creative writing examples for college

What Is Creative Writing? (Ultimate Guide + 20 Examples)

Creative writing begins with a blank page and the courage to fill it with the stories only you can tell.

I face this intimidating blank page daily–and I have for the better part of 20+ years.

In this guide, you’ll learn all the ins and outs of creative writing with tons of examples.

What Is Creative Writing (Long Description)?

Creative Writing is the art of using words to express ideas and emotions in imaginative ways. It encompasses various forms including novels, poetry, and plays, focusing on narrative craft, character development, and the use of literary tropes.

Table of Contents

Let’s expand on that definition a bit.

Creative writing is an art form that transcends traditional literature boundaries.

It includes professional, journalistic, academic, and technical writing. This type of writing emphasizes narrative craft, character development, and literary tropes. It also explores poetry and poetics traditions.

In essence, creative writing lets you express ideas and emotions uniquely and imaginatively.

It’s about the freedom to invent worlds, characters, and stories. These creations evoke a spectrum of emotions in readers.

Creative writing covers fiction, poetry, and everything in between.

It allows writers to express inner thoughts and feelings. Often, it reflects human experiences through a fabricated lens.

Types of Creative Writing

There are many types of creative writing that we need to explain.

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

They are compact but impactful, telling a full story within a limited word count. These tales often focus on a single character or a crucial moment.

Short stories are known for their brevity.

They deliver emotion and insight in a concise yet powerful package. This format is ideal for exploring diverse genres, themes, and characters. It leaves a lasting impression on readers.

Example: Emma discovers an old photo of her smiling grandmother. It’s a rarity. Through flashbacks, Emma learns about her grandmother’s wartime love story. She comes to understand her grandmother’s resilience and the value of joy.

Novels (The Long Journey)

Novels are extensive explorations of character, plot, and setting.

They span thousands of words, giving writers the space to create entire worlds. Novels can weave complex stories across various themes and timelines.

The length of a novel allows for deep narrative and character development.

Readers get an immersive experience.

Example: Across the Divide tells of two siblings separated in childhood. They grow up in different cultures. Their reunion highlights the strength of family bonds, despite distance and differences.

Poetry (The Soul’s Language)

Poetry expresses ideas and emotions through rhythm, sound, and word beauty.

It distills emotions and thoughts into verses. Poetry often uses metaphors, similes, and figurative language to reach the reader’s heart and mind.

Poetry ranges from structured forms, like sonnets, to free verse.

The latter breaks away from traditional formats for more expressive thought.

Example: Whispers of Dawn is a poem collection capturing morning’s quiet moments. “First Light” personifies dawn as a painter. It brings colors of hope and renewal to the world.

Plays (The Dramatic Dialogue)

Plays are meant for performance. They bring characters and conflicts to life through dialogue and action.

This format uniquely explores human relationships and societal issues.

Playwrights face the challenge of conveying setting, emotion, and plot through dialogue and directions.

Example: Echoes of Tomorrow is set in a dystopian future. Memories can be bought and sold. It follows siblings on a quest to retrieve their stolen memories. They learn the cost of living in a world where the past has a price.

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

They require an understanding of visual storytelling, pacing, and dialogue. Screenplays must fit film production constraints.

Example: The Last Light is a screenplay for a sci-fi film. Humanity’s survivors on a dying Earth seek a new planet. The story focuses on spacecraft Argo’s crew as they face mission challenges and internal dynamics.

Memoirs (The Personal Journey)

Memoirs provide insight into an author’s life, focusing on personal experiences and emotional journeys.

They differ from autobiographies by concentrating on specific themes or events.

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

Example: Under the Mango Tree is a memoir by Maria Gomez. It shares her childhood memories in rural Colombia. The mango tree in their yard symbolizes home, growth, and nostalgia. Maria reflects on her journey to a new life in America.

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

It’s about crafting compelling narratives concisely. Each word in flash fiction must count, often leading to a twist.

This format captures life’s vivid moments, delivering quick, impactful insights.

Example: The Last Message features an astronaut’s final Earth message as her spacecraft drifts away. In 500 words, it explores isolation, hope, and the desire to connect against all odds.

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

This genre covers real events, people, and places with a twist. It uses descriptive language and narrative arcs to make true stories engaging.

Creative nonfiction includes biographies, essays, and travelogues.

Example: Echoes of Everest follows the author’s Mount Everest climb. It mixes factual details with personal reflections and the history of past climbers. The narrative captures the climb’s beauty and challenges, offering an immersive experience.

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

It explores themes like good vs. evil and heroism in unreal settings. Fantasy requires careful world-building to create believable yet fantastic realms.

Example: The Crystal of Azmar tells of a young girl destined to save her world from darkness. She learns she’s the last sorceress in a forgotten lineage. Her journey involves mastering powers, forming alliances, and uncovering ancient kingdom myths.

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

Science fiction ranges from speculative to hard sci-fi, focusing on plausible futures.

Example: When the Stars Whisper is set in a future where humanity communicates with distant galaxies. It centers on a scientist who finds an alien message. This discovery prompts a deep look at humanity’s universe role and interstellar communication.

Watch this great video that explores the question, “What is creative writing?” and “How to get started?”:

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

They guide writers to produce compelling and impactful work. These principles—Clarity, Coherence, Conciseness, Creativity, and Consistency—help craft stories that engage and entertain.

They also resonate deeply with readers. Let’s explore each of these critical components.

Clarity makes your writing understandable and accessible.

It involves choosing the right words and constructing clear sentences. Your narrative should be easy to follow.

In creative writing, clarity means conveying complex ideas in a digestible and enjoyable way.

Coherence ensures your writing flows logically.

It’s crucial for maintaining the reader’s interest. Characters should develop believably, and plots should progress logically. This makes the narrative feel cohesive.

Conciseness

Conciseness is about expressing ideas succinctly.

It’s being economical with words and avoiding redundancy. This principle helps maintain pace and tension, engaging readers throughout the story.

Creativity is the heart of creative writing.

It allows writers to invent new worlds and create memorable characters. Creativity involves originality and imagination. It’s seeing the world in unique ways and sharing that vision.

Consistency

Consistency maintains a uniform tone, style, and voice.

It means being faithful to the world you’ve created. Characters should act true to their development. This builds trust with readers, making your story immersive and believable.

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

Crafting stories from your imagination involves more than just words on a page. It requires discipline and a deep understanding of language and narrative structure.

Exploring complex characters and themes is also key.

Refining and revising your work is crucial for developing your voice.

The ease of creative writing varies. Some find the freedom of expression liberating.

Others struggle with writer’s block or plot development challenges. However, practice and feedback make creative writing more fulfilling.

What Does a Creative Writer Do?

A creative writer weaves narratives that entertain, enlighten, and inspire.

Writers explore both the world they create and the emotions they wish to evoke. Their tasks are diverse, involving more than just writing.

Creative writers develop ideas, research, and plan their stories.

They create characters and outline plots with attention to detail. Drafting and revising their work is a significant part of their process. They strive for the 5 Cs of compelling writing.

Writers engage with the literary community, seeking feedback and participating in workshops.

They may navigate the publishing world with agents and editors.

Creative writers are storytellers, craftsmen, and artists. They bring narratives to life, enriching our lives and expanding our imaginations.

How to Get Started With Creative Writing?

Embarking on a creative writing journey can feel like standing at the edge of a vast and mysterious forest.

The path is not always clear, but the adventure is calling.

Here’s how to take your first steps into the world of creative writing:

• Find a time of day when your mind is most alert and creative.
• Create a comfortable writing space free from distractions.
• Use prompts to spark your imagination. They can be as simple as a word, a phrase, or an image.
• Try writing for 15-20 minutes on a prompt without editing yourself. Let the ideas flow freely.
• Reading is fuel for your writing. Explore various genres and styles.
• Pay attention to how your favorite authors construct their sentences, develop characters, and build their worlds.
• Don’t pressure yourself to write a novel right away. Begin with short stories or poems.
• Small projects can help you hone your skills and boost your confidence.
• Look for writing groups in your area or online. These communities offer support, feedback, and motivation.
• Participating in workshops or classes can also provide valuable insights into your writing.
• Understand that your first draft is just the beginning. Revising your work is where the real magic happens.
• Be open to feedback and willing to rework your pieces.
• Carry a notebook or digital recorder to jot down ideas, observations, and snippets of conversations.
• These notes can be gold mines for future writing projects.

