on writing the story rather than the truth of it all could help refine the needed skills without distractions. Nevertheless, would it not be prudent to teach our students to not just harness the power of storytelling but refrain from misusing it by pushing false narratives as factual? It is true that in reality, memoirs pass as factual while novels do as fictional while the opposite may be true for both cases. I am not too worried about novels passing as fictional. On the other hand, fictional narratives masquerading as factual are disconcerting and part of a phenomenon that needs to be fought against, not enhanced or condoned in education. This is especially true because memoirs are often used by powerful people to write/re-write history. I would really like to hear your opinion on this. Thanks a lot for a great post and a lot of helpful resources!

Thank you so much for this. Jenn and I had a chance to chat and we can see where you’re coming from. Jenn never meant to suggest that a person should pass off a piece of fictional writing as a true story. Good stories can be true, completely fictional, or based on a true story that’s mixed with some fiction – that part doesn’t really matter. However, what does matter is how a student labels their story. We think that could have been stated more clearly in the post , so Jenn decided to add a bit about this at the end of the 3rd paragraph in the section “A Note About Form: Personal Narrative or Short Story?” Thanks again for bringing this to our attention!

You have no idea how much your page has helped me in so many ways. I am currently in my teaching credential program and there are times that I feel lost due to a lack of experience in the classroom. I’m so glad I came across your page! Thank you for sharing!

Thanks so much for letting us know-this means a whole lot!

No, we’re sorry. Jenn actually gets this question fairly often. It’s something she considered doing at one point, but because she has so many other projects she’s working on, she’s just not gotten to it.

I couldn’t find the story

Hi, Duraiya. The “Frog” story is part of Jenn’s narrative writing unit, which is available on her Teachers Pay Teachers site. The link at the bottom of this post will take you to her narrative writing unit, which you can purchase to gain access to the story. I hope this helps!

I am using this step-by-step plan to help me teach personal narrative story writing. I wanted to show the Coca-Cola story, but the link says the video is not available. Do you have a new link or can you tell me the name of the story so I can find it?

Thank you for putting this together.

Hi Corri, sorry about that. The Coca-Cola commercial disappeared, so Jenn just updated the post with links to two videos with good stories. Hope this helps!

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Walking by the Way

the road to inspired learning

Eight Free Creative Writing Lessons

February 17, 2012 by Ami 17 Comments

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

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

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

Creative Writing Lessons for a Homeschool Co-op Class

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

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

Creative Writing Lesson Plans

Creative writing lesson one.

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

Grab lesson one here .

Creative Writing Lesson Two

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

Grab lesson two here.

Creative Writing Lesson Three

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

Grab lesson three here.

Creative Writing Lesson Four

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

Grab lesson four here.

Creative Writing Lesson Five

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

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

Grab lesson five here.

Creative Writing Lesson Six

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

Grab lesson six here.

Creative Writing Lesson Seven

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

Grab lesson seven here.

Creative Writing Lesson Eight

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

Grab lesson eight here .

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

Creative Writing Lessons FAQ

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

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

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

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

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

January 7, 2016 at 1:57 pm

Hi Theresa,

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

[…] Creative Writing Class […]

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11 Ideas for Teaching Figurative Language Meaningfully

Figurative language is easy to make one of the most engaging aspects of an ELA class. By nature, it is playful. Because it can be paired with pretty much any unit, it can be woven in throughout the year to ensure students get the repetition and practice they need. Here are some ideas for teaching figurative language in middle or high school.

When to Teach It:

Any time! Figurative language is fun to teach with almost any unit. When lesson planning, consider what type of figurative language is the most relevant to the text and the skills students need to develop.

With Poetry…

For example, build figurative language into your poetry units. Teaching poetry? Try to identify the technique the poet uses most frequently. Think, what literary device packs the most power? Then, as students practice literary analysis, make sure that figurative language is part of their response. This lesson will work with any poem of your choice.

With Shakespeare…

While most of my literature units only focus on a few literary devices, teaching figurative language with Shakespeare’s plays is different. They are so rich in a wide range of poetic devices that we spend more time studying how they reflect his craft.

Try beginning a  Romeo and Juliet  unit by   introducing figurative language . Then, before finding examples from the play, ask students to look for them in a text that is more familiar, like  The Lion King . With this scaffolding, students are more prepared to notice and analyze figurative language in the play.

With Short Stories…

Throw in a literary terms with each short story  students read and analyze. Reading “The Gift of the Magi”? Study irony. While reading “The Lottery,” dig deep by analyzing the symbolism of the ritual, the people’s names, and the objects involved. Additionally, “The Scarlet Ibis” provides opportunities for discussion of many similes and metaphors.

With Novels…

Novels are the perfect opportunity to focus on more complex figurative language. They generally contain multiple examples of a device. For instance,  To Kill a Mockingbird is full of allusions and idioms. What’s more, novels provide the chance to study figurative language that develops over the course of an entire work. Consider:  Lord of the Flies and  Animal Farm  both are perfect for studying allegory.

With Creative Writing…

Don’t forget to build figurative language into writing units. It can be a powerful way to frame an essay, but even more so, students generally love learning to use literary devices in creative writing. In particular, this lesson  has been enjoyable for students because it allows them to respond to high-interest nonfiction texts through figurative language, color, and abstract thinking.

How to Hook Students:

Sadly, even literary terms can be boring if all students do is identify examples and practice with worksheets. Try adding some divergent thinking and movement when teaching figurative language, like this.

Analyze figurative language in movies…

Students love seeing the application of what they are learning in popular culture. Youtube is full of videos that will engage students. Play one like this , and have a meaningful discussion about how the literary devices add to the viewers’ experiences.

Discuss figurative language in songs…

Students will find this clip and many others like it engaging. So, watch them dance in their seats and sing out loud as they reflect on how song writers embed figurative language in popular music. Ask students: What would this song be like without the similes? How does the power of this poem rest in its figurative language?

Write figurative language to complement art…

Art is visually appealing, which makes it an excellent writing hook. Try asking students to write a short response to a piece of artwork using a specific type of figurative language. For example, maybe they think Van Gogh’s brush strokes look like tufts on a blanket or scales on a lizard (similes). Or, perhaps they think their favorite surrealist’s work is  just a little crazy (understatement). Alternatively, students responses could be a narrative to accompany the artwork instead of a commentary on the artist’s style.

Act it out…

Put students in pairs or small groups. Then, assign them one type of figurative language, and ask them to write a script that uses that device at least ten times. Students can record their skits and play them for the class or perform their skits live. The repetition generally makes these skits entertaining and memorable.

Watch Flocabulary clips…

Flocabulary has some high-interest figurative language clips students love. Here is one for similes and metaphors . They also have one for  hyperboles  and personification , and this one is for figurative language in general. Instead of just showing students the clip and moving on, have them write down examples or explanations from the clips that they haven’t thought of before.

Play games…

Games can bring energy and social learning benefits to the classroom. Figurative language lends itself well to game play, if your classroom culture calls for such. Try Figurative Language Truth or Dare   for a basic level game. Want to add more terms and challenge advanced students? Play Get Schooled !

Teaching figurative language can and should be fun and memorable. Begin by hooking students, make sure to sprinkle it in frequently throughout the year, and add some divergent thinking to push students beyond simple identification.

Interested in reading more about figurative language? In this post , Language Arts Classroom writes about 10 poems and figurative language to teach with each.

USING PICTURE BOOKS AS MENTOR TEXTS

11 ways to use color-coding strategies in the classroom, short story unit ideas, related resource:.

This scaffolded literary analysis activity works with any poem or song and helps students reflect on how figurative language impacts the text and the reader overall.

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7 Fun Writing Sub Plans for Substitute Teachers

You might be a full-time classroom teacher who needs to take an unexpected day off and wants to keep their class busy and engaged in your absence.

In that case, you’ll need to devise straightforward yet stimulating activities for an off-the-cuff lesson plan.

 Or, perhaps you’re that hardy breed of wandering samurai known as the substitute teacher. Either way, it pays to have a couple of fun, preplanned lesson plans and writing tasks quick to hand in case of emergencies.

 Most battle-worn subs have a few rabbits they can pull from their magic hat immediately as and when the occasion calls for it. But it’s always good to mix things up a little and add a new trick or two to that trusty old bag of tricks.

 In this article, we’ll explore seven fun writing tasks that promise to keep a room full of unfamiliar students equal parts engaged and entertained.

Daily Quick Writes For All Text Types

Our FUN DAILY QUICK WRITE TASKS will teach your students the fundamentals of CREATIVE WRITING across all text types. Packed with 52 ENGAGING ACTIVITIES

  1. Pick and Mix

This activity requires a little preparation ahead of time. Still, your energy investment will be more than justified by the number of activities you can pull out of your hat instantly when needed.