Final Thoughts: What Is Creative Writing?

Creative writing is an invitation to explore the unknown, to give voice to the silenced, and to celebrate the human spirit in all its forms.

Check out these creative writing tools (that I highly recommend):

Read This Next:

• What Is a Prompt in Writing? (Ultimate Guide + 200 Examples)
• What Is A Personal Account In Writing? (47 Examples)
• How To Write A Fantasy Short Story (Ultimate Guide + Examples)
• How To Write A Fantasy Romance Novel [21 Tips + Examples)

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Extracurriculars.

16 Strong College Essay Examples from Top Schools

What’s Covered:

• Common App Essays
• Why This College Essays
• Why This Major Essays
• Extracurricular Essays
• Overcoming Challenges Essays
• Community Service Essays
• Diversity Essays
• Political/Global Issues Essays
• Where to Get Feedback on Your Essays

Most high school students don’t get a lot of experience with creative writing, so the college essay can be especially daunting. Reading examples of successful essays, however, can help you understand what admissions officers are looking for.

In this post, we’ll share 16 college essay examples of many different topics. Most of the essay prompts fall into 8 different archetypes, and you can approach each prompt under that archetype in a similar way. We’ve grouped these examples by archetype so you can better structure your approach to college essays.

If you’re looking for school-specific guides, check out our 2022-2023 essay breakdowns .

Looking at examples of real essays students have submitted to colleges can be very beneficial to get inspiration for your essays. You should never copy or plagiarize from these examples when writing your own essays. Colleges can tell when an essay isn’t genuine and will not view students favorably if they plagiarized. 

Note: the essays are titled in this post for navigation purposes, but they were not originally titled. We also include the original prompt where possible.

The Common App essay goes to all of the schools on your list, unless those schools use a separate application platform. Because of this, it’s the most important essay in your portfolio, and likely the longest essay you’ll need to write (you get up to 650 words). 

The goal of this essay is to share a glimpse into who you are, what matters to you, and what you hope to achieve. It’s a chance to share your story. 

Learn more about how to write the Common App essay in our complete guide.

The Multiple Meanings of Point

Prompt: Some students have a background, identity, interest, or talent that is so meaningful they believe their application would be incomplete without it. If this sounds like you, then please share your story. (250-650 words)

Night had robbed the academy of its daytime colors, yet there was comfort in the dim lights that cast shadows of our advances against the bare studio walls. Silhouettes of roundhouse kicks, spin crescent kicks, uppercuts and the occasional butterfly kick danced while we sparred. She approached me, eyes narrowed with the trace of a smirk challenging me. “Ready spar!” Her arm began an upward trajectory targeting my shoulder, a common first move. I sidestepped — only to almost collide with another flying fist. Pivoting my right foot, I snapped my left leg, aiming my heel at her midsection. The center judge raised one finger. 

There was no time to celebrate, not in the traditional sense at least. Master Pollard gave a brief command greeted with a unanimous “Yes, sir” and the thud of 20 hands dropping-down-and-giving-him-30, while the “winners” celebrated their victory with laps as usual. 

Three years ago, seven-thirty in the evening meant I was a warrior. It meant standing up straighter, pushing a little harder, “Yes, sir” and “Yes, ma’am”, celebrating birthdays by breaking boards, never pointing your toes, and familiarity. Three years later, seven-thirty in the morning meant I was nervous. 

The room is uncomfortably large. The sprung floor soaks up the checkerboard of sunlight piercing through the colonial windows. The mirrored walls further illuminate the studio and I feel the light scrutinizing my sorry attempts at a pas de bourrée, while capturing the organic fluidity of the dancers around me. “Chassé en croix, grand battement, pique, pirouette.” I follow the graceful limbs of the woman in front of me, her legs floating ribbons, as she executes what seems to be a perfect ronds de jambes. Each movement remains a negotiation. With admirable patience, Ms. Tan casts me a sympathetic glance.   

There is no time to wallow in the misery that is my right foot. Taekwondo calls for dorsiflexion; pointed toes are synonymous with broken toes. My thoughts drag me into a flashback of the usual response to this painful mistake: “You might as well grab a tutu and head to the ballet studio next door.” Well, here I am Master Pollard, unfortunately still following your orders to never point my toes, but no longer feeling the satisfaction that comes with being a third degree black belt with 5 years of experience quite literally under her belt. It’s like being a white belt again — just in a leotard and ballet slippers. 

But the appetite for new beginnings that brought me here doesn’t falter. It is only reinforced by the classical rendition of “Dancing Queen” that floods the room and the ghost of familiarity that reassures me that this new beginning does not and will not erase the past. After years spent at the top, it’s hard to start over. But surrendering what you are only leads you to what you may become. In Taekwondo, we started each class reciting the tenets: honor, courtesy, integrity, perseverance, self-control, courage, humility, and knowledge, and I have never felt that I embodied those traits more so than when I started ballet. 

The thing about change is that it eventually stops making things so different. After nine different schools, four different countries, three different continents, fluency in Tamil, Norwegian, and English, there are more blurred lines than there are clear fragments. My life has not been a tactfully executed, gold medal-worthy Taekwondo form with each movement defined, nor has it been a series of frappés performed by a prima ballerina with each extension identical and precise, but thankfully it has been like the dynamics of a spinning back kick, fluid, and like my chances of landing a pirouette, unpredictable. 

The first obvious strength of this essay is the introduction—it is interesting and snappy and uses enough technical language that we want to figure out what the student is discussing. When writing introductions, students tend to walk the line between intriguing and confusing. It is important that your essay ends up on the intentionally intriguing side of that line—like this student does! We are a little confused at first, but by then introducing the idea of “sparring,” the student grounds their essay.

People often advise young writers to “show, not tell.” This student takes that advice a step further and makes the reader do a bit of work to figure out what they are telling us. Nowhere in this essay does it say “After years of Taekwondo, I made the difficult decision to switch over to ballet.” Rather, the student says “It’s like being a white belt again — just in a leotard and ballet slippers.” How powerful! 

After a lot of emotional language and imagery, this student finishes off their essay with very valuable (and necessary!) reflection. They show admissions officers that they are more than just a good writer—they are a mature and self-aware individual who would be beneficial to a college campus. Self-awareness comes through with statements like “surrendering what you are only leads you to what you may become” and maturity can be seen through the student’s discussion of values: “honor, courtesy, integrity, perseverance, self-control, courage, humility, and knowledge, and I have never felt that I embodied those traits more so than when I started ballet.”

Sparking Self-Awareness

Prompt: The lessons we take from obstacles we encounter can be fundamental to later success. Recount a time when you faced a challenge, setback, or failure. How did it affect you, and what did you learn from the experience? (250-650 words)

Was I no longer the beloved daughter of nature, whisperer of trees? Knee-high rubber boots, camouflage, bug spray—I wore the garb and perfume of a proud wild woman, yet there I was, hunched over the pathetic pile of stubborn sticks, utterly stumped, on the verge of tears. As a child, I had considered myself a kind of rustic princess, a cradler of spiders and centipedes, who was serenaded by mourning doves and chickadees, who could glide through tick-infested meadows and emerge Lyme-free. I knew the cracks of the earth like the scars on my own rough palms. Yet here I was, ten years later, incapable of performing the most fundamental outdoor task: I could not, for the life of me, start a fire. 

Furiously I rubbed the twigs together—rubbed and rubbed until shreds of skin flaked from my fingers. No smoke. The twigs were too young, too sticky-green; I tossed them away with a shower of curses, and began tearing through the underbrush in search of a more flammable collection. My efforts were fruitless. Livid, I bit a rejected twig, determined to prove that the forest had spurned me, offering only young, wet bones that would never burn. But the wood cracked like carrots between my teeth—old, brittle, and bitter. Roaring and nursing my aching palms, I retreated to the tent, where I sulked and awaited the jeers of my family. 