To prepare for this activity, you’ll need to compile a list of well-known but seldom-used words. For example, while most 14-year-olds will know words such as missile , sorcerer , and miniature , they will most likely rarely use them in their writing.

The words you choose for your list will depend on the age of the students you’ll be teaching. As a sub, you might not always know what age group you’ll be teaching, so it’s worth preparing a few different lists for different age groups in advance. There are innumerable suitable word lists for each grade, a quick Google search away.

Once you have your word lists, type them and print them off. Cut out each word and place it in a small drawstring bag or similar container.

Then, when you need a spontaneous activity, pull out your bag and ask a student to pull out three words at random. The students must write a poem that incorporates the three chosen words.

There are many ways to adapt this central idea.

You can challenge the students to use their words to write a specific type of poem, e.g. sonnet, calligram, haiku, etc. Or, you might impose a time limit for the students to complete the task, e.g. 1 minute, 5 minutes, etc.

Perhaps you can ask them to collaborate in small groups to produce a shared writing piece. You can also ask them to choose different numbers of words or write in other genres, such as a short story or a dialogue.

The number of variations on this activity is limited only by your imagination.

2. Mystery Meal Review

In this activity, students will be challenged to use language to conjure up a mirage of a meal in the minds of their readers.

First, ask the students to think about the best meal they have ever eaten. Tell them to close their eyes to engage their imagination better. Instruct them to think about what they ate during that meal. Ask a series of rhetorical questions to help trigger their memories and inspire their creativity.

•  What vegetables did they have?
• What type of meat was there?
• Was the food roasted? Fried? Boiled?
• Did they have sauces or seasonings?
• What was the texture of the food like in their mouths? Crunchy? Creamy? Melt in the mouth
• What colors were on their plate?
• How did the food smell?

Once they’ve had time to quietly reflect on the best meal they’ve ever eaten, it’s time to write about it. However, the twist in the tale here is that they cannot mention any of the food items they write about by name.

Instead, the students must describe the meal and its component items in such detail that the reader will be able to tell what they ate without the writer mentioning the food by name.

To make things a little easier, the students can use generic terms such as vegetable, meat, dessert, etc., but they must not use specific nouns such as chicken, carrots, gravy, etc.

This will challenge the student to use their powers of description to convey the details of their food to the reader. They’ll have to use sensory details appealing to the senses of sight, smell, taste, touch, and even sound.

When the students have finished writing their reviews of their best-ever meals, they can swap their descriptions with other classmates, who will then try to deduce the ingredients of their meal.

The winning writer will be the one with the most readers who correctly figure out the main elements of the writer’s meal.

3. Rewrite the Past

This activity is an excellent way to encourage the students to exercise their creativity while also instilling in the students the structure and features of recount writing .

To prepare for this activity, you’ll need to gather up a few old photographs to serve as visual stimuli for this writing activity. You can simply print these from the Internet. Alternatively, you can gather up a few props such as old postcards , an old-fashioned hat, a pair of spectacles, some old coins, etc.

Whatever the props used, students will employ them as a jumping-off point to kickstart their creativity as they write an imaginative first-person recount.

To revise the structure and features of a recount, check out our informative article here.

You can leave the background to their recount entirely up to the student and how they respond to the prompt. If you prefer, you can provide some context to the stimuli used, for example, in the form of some historical background or detail on who is in the photograph.

Either way, it will be incumbent upon the student to respond creatively to whatever prop you provide, all while considering the structural conventions and features of the recount text type.

If you wish to add a competitive element to the exercise, you might award a small prize for the most original, the funniest, etc.

4. Alternate Endings

Begin this writing activity by asking the students to name their favorite books or movies. Through a class vote, find the overall class favorite to base the activity on.

It doesn’t matter if some class members haven’t seen the movie (or read the book). You will start by retelling the story of the movie or book as a class. Pay particular attention to the ending. Make sure the class as a whole agrees on how the story comes to a climax and resolution.

Once this has been established, it’s time for students to kick their own pens into gear to write an alternative ending for the tale.

Encourage students to be as wacky and outlandish as possible. They can subvert the movie or book’s genre by tacking on a horror ending onto a comedy or vice versa, for example.

When students have completed their rewrite of the ending, encourage them to share their efforts with the class by reading their work out loud.

Which alternate ending did the class enjoy the most? Why?

5. Dialogue Reconstruction

Learning to write dialogue well is an effective way to breathe life into storytelling.

It takes practice and careful observation to develop the finely tuned ear required to write it well. This activity helps students to begin this process by carefully reconstructing a dialogue they overheard or participated in.

To get the ball rolling in this activity, first review the specifics of punctuating dialogue correctly. Do a little research to get up to speed if you are unsure about these rules. But, in brief, here are five of the most important of these rules:

•  Introduce dialogue with a comma, e.g. She said , “The hat makes your head look small.”
• Use a comma when a dialogue tag follows a quote, e.g. “The hat makes your head look small ,” she said.
• Place periods and commas within closing quotations, e.g. “ It’s the hat that’s big, not my head . ”
• Use single quotes when using quotes within dialogue, e.g. “My mother told me, ‘ Your head is a perfect size, darling. ’ ”
• Mark a change of speaker by starting a new paragraph, i.e. skipping a line. For example,

  “The hat makes your head look small, ” she said.

“ It’s the hat that’s big, not my head,” he replied.

Technicalities out of the way, now it’s time for the students to get reconstructing!

Ask the students to think of a conversation they’ve had today. It might have been a trivial conversation they had with a parent over breakfast or with a friend or sibling on the way to school. Maybe it was some small talk with a worker in a shop. It doesn’t matter.

The task here is for the student to reflect on the conversation and attempt to recreate it on paper with as much faithfulness as possible.

Remind the students that we don’t speak as we write. Our spoken language is filled with half-finished sentences, slang, and non-standard pronunciations. Encourage students to accurately convey the rhythms and sounds of the speech they heard and/or uttered themselves.

This may require the students to veer from the usual grammar and spelling rules to render the dialogue convincingly.

Also, encourage the students to read their words aloud as they write to listen for their authenticity.

When students have finished, have them share their work with the class.

6. Found in Translation

This is a poetry writing activity, but with a twist.

Bring in a copy of a poem that is in a language other than English to show the students. Another European language will work best for this activity, as it is helpful if the students can make some educated guesses at the meanings of some of the words.

The students’ task will be to ‘translate’ the poem from a language they don’t read into English. Just in case some students do speak the language, be sure to have an alternative poem in another language to hand, too.

When you give the students the poem, don’t provide them with any background about the poem’s meaning.

Instead, tell them that they are to translate the poem into English. They can mimic the lines, spacing, and shape of the poem on the page. They can examine the words and attempt to deduce or guess at their meanings. Simply, they must do their best to interpret the poem and render its meaning on the page.

When the students have finished, have them share their work with the class and compare the wildly different interpretations of the original poem.

You might well be surprised at how close some students will come to the original subject matter!

Year Long Inference Based Writing Activities

Tap into the power of imagery in your classroom to master INFERENCE as AUTHORS and CRITICAL THINKERS .

⭐⭐⭐⭐⭐ (26 Reviews)

This YEAR-LONG 500+ PAGE unit is packed with robust opportunities for your students to develop the critical skill of inference through fun imagery, powerful thinking tools, and graphic organizers.

7. In Case of Emergency, Break Glass!

Writing prompts are the quickest, most straightforward way to get those pens moving and every sub worth their salt should have a few tried-and-tested prompts to hand at all times.

Here are five quick writing prompts guaranteed to get the ink flowing.

•  You have a crocodile as a pet. Write about what it’s like to keep a croc as a household pet.
• You are going to interview your favorite celebrity. What questions do you ask?
• You have been appointed President of the World . What are the first laws you would change and why?
• Close your eyes, open a book and point at the page. Now, open your eyes again. What is the first word you see? Write about this word for five minutes.
• Write about ten things you could do to improve your life. Write about ten things you could do to improve the life of the people around you.

The Final Bell

So, there we have seven engaging writing tasks that make perfect additions to any sub’s bag of tricks. Each activity is quick and easy, with only a few requiring anything more than a minute or two in preparation in the form of easy-to-find materials.

Not only are these the perfect go-tos for any harassed substitute, but they are also useful to have in reserve for regular class teachers too. The teaching day is full of lots of little transitions, and it is always helpful to have a few quick, off-the-cuff activities to fall back on in such situations.

OTHER GREAT ARTICLES FOR SUBSTITUTE TEACHERS

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