Rattling their empty worm cans and reeking of fat fish, my brother and cousins swaggered into the campsite. Immediately, they noticed the minor stick massacre by the fire pit and called to me, their deep voices already sharp with contempt. 

“Where’s the fire, Princess Clara?” they taunted. “Having some trouble?” They prodded me with the ends of the chewed branches and, with a few effortless scrapes of wood on rock, sparked a red and roaring flame. My face burned long after I left the fire pit. The camp stank of salmon and shame. 

In the tent, I pondered my failure. Was I so dainty? Was I that incapable? I thought of my hands, how calloused and capable they had been, how tender and smooth they had become. It had been years since I’d kneaded mud between my fingers; instead of scaling a white pine, I’d practiced scales on my piano, my hands softening into those of a musician—fleshy and sensitive. And I’d gotten glasses, having grown horrifically nearsighted; long nights of dim lighting and thick books had done this. I couldn’t remember the last time I had lain down on a hill, barefaced, and seen the stars without having to squint. Crawling along the edge of the tent, a spider confirmed my transformation—he disgusted me, and I felt an overwhelming urge to squash him. 

Yet, I realized I hadn’t really changed—I had only shifted perspective. I still eagerly explored new worlds, but through poems and prose rather than pastures and puddles. I’d grown to prefer the boom of a bass over that of a bullfrog, learned to coax a different kind of fire from wood, having developed a burn for writing rhymes and scrawling hypotheses. 

That night, I stayed up late with my journal and wrote about the spider I had decided not to kill. I had tolerated him just barely, only shrieking when he jumped—it helped to watch him decorate the corners of the tent with his delicate webs, knowing that he couldn’t start fires, either. When the night grew cold and the embers died, my words still smoked—my hands burned from all that scrawling—and even when I fell asleep, the ideas kept sparking—I was on fire, always on fire.

First things first, this Common App essay is well-written. This student is definitely showing the admissions officers her ability to articulate her points beautifully and creatively. It starts with vivid images like that of the “rustic princess, a cradler of spiders and centipedes, who was serenaded by mourning doves and chickadees, who could glide through tick-infested meadows and emerge Lyme-free.” And because the prose is flowery (and beautiful!), the writer can get away with metaphors like “I knew the cracks of the earth like the scars on my own rough palms” that might sound cheesy without the clear command of the English language that the writer quickly establishes.

In addition to being well-written, this essay is thematically cohesive. It begins with the simple introduction “Fire!” and ends with the following image: “When the night grew cold and the embers died, my words still smoked—my hands burned from all that scrawling—and even when I fell asleep, the ideas kept sparking—I was on fire, always on fire.” This full-circle approach leaves readers satisfied and impressed.

While dialogue often comes off as cliche or trite, this student effectively incorporates her family members saying “Where’s the fire, Princess Clara?” This is achieved through the apt use of the verb “taunted” to characterize the questioning and through the question’s thematic connection to the earlier image of the student as a rustic princess. Similarly, rhetorical questions can feel randomly placed in essays, but this student’s inclusion of the questions “Was I so dainty?” and “Was I that incapable?” feel perfectly justified after she establishes that she was pondering her failure.

Quite simply, this essay shows how quality writing can make a simple story outstandingly compelling. 

Why This College?

“Why This College?” is one of the most common essay prompts, likely because schools want to understand whether you’d be a good fit and how you’d use their resources.

This essay is one of the more straightforward ones you’ll write for college applications, but you still can and should allow your voice to shine through.

Learn more about how to write the “Why This College?” essay in our guide.

Prompt: How will you explore your intellectual and academic interests at the University of Pennsylvania? Please answer this question given the specific undergraduate school to which you are applying (650 words).

Sister Simone Roach, a theorist of nursing ethics, said, “caring is the human mode of being.” I have long been inspired by Sister Roach’s Five C’s of Caring: commitment, conscience, competence, compassion, and confidence. Penn both embraces and fosters these values through a rigorous, interdisciplinary curriculum and unmatched access to service and volunteer opportunities.

COMMITMENT. Reading through the activities that Penn Quakers devote their time to (in addition to academics!) felt like drinking from a firehose in the best possible way. As a prospective nursing student with interests outside of my major, I value this level of flexibility. I plan to leverage Penn’s liberal arts curriculum to gain an in-depth understanding of the challenges LGBT people face, especially regarding healthcare access. Through courses like “Interactional Processes with LGBT Individuals” and volunteering at the Mazzoni Center for outreach, I hope to learn how to better support the Penn LGBT community as well as my family and friends, including my cousin, who came out as trans last year.

CONSCIENCE. As one of the first people in my family to attend a four-year university, I wanted a school that promoted a sense of moral responsibility among its students. At Penn, professors challenge their students to question and recreate their own set of morals by sparking thought- provoking, open-minded discussions. I can imagine myself advocating for universal healthcare in courses such as “Health Care Reform & Future of American Health System” and debating its merits with my peers. Studying in an environment where students confidently voice their opinions – conservative or liberal – will push me to question and strengthen my value system.

COMPETENCE. Two aspects that drew my attention to Penn’s BSN program were its high-quality research opportunities and hands-on nursing projects. Through its Office of Nursing Research, Penn connects students to faculty members who share similar research interests. As I volunteered at a nursing home in high school, I hope to work with Dr. Carthon to improve the quality of care for senior citizens. Seniors, especially minorities, face serious barriers to healthcare that I want to resolve. Additionally, Penn’s unique use of simulations to bridge the gap between classroom learning and real-world application impressed me. Using computerized manikins that mimic human responses, classes in Penn’s nursing program allow students to apply their emergency medical skills in a mass casualty simulation and monitor their actions afterward through a video system. Participating in this activity will help me identify my strengths and areas for improvement regarding crisis management and medical care in a controlled yet realistic setting. Research opportunities and simulations will develop my skills even before I interact with patients.

COMPASSION. I value giving back through community service, and I have a particular interest in Penn’s Community Champions and Nursing Students For Sexual & Reproductive Health (NSRH). As a four-year volunteer health educator, I hope to continue this work as a Community Champions member. I am excited to collaborate with medical students to teach fourth and fifth graders in the city about cardiology or lead a chair dance class for the elders at the LIFE Center. Furthermore, as a feminist who firmly believes in women’s abortion rights, I’d like to join NSRH in order to advocate for women’s health on campus. At Penn, I can work with like-minded people to make a meaningful difference.

CONFIDENCE. All of the Quakers that I have met possess one defining trait: confidence. Each student summarized their experiences at Penn as challenging but fulfilling. Although I expect my coursework to push me, from my conversations with current Quakers I know it will help me to be far more effective in my career.

The Five C’s of Caring are important heuristics for nursing, but they also provide insight into how I want to approach my time in college. I am eager to engage with these principles both as a nurse and as a Penn Quaker, and I can’t wait to start.

This prompt from Penn asks students to tailor their answer to their specific field of study. One great thing that this student does is identify their undergraduate school early, by mentioning “Sister Simone Roach, a theorist of nursing ethics.” You don’t want readers confused or searching through other parts of your application to figure out your major.

With a longer essay like this, it is important to establish structure. Some students organize their essay in a narrative form, using an anecdote from their past or predicting their future at a school. This student uses Roach’s 5 C’s of Caring as a framing device that organizes their essay around values. This works well!

While this essay occasionally loses voice, there are distinct moments where the student’s personality shines through. We see this with phrases like “felt like drinking from a fire hose in the best possible way” and “All of the Quakers that I have met possess one defining trait: confidence.” It is important to show off your personality to make your essay stand out. 

Finally, this student does a great job of referencing specific resources about Penn. It’s clear that they have done their research (they’ve even talked to current Quakers). They have dreams and ambitions that can only exist at Penn.

Prompt: What is it about Yale that has led you to apply? (125 words or fewer)

Coin collector and swimmer. Hungarian and Romanian. Critical and creative thinker. I was drawn to Yale because they don’t limit one’s mind with “or” but rather embrace unison with “and.” 

Wandering through the Beinecke Library, I prepare for my multidisciplinary Energy Studies capstone about the correlation between hedonism and climate change, making it my goal to find implications in environmental sociology. Under the tutelage of Assistant Professor Arielle Baskin-Sommers, I explore the emotional deficits of depression, utilizing neuroimaging to scrutinize my favorite branch of psychology: human perception. At Walden Peer Counseling, I integrate my peer support and active listening skills to foster an empathetic environment for the Yale community. Combining my interests in psychological and environmental studies is why I’m proud to be a Bulldog. 

This answer to the “Why This College” question is great because 1) the student shows their excitement about attending Yale 2) we learn the ways in which attending Yale will help them achieve their goals and 3) we learn their interests and identities.

In this response, you can find a prime example of the “Image of the Future” approach, as the student flashes forward and envisions their life at Yale, using present tense (“I explore,” “I integrate,” “I’m proud”). This approach is valuable if you are trying to emphasize your dedication to a specific school. Readers get the feeling that this student is constantly imagining themselves on campus—it feels like Yale really matters to them.

Starting this image with the Beinecke Library is great because the Beinecke Library only exists at Yale. It is important to tailor “Why This College” responses to each specific school. This student references a program of study, a professor, and an extracurricular that only exist at Yale. Additionally, they connect these unique resources to their interests—psychological and environmental studies.

Finally, we learn about the student (independent of academics) through this response. By the end of their 125 words, we know their hobbies, ethnicities, and social desires, in addition to their academic interests. It can be hard to tackle a 125-word response, but this student shows that it’s possible.

Why This Major?

The goal of this prompt is to understand how you came to be interested in your major and what you plan to do with it. For competitive programs like engineering, this essay helps admissions officers distinguish students who have a genuine passion and are most likely to succeed in the program. This is another more straightforward essay, but you do have a bit more freedom to include relevant anecdotes.

Learn more about how to write the “Why This Major?” essay in our guide.

Why Duke Engineering

Prompt: If you are applying to the Pratt School of Engineering as a first year applicant, please discuss why you want to study engineering and why you would like to study at Duke (250 words).

One Christmas morning, when I was nine, I opened a snap circuit set from my grandmother. Although I had always loved math and science, I didn’t realize my passion for engineering until I spent the rest of winter break creating different circuits to power various lights, alarms, and sensors. Even after I outgrew the toy, I kept the set in my bedroom at home and knew I wanted to study engineering. Later, in a high school biology class, I learned that engineering didn’t only apply to circuits, but also to medical devices that could improve people’s quality of life. Biomedical engineering allows me to pursue my academic passions and help people at the same time.

Just as biology and engineering interact in biomedical engineering, I am fascinated by interdisciplinary research in my chosen career path. Duke offers unmatched resources, such as DUhatch and The Foundry, that will enrich my engineering education and help me practice creative problem-solving skills. The emphasis on entrepreneurship within these resources will also help me to make a helpful product. Duke’s Bass Connections program also interests me; I firmly believe that the most creative and necessary problem-solving comes by bringing people together from different backgrounds. Through this program, I can use my engineering education to solve complicated societal problems such as creating sustainable surgical tools for low-income countries. Along the way, I can learn alongside experts in the field. Duke’s openness and collaborative culture span across its academic disciplines, making Duke the best place for me to grow both as an engineer and as a social advocate.

This prompt calls for a complex answer. Students must explain both why they want to study engineering and why Duke is the best place for them to study engineering.

This student begins with a nice hook—a simple anecdote about a simple present with profound consequences. They do not fluff up their anecdote with flowery images or emotionally-loaded language; it is what it is, and it is compelling and sweet. As their response continues, they express a particular interest in problem-solving. They position problem-solving as a fundamental part of their interest in engineering (and a fundamental part of their fascination with their childhood toy). This helps readers to learn about the student!

Problem-solving is also the avenue by which they introduce Duke’s resources—DUhatch, The Foundry, and Duke’s Bass Connections program. It is important to notice that the student explains how these resources can help them achieve their future goals—it is not enough to simply identify the resources!

This response is interesting and focused. It clearly answers the prompt, and it feels honest and authentic.

Why Georgia Tech CompSci

Prompt: Why do you want to study your chosen major specifically at Georgia Tech? (300 words max)

I held my breath and hit RUN. Yes! A plump white cat jumped out and began to catch the falling pizzas. Although my Fat Cat project seems simple now, it was the beginning of an enthusiastic passion for computer science. Four years and thousands of hours of programming later, that passion has grown into an intense desire to explore how computer science can serve society. Every day, surrounded by technology that can recognize my face and recommend scarily-specific ads, I’m reminded of Uncle Ben’s advice to a young Spiderman: “with great power comes great responsibility”. Likewise, the need to ensure digital equality has skyrocketed with AI’s far-reaching presence in society; and I believe that digital fairness starts with equality in education.

The unique use of threads at the College of Computing perfectly matches my interests in AI and its potential use in education; the path of combined threads on Intelligence and People gives me the rare opportunity to delve deep into both areas. I’m particularly intrigued by the rich sets of both knowledge-based and data-driven intelligence courses, as I believe AI should not only show correlation of events, but also provide insight for why they occur.

In my four years as an enthusiastic online English tutor, I’ve worked hard to help students overcome both financial and technological obstacles in hopes of bringing quality education to people from diverse backgrounds. For this reason, I’m extremely excited by the many courses in the People thread that focus on education and human-centered technology. I’d love to explore how to integrate AI technology into the teaching process to make education more available, affordable, and effective for people everywhere. And with the innumerable opportunities that Georgia Tech has to offer, I know that I will be able to go further here than anywhere else.

With a “Why This Major” essay, you want to avoid using all of your words to tell a story. That being said, stories are a great way to show your personality and make your essay stand out. This student’s story takes up only their first 21 words, but it positions the student as fun and funny and provides an endearing image of cats and pizzas—who doesn’t love cats and pizzas? There are other moments when the student’s personality shines through also, like the Spiderman reference.

While this pop culture reference adds color, it also is important for what the student is getting at: their passion. They want to go into computer science to address the issues of security and equity that are on the industry’s mind, and they acknowledge these concerns with their comments about “scarily-specific ads” and their statement that “the need to ensure digital equality has skyrocketed.” This student is self-aware and aware of the state of the industry. This aptitude will be appealing for admissions officers.

The conversation around “threads” is essential for this student’s response because the prompt asks specifically about the major at Georgia Tech and it is the only thing they reference that is specific to Georgia Tech. Threads are great, but this student would have benefitted from expanding on other opportunities specific to Georgia Tech later in the essay, instead of simply inserting “innumerable opportunities.”

Overall, this student shows personality, passion, and aptitude—precisely what admissions officers want to see!

Extracurricular Essay

You’re asked to describe your activities on the Common App, but chances are, you have at least one extracurricular that’s impacted you in a way you can’t explain in 150 characters.

This essay archetype allows you to share how your most important activity shaped you and how you might use those lessons learned in the future. You are definitely welcome to share anecdotes and use a narrative approach, but remember to include some reflection. A common mistake students make is to only describe the activity without sharing how it impacted them.

Learn more about how to write the Extracurricular Essay in our guide.

A Dedicated Musician

My fingers raced across the keys, rapidly striking one after another. My body swayed with the music as my hands raced across the piano. Crashing onto the final chord, it was over as quickly as it had begun. My shoulders relaxed and I couldn’t help but break into a satisfied grin. I had just played the Moonlight Sonata’s third movement, a longtime dream of mine. 

Four short months ago, though, I had considered it impossible. The piece’s tempo was impossibly fast, its notes stretching between each end of the piano, forcing me to reach farther than I had ever dared. It was 17 pages of the most fragile and intricate melodies I had ever encountered. 

But that summer, I found myself ready to take on the challenge. With the end of the school year, I was released from my commitment to practicing for band and solo performances. I was now free to determine my own musical path: either succeed in learning the piece, or let it defeat me for the third summer in a row. 

Over those few months, I spent countless hours practicing the same notes until they burned a permanent place in my memory, creating a soundtrack for even my dreams. Some would say I’ve mastered the piece, but as a musician I know better. Now that I can play it, I am eager to take the next step and add in layers of musicality and expression to make the once-impossible piece even more beautiful.

In this response, the student uses their extracurricular, piano, as a way to emphasize their positive qualities. At the beginning, readers are invited on a journey with the student where we feel their struggle, their intensity, and ultimately their satisfaction. With this descriptive image, we form a valuable connection with the student.

Then, we get to learn about what makes this student special: their dedication and work ethic. The fact that this student describes their desire to be productive during the summer shows an intensity that is appealing to admissions officers. Additionally, the growth mindset that this student emphasizes in their conclusion is appealing to admissions officers.

The Extracurricular Essay can be seen as an opportunity to characterize yourself. This student clearly identified their positive qualities, then used the Extracurricular Essay as a way to articulate them.

A Complicated Relationship with the School Newspaper

My school’s newspaper and I have a typical love-hate relationship; some days I want nothing more than to pass two hours writing and formatting articles, while on others the mere thought of student journalism makes me shiver. Still, as we’re entering our fourth year together, you could consider us relatively stable. We’ve learned to accept each other’s differences; at this point I’ve become comfortable spending an entire Friday night preparing for an upcoming issue, and I hardly even notice the snail-like speed of our computers. I’ve even benefitted from the polygamous nature of our relationship—with twelve other editors, there’s a lot of cooperation involved. Perverse as it may be, from that teamwork I’ve both gained some of my closest friends and improved my organizational and time-management skills. And though leaving it in the hands of new editors next year will be difficult, I know our time together has only better prepared me for future relationships.

This response is great. It’s cute and endearing and, importantly, tells readers a lot about the student who wrote it. Framing this essay in the context of a “love-hate relationship,” then supplementing with comments like “We’ve learned to accept each other’s differences” allows this student to advertise their maturity in a unique and engaging way. 

While Extracurricular Essays can be a place to show how you’ve grown within an activity, they can also be a place to show how you’ve grown through an activity. At the end of this essay, readers think that this student is mature and enjoyable, and we think that their experience with the school newspaper helped make them that way.

Participating in Democracy

Prompt: Research shows that an ability to learn from experiences outside the classroom correlates with success in college. What was your greatest learning experience over the past 4 years that took place outside of the traditional classroom? (250 words) 

The cool, white halls of the Rayburn House office building contrasted with the bustling energy of interns entertaining tourists, staffers rushing to cover committee meetings, and my fellow conference attendees separating to meet with our respective congresspeople. Through civics and US history classes, I had learned about our government, but simply hearing the legislative process outlined didn’t prepare me to navigate it. It was my first political conference, and, after learning about congressional mechanics during breakout sessions, I was lobbying my representative about an upcoming vote crucial to the US-Middle East relationship. As the daughter of Iranian immigrants, my whole life had led me to the moment when I could speak on behalf of the family members who had not emigrated with my parents.

As I sat down with my congresswoman’s chief of staff, I truly felt like a participant in democracy; I was exercising my right to be heard as a young American. Through this educational conference, I developed a plan of action to raise my voice. When I returned home, I signed up to volunteer with the state chapter of the Democratic Party. I sponsored letter-writing campaigns, canvassed for local elections, and even pursued an internship with a state senate campaign. I know that I don’t need to be old enough to vote to effect change. Most importantly, I also know that I want to study government—I want to make a difference for my communities in the United States and the Middle East throughout my career. 

While this prompt is about extracurricular activities, it specifically references the idea that the extracurricular should support the curricular. It is focused on experiential learning for future career success. This student wants to study government, so they chose to describe an experience of hands-on learning within their field—an apt choice!

As this student discusses their extracurricular experience, they also clue readers into their future goals—they want to help Middle Eastern communities. Admissions officers love when students mention concrete plans with a solid foundation. Here, the foundation comes from this student’s ethnicity. With lines like “my whole life had led me to the moment when I could speak on behalf of the family members who had not emigrated with my parents,” the student assures admissions officers of their emotional connection to their future field.

The strength of this essay comes from its connections. It connects the student’s extracurricular activity to their studies and connects theirs studies to their personal history.

Overcoming Challenges

You’re going to face a lot of setbacks in college, so admissions officers want to make you’re you have the resilience and resolve to overcome them. This essay is your chance to be vulnerable and connect to admissions officers on an emotional level.

Learn more about how to write the Overcoming Challenges Essay in our guide.

The Student Becomes the Master

”Advanced females ages 13 to 14 please proceed to staging with your coaches at this time.” Skittering around the room, eyes wide and pleading, I frantically explained my situation to nearby coaches. The seconds ticked away in my head; every polite refusal increased my desperation.

Despair weighed me down. I sank to my knees as a stream of competitors, coaches, and officials flowed around me. My dojang had no coach, and the tournament rules prohibited me from competing without one.

Although I wanted to remain strong, doubts began to cloud my mind. I could not help wondering: what was the point of perfecting my skills if I would never even compete? The other members of my team, who had found coaches minutes earlier, attempted to comfort me, but I barely heard their words. They couldn’t understand my despair at being left on the outside, and I never wanted them to understand.

Since my first lesson 12 years ago, the members of my dojang have become family. I have watched them grow up, finding my own happiness in theirs. Together, we have honed our kicks, blocks, and strikes. We have pushed one another to aim higher and become better martial artists. Although my dojang had searched for a reliable coach for years, we had not found one. When we attended competitions in the past, my teammates and I had always gotten lucky and found a sympathetic coach. Now, I knew this practice was unsustainable. It would devastate me to see the other members of my dojang in my situation, unable to compete and losing hope as a result. My dojang needed a coach, and I decided it was up to me to find one. 

I first approached the adults in the dojang – both instructors and members’ parents. However, these attempts only reacquainted me with polite refusals. Everyone I asked told me they couldn’t devote multiple weekends per year to competitions. I soon realized that I would have become the coach myself.

At first, the inner workings of tournaments were a mystery to me. To prepare myself for success as a coach, I spent the next year as an official and took coaching classes on the side. I learned everything from motivational strategies to technical, behind-the-scenes components of Taekwondo competitions. Though I emerged with new knowledge and confidence in my capabilities, others did not share this faith.

Parents threw me disbelieving looks when they learned that their children’s coach was only a child herself. My self-confidence was my armor, deflecting their surly glances. Every armor is penetrable, however, and as the relentless barrage of doubts pounded my resilience, it began to wear down. I grew unsure of my own abilities.

Despite the attack, I refused to give up. When I saw the shining eyes of the youngest students preparing for their first competition, I knew I couldn’t let them down. To quit would be to set them up to be barred from competing like I was. The knowledge that I could solve my dojang’s longtime problem motivated me to overcome my apprehension.

Now that my dojang flourishes at competitions, the attacks on me have weakened, but not ended. I may never win the approval of every parent; at times, I am still tormented by doubts, but I find solace in the fact that members of my dojang now only worry about competing to the best of their abilities.

Now, as I arrive at a tournament with my students, I close my eyes and remember the past. I visualize the frantic search for a coach and the chaos amongst my teammates as we competed with one another to find coaches before the staging calls for our respective divisions. I open my eyes to the exact opposite scene. Lacking a coach hurt my ability to compete, but I am proud to know that no member of my dojang will have to face that problem again.

This essay is great because it has a strong introduction and conclusion. The introduction is notably suspenseful and draws readers into the story. Because we know it is a college essay, we can assume that the student is one of the competitors, but at the same time, this introduction feels intentionally ambiguous as if the writer could be a competitor, a coach, a sibling of a competitor, or anyone else in the situation.

As we continue reading the essay, we learn that the writer is, in fact, the competitor. Readers also learn a lot about the student’s values as we hear their thoughts: “I knew I couldn’t let them down. To quit would be to set them up to be barred from competing like I was.” Ultimately, the conflict and inner and outer turmoil is resolved through the “Same, but Different” ending technique as the student places themself in the same environment that we saw in the intro, but experiencing it differently due to their actions throughout the narrative. This is a very compelling strategy!

Growing Sensitivity to Struggles

Prompt: The lessons we take from failure can be fundamental to later success. Recount an incident or time when you experienced failure. How did it affect you, and what did you learn from the experience? (650 words)

“You ruined my life!” After months of quiet anger, my brother finally confronted me. To my shame, I had been appallingly ignorant of his pain.

Despite being twins, Max and I are profoundly different. Having intellectual interests from a young age that, well, interested very few of my peers, I often felt out of step in comparison with my highly-social brother. Everything appeared to come effortlessly for Max and, while we share an extremely tight bond, his frequent time away with friends left me feeling more and more alone as we grew older.

When my parents learned about The Green Academy, we hoped it would be an opportunity for me to find not only an academically challenging environment, but also – perhaps more importantly – a community. This meant transferring the family from Drumfield to Kingston. And while there was concern about Max, we all believed that given his sociable nature, moving would be far less impactful on him than staying put might be on me.

As it turned out, Green Academy was everything I’d hoped for. I was ecstatic to discover a group of students with whom I shared interests and could truly engage. Preoccupied with new friends and a rigorous course load, I failed to notice that the tables had turned. Max, lost in the fray and grappling with how to make connections in his enormous new high school, had become withdrawn and lonely. It took me until Christmas time – and a massive argument – to recognize how difficult the transition had been for my brother, let alone that he blamed me for it.

Through my own journey of searching for academic peers, in addition to coming out as gay when I was 12, I had developed deep empathy for those who had trouble fitting in. It was a pain I knew well and could easily relate to. Yet after Max’s outburst, my first response was to protest that our parents – not I – had chosen to move us here. In my heart, though, I knew that regardless of who had made the decision, we ended up in Kingston for my benefit. I was ashamed that, while I saw myself as genuinely compassionate, I had been oblivious to the heartache of the person closest to me. I could no longer ignore it – and I didn’t want to.

We stayed up half the night talking, and the conversation took an unexpected turn. Max opened up and shared that it wasn’t just about the move. He told me how challenging school had always been for him, due to his dyslexia, and that the ever-present comparison to me had only deepened his pain.

We had been in parallel battles the whole time and, yet, I only saw that Max was in distress once he experienced problems with which I directly identified. I’d long thought Max had it so easy – all because he had friends. The truth was, he didn’t need to experience my personal brand of sorrow in order for me to relate – he had felt plenty of his own.

My failure to recognize Max’s suffering brought home for me the profound universality and diversity of personal struggle; everyone has insecurities, everyone has woes, and everyone – most certainly – has pain. I am acutely grateful for the conversations he and I shared around all of this, because I believe our relationship has been fundamentally strengthened by a deeper understanding of one another. Further, this experience has reinforced the value of constantly striving for deeper sensitivity to the hidden struggles of those around me. I won’t make the mistake again of assuming that the surface of someone’s life reflects their underlying story.

Here you can find a prime example that you don’t have to have fabulous imagery or flowery prose to write a successful essay. You just have to be clear and say something that matters. This essay is simple and beautiful. It almost feels like having a conversation with a friend and learning that they are an even better person than you already thought they were.

Through this narrative, readers learn a lot about the writer—where they’re from, what their family life is like, what their challenges were as a kid, and even their sexuality. We also learn a lot about their values—notably, the value they place on awareness, improvement, and consideration of others. Though they never explicitly state it (which is great because it is still crystal clear!), this student’s ending of “I won’t make the mistake again of assuming that the surface of someone’s life reflects their underlying story” shows that they are constantly striving for improvement and finding lessons anywhere they can get them in life.

Community Service/Impact on the Community

Colleges want students who will positively impact the campus community and go on to make change in the world after they graduate. This essay is similar to the Extracurricular Essay, but you need to focus on a situation where you impacted others. 

Learn more about how to write the Community Service Essay in our guide.

Academic Signing Day

Prompt: What have you done to make your school or your community a better place?

The scent of eucalyptus caressed my nose in a gentle breeze. Spring had arrived. Senior class activities were here. As a sophomore, I noticed a difference between athletic and academic seniors at my high school; one received recognition while the other received silence. I wanted to create an event celebrating students academically-committed to four-years, community colleges, trades schools, and military programs. This event was Academic Signing Day.

The leadership label, “Events Coordinator,” felt heavy on my introverted mind. I usually was setting up for rallies and spirit weeks, being overlooked around the exuberant nature of my peers. 

I knew a change of mind was needed; I designed flyers, painted posters, presented powerpoints, created student-led committees, and practiced countless hours for my introductory speech. Each committee would play a vital role on event day: one dedicated to refreshments, another to technology, and one for decorations. The fourth-month planning was a laborious joy, but I was still fearful of being in the spotlight. Being acknowledged by hundreds of people was new to me.     

The day was here. Parents filled the stands of the multi-purpose room. The atmosphere was tense; I could feel the angst building in my throat, worried about the impression I would leave. Applause followed each of the 400 students as they walked to their college table, indicating my time to speak. 

I walked up to the stand, hands clammy, expression tranquil, my words echoing to the audience. I thought my speech would be met by the sounds of crickets; instead, smiles lit up the stands, realizing my voice shone through my actions. I was finally coming out of my shell. The floor was met by confetti as I was met by the sincerity of staff, students, and parents, solidifying the event for years to come. 

Academic students were no longer overshadowed. Their accomplishments were equally recognized to their athletic counterparts. The school culture of athletics over academics was no longer imbalanced. Now, every time I smell eucalyptus, it is a friendly reminder that on Academic Signing Day, not only were academic students in the spotlight but so was my voice.

This essay answers the prompt nicely because the student describes a contribution with a lasting legacy. Academic Signing Day will affect this high school in the future and it affected this student’s self-development—an idea summed up nicely with their last phrase “not only were academic students in the spotlight but so was my voice.”

With Community Service essays, students sometimes take small contributions and stretch them. And, oftentimes, the stretch is very obvious. Here, the student shows us that Academic Signing Day actually mattered by mentioning four months of planning and hundreds of students and parents. They also make their involvement in Academic Signing Day clear—it was their idea and they were in charge, and that’s why they gave the introductory speech.

Use this response as an example of the type of focused contribution that makes for a convincing Community Service Essay.

Climate Change Rally

Prompt: What would you say is your greatest talent or skill? How have you developed and demonstrated that talent over time? (technically not community service, but the response works)

Let’s fast-forward time. Strides were made toward racial equality. Healthcare is accessible to all; however, one issue remains. Our aquatic ecosystems are parched with dead coral from ocean acidification. Climate change has prevailed.

Rewind to the present day.

My activism skills are how I express my concerns for the environment. Whether I play on sandy beaches or rest under forest treetops, nature offers me an escape from the haste of the world. When my body is met by trash in the ocean or my nose is met by harmful pollutants, Earth’s pain becomes my own. 

Substituting coffee grinds as fertilizer, using bamboo straws, starting my sustainable garden, my individual actions needed to reach a larger scale. I often found performative activism to be ineffective when communicating climate concerns. My days of reposting awareness graphics on social media never filled the ambition I had left to put my activism skills to greater use. I decided to share my ecocentric worldview with a coalition of environmentalists and host a climate change rally outside my high school.

Meetings were scheduled where I informed students about the unseen impact they have on the oceans and local habitual communities. My fingers were cramped from all the constant typing and investigating of micro causes of the Pacific Waste Patch, creating reusable flyers, displaying steps people could take from home in reducing their carbon footprint. I aided my fellow environmentalists in translating these flyers into other languages, repeating this process hourly, for five days, up until rally day.  

It was 7:00 AM. The faces of 100 students were shouting, “The climate is changing, why can’t we?” I proudly walked on the dewy grass, grabbing the microphone, repeating those same words. The rally not only taught me efficient methods of communication but it echoed my environmental activism to the masses. The City of Corona would be the first of many cities to see my activism, as more rallies were planned for various parts of SoCal. My once unfulfilled ambition was fueled by my tangible activism, understanding that it takes more than one person to make an environmental impact.

Like with the last example, this student describes a focused event with a lasting legacy. That’s a perfect place to start! By the end of this essay, we have an image of the cause of this student’s passion and the effect of this student’s passion. There are no unanswered questions.

This student supplements their focused topic with engaging and exciting writing to make for an easy-to-read and enjoyable essay. One of the largest strengths of this response is its pace. From the very beginning, we are invited to “fast-forward” and “rewind” with the writer. Then, after we center ourselves in real-time, this writer keeps their quick pace with sentences like “Substituting coffee grounds as fertilizer, using bamboo straws, starting my sustainable garden, my individual actions needed to reach a larger scale.” Community Service essays run the risk of turning boring, but this unique pacing keeps things interesting.

Having a diverse class provides a richness of different perspectives and encourages open-mindedness among the student body. The Diversity Essay is also somewhat similar to the Extracurricular and Community Service Essays, but it focuses more on what you might bring to the campus community because of your unique experiences or identities.

Learn more about how to write the Diversity Essay in our guide.

A Story of a Young Skater

​​“Everyone follow me!” I smiled at five wide-eyed skaters before pushing off into a spiral. I glanced behind me hopefully, only to see my students standing frozen like statues, the fear in their eyes as clear as the ice they swayed on. “Come on!” I said encouragingly, but the only response I elicited was the slow shake of their heads. My first day as a Learn-to-Skate coach was not going as planned. 

But amid my frustration, I was struck by how much my students reminded me of myself as a young skater. At seven, I had been fascinated by Olympic performers who executed thrilling high jumps and dizzying spins with apparent ease, and I dreamed to one day do the same. My first few months on skates, however, sent these hopes crashing down: my attempts at slaloms and toe-loops were shadowed by a stubborn fear of falling, which even the helmet, elbow pads, and two pairs of mittens I had armed myself with couldn’t mitigate. Nonetheless, my coach remained unfailingly optimistic, motivating me through my worst spills and teaching me to find opportunities in failures. With his encouragement, I learned to push aside my fears and attack each jump with calm and confidence; it’s the hope that I can help others do the same that now inspires me to coach.

I remember the day a frustrated staff member directed Oliver, a particularly hesitant young skater, toward me, hoping that my patience and steady encouragement might help him improve. Having stood in Oliver’s skates not much earlier myself, I completely empathized with his worries but also saw within him the potential to overcome his fears and succeed. 

To alleviate his anxiety, I held Oliver’s hand as we inched around the rink, cheering him on at every turn. I soon found though, that this only increased his fear of gliding on his own, so I changed my approach, making lessons as exciting as possible in hopes that he would catch the skating bug and take off. In the weeks that followed, we held relay races, played “freeze-skate” and “ice-potato”, and raced through obstacle courses; gradually, with each slip and subsequent success, his fear began to abate. I watched Oliver’s eyes widen in excitement with every skill he learned, and not long after, he earned his first skating badge. Together we celebrated this milestone, his ecstasy fueling my excitement and his pride mirroring my own. At that moment, I was both teacher and student, his progress instilling in me the importance of patience and a positive attitude. 

It’s been more than ten years since I bundled up and stepped onto the ice for the first time. Since then, my tolerance for the cold has remained stubbornly low, but the rest of me has certainly changed. In sharing my passion for skating, I have found a wonderful community of eager athletes, loving parents, and dedicated coaches from whom I have learned invaluable lessons and wisdom. My fellow staffers have been with me, both as friends and colleagues, and the relationships I’ve formed have given me far more poise, confidence, and appreciation for others. Likewise, my relationships with parents have given me an even greater gratitude for the role they play: no one goes to the rink without a parent behind the wheel! 

Since that first lesson, I have mentored dozens of children, and over the years, witnessed tentative steps transform into powerful glides and tears give way to delighted grins. What I have shared with my students has been among the greatest joys of my life, something I will cherish forever. It’s funny: when I began skating, what pushed me through the early morning practices was the prospect of winning an Olympic medal. Now, what excites me is the chance to work with my students, to help them grow, and to give back to the sport that has brought me so much happiness. 

This response is a great example of how Diversity doesn’t have to mean race, gender, sexuality, ethnicity, age, or ability. Diversity can mean whatever you want it to mean—whatever unique experience(s) you have to bring to the table!

A major strength of this essay comes in its narrative organization. When reading this first paragraph, we feel for the young skaters and understand their fear—skating sounds scary! Then, because the writer sets us up to feel this empathy, the transition to the second paragraph where the student describes their empathy for the young skaters is particularly powerful. It’s like we are all in it together! The student’s empathy for the young skaters also serves as an outstanding, seamless transition to the applicant discussing their personal journey with skating: “I was struck by how much my students reminded me of myself as a young skater.”

This essay positions the applicant as a grounded and caring individual. They are caring towards the young skaters—changing their teaching style to try to help the young skaters and feeling the young skaters’ emotions with them—but they are also appreciative to those who helped them as they reference their fellow staffers and parents. This shows great maturity—a favorable quality in the eyes of an admissions officer.

At the end of the essay, we know a lot about this student and are convinced that they would be a good addition to a college campus!

Finding Community in the Rainforest

Prompt: Duke University seeks a talented, engaged student body that embodies the wide range of human experience; we believe that the diversity of our students makes our community stronger. If you’d like to share a perspective you bring or experiences you’ve had to help us understand you better—perhaps related to a community you belong to, your sexual orientation or gender identity, or your family or cultural background—we encourage you to do so. Real people are reading your application, and we want to do our best to understand and appreciate the real people applying to Duke (250 words).

I never understood the power of community until I left home to join seven strangers in the Ecuadorian rainforest. Although we flew in from distant corners of the U.S., we shared a common purpose: immersing ourselves in our passion for protecting the natural world.

Back home in my predominantly conservative suburb, my neighbors had brushed off environmental concerns. My classmates debated the feasibility of Trump’s wall, not the deteriorating state of our planet. Contrastingly, these seven strangers delighted in bird-watching, brightened at the mention of medicinal tree sap, and understood why I once ran across a four-lane highway to retrieve discarded beer cans. Their histories barely resembled mine, yet our values aligned intimately. We did not hesitate to joke about bullet ants, gush about the versatility of tree bark, or discuss the destructive consequences of materialism. Together, we let our inner tree huggers run free.

In the short life of our little community, we did what we thought was impossible. By feeding on each other’s infectious tenacity, we cultivated an atmosphere that deepened our commitment to our values and empowered us to speak out on behalf of the environment. After a week of stimulating conversations and introspective revelations about engaging people from our hometowns in environmental advocacy, we developed a shared determination to devote our lives to this cause.

As we shared a goodbye hug, my new friend whispered, “The world needs saving. Someone’s gotta do it.” For the first time, I believed that someone could be me.

This response is so wholesome and relatable. We all have things that we just need to geek out over and this student expresses the joy that came when they found a community where they could geek out about the environment. Passion is fundamental to university life and should find its way into successful applications.

Like the last response, this essay finds strength in the fact that readers feel for the student. We get a little bit of backstory about where they come from and how they felt silenced—“Back home in my predominantly conservative suburb, my neighbors had brushed off environmental concerns”—, so it’s easy to feel joy for them when they get set free.

This student displays clear values: community, ecoconsciousness, dedication, and compassion. An admissions officer who reads Diversity essays is looking for students with strong values and a desire to contribute to a university community—sounds like this student!  

Political/Global Issues

Colleges want to build engaged citizens, and the Political/Global Issues Essay allows them to better understand what you care about and whether your values align with theirs. In this essay, you’re most commonly asked to describe an issue, why you care about it, and what you’ve done or hope to do to address it. 

Learn more about how to write the Political/Global Issues Essay in our guide.

Note: this prompt is not a typical political/global issues essay, but the essay itself would be a strong response to a political/global issues prompt.

Fighting Violence Against Women

Prompt: Using a favorite quotation from an essay or book you have read in the last three years as a starting point, tell us about an event or experience that helped you define one of your values or changed how you approach the world. Please write the quotation, title and author at the beginning of your essay. (250-650 words)

“One of the great challenges of our time is that the disparities we face today have more complex causes and point less straightforwardly to solutions.” 

– Omar Wasow, assistant professor of politics, Princeton University. This quote is taken from Professor Wasow’s January 2014 speech at the Martin Luther King Day celebration at Princeton University. 

The air is crisp and cool, nipping at my ears as I walk under a curtain of darkness that drapes over the sky, starless. It is a Friday night in downtown Corpus Christi, a rare moment of peace in my home city filled with the laughter of strangers and colorful lights of street vendors. But I cannot focus. 

My feet stride quickly down the sidewalk, my hand grasps on to the pepper spray my parents gifted me for my sixteenth birthday. My eyes ignore the surrounding city life, focusing instead on a pair of tall figures walking in my direction. I mentally ask myself if they turned with me on the last street corner. I do not remember, so I pick up the pace again. All the while, my mind runs over stories of young women being assaulted, kidnapped, and raped on the street. I remember my mother’s voice reminding me to keep my chin up, back straight, eyes and ears alert. 

At a young age, I learned that harassment is a part of daily life for women. I fell victim to period-shaming when I was thirteen, received my first catcall when I was fourteen, and was nonconsensually grabbed by a man soliciting on the street when I was fifteen. For women, assault does not just happen to us— its gory details leave an imprint in our lives, infecting the way we perceive the world. And while movements such as the Women’s March and #MeToo have given victims of sexual violence a voice, harassment still manifests itself in the lives of millions of women across the nation. Symbolic gestures are important in spreading awareness but, upon learning that a surprising number of men are oblivious to the frequent harassment that women experience, I now realize that addressing this complex issue requires a deeper level of activism within our local communities. 

Frustrated with incessant cases of harassment against women, I understood at sixteen years old that change necessitates action. During my junior year, I became an intern with a judge whose campaign for office focused on a need for domestic violence reform. This experience enabled me to engage in constructive dialogue with middle and high school students on how to prevent domestic violence. As I listened to young men uneasily admit their ignorance and young women bravely share their experiences in an effort to spread awareness, I learned that breaking down systems of inequity requires changing an entire culture. I once believed that the problem of harassment would dissipate after politicians and celebrities denounce inappropriate behavior to their global audience. But today, I see that effecting large-scale change comes from the “small” lessons we teach at home and in schools. Concerning women’s empowerment, the effects of Hollywood activism do not trickle down enough. Activism must also trickle up and it depends on our willingness to fight complacency. 

Finding the solution to the long-lasting problem of violence against women is a work-in-progress, but it is a process that is persistently moving. In my life, for every uncomfortable conversation that I bridge, I make the world a bit more sensitive to the unspoken struggle that it is to be a woman. I am no longer passively waiting for others to let me live in a world where I can stand alone under the expanse of darkness on a city street, utterly alone and at peace. I, too, deserve the night sky.

As this student addresses an important social issue, she makes the reasons for her passion clear—personal experiences. Because she begins with an extended anecdote, readers are able to feel connected to the student and become invested in what she has to say.

Additionally, through her powerful ending—“I, too, deserve the night sky”—which connects back to her beginning— “as I walk under a curtain of darkness that drapes over the sky”—this student illustrates a mastery of language. Her engagement with other writing techniques that further her argument, like the emphasis on time—“gifted to me for my sixteenth birthday,” “when I was thirteen,” “when I was fourteen,” etc.—also illustrates her mastery of language.

While this student proves herself a good writer, she also positions herself as motivated and ambitious. She turns her passions into action and fights for them. That is just what admissions officers want to see in a Political/Global issues essay!

Where to Get Feedback on Your College Essays

Once you’ve written your college essays, you’ll want to get feedback on them. Since these essays are important to your chances of acceptance, you should prepare to go through several rounds of edits. 

Not sure who to ask for feedback? That’s why we created our free Peer Essay Review resource. You can get comments from another student going through the process and also edit other students’ essays to improve your own writing. 

If you want a college admissions expert to review your essay, advisors on CollegeVine have helped students refine their writing and submit successful applications to top schools.  Find the right advisor for you  to improve your chances of getting into your dream school!

Related CollegeVine Blog Posts

Table of contents

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• Portfolio Tips

The Ultimate Guide to Academic & Professional Creative Writing Portfolios

Building a creative writing portfolio that gets you accepted into your dream writing program is a challenge in itself. But did you know that when you graduate, you’ll have to throw everything you know about portfolios out the window and start the process all over again?

Whether you want to get into a great school to work on your craft, or you’re freshly out of school trying to land your first job, this guide has all you need to know.

We’ll review how to build a creative writing portfolio for a course or degree program and what career paths you can choose from once you graduate from it. Then we’ll show you how to create a professional creative writing portfolio and show you a tool that makes it super quick and easy.

Creative writing portfolio for college and university

Let’s go in chronological order. Before you go after a full-time writing job or try to land some freelance clients, you’ll probably want to study writing. It would be a little harder to become a writer without mastering the craft of writing, after all.

And when it comes to writing programs, whether it’s a creative writing course or a full-on degree program, most schools expect you to hand in a creative writing portfolio alongside your application.

Always check the guidelines

The very first thing you’ll have to do is checking the creative writing portfolio requirements that your desired program has. They tend to be very specific about the format, length, and contents of the material, so make sure you get it right. Let’s check some examples to see what you can expect when looking at these guidelines.

Creative writing portfolio requirement examples

Example for creative writing portfolio requirements

University of the Arts

When you apply to the Creative Writing program at the University of the Arts, you’ll have to submit a portfolio of your original writing and an essay that answers a creative writing prompt. They give the following requirements for these two:

• Portfolio : 10-15 pages in length, including at least two different pieces. It could be short stories, creative nonfiction, poetry, or excerpts from novels.
• Essay : 150-200 words in length with the topic of describing an important window.

University of Portsmouth - MA in Creative Writing

“We don’t prescribe an ideal portfolio,” they write at the requirements for this program. There are still some requirements that applicants have to follow though:

• Maximum 4,000 words in length
• No more than 3 pieces of writing
• Except for poetry-only submissions, there they recommend about 5 poems
• You have to write a short description of each piece

Apart from the portfolio, you’ll also need to submit a personal statement, talking about your ambitions and your writer’s journey so far.

Belhaven University - Creative Writing BFA Program

For applying to the Creative Writing program at Belhaven, you have to send your application via email with the following:

• Portfolio: Minimum 12-15 pages of creative writing (fiction, poetry, scripts, or creative nonfiction)
• Essay: 3-4 pages, discussing your history as a writer or reader OR explaining why you want to study creative writing
• A cover letter

Tips for your academic creative writing portfolio

Once you have the guidelines for your portfolio, it’s time to actually sit down and put it together.

Pick your writing pieces carefully

It goes without saying, but your choice of writing pieces will make or break your creative writing portfolio. Don’t be afraid to spend a longer time rereading your work and evaluating if the pieces hit the standard you want your portfolio to have.

It’s also a good idea to choose the ones you’d like to add, then put them aside, wait a few days, and assess them again. When you’ve been focusing on something for hours on end, it gets harder to see them clearly, so a little break can help a lot.

Once you’re done selecting them, double-check it with the requirements again and read through them one more time.

Get someone to review your portfolio

Another tip to make sure your portfolio is as good as it can get is to get someone to review it. It can be another writer or an avid reader who can evaluate your pieces from a literary point of view, or even just a friend or family member to check it for typos and other grammatical mistakes.

Similar to picking your pieces, when you wrote something and have read it a hundred times already, your mind will slip over typos naturally, knowing what you intended to write there. So giving yourself a break and getting someone to help can make sure there are no mistakes left in it when you hand it in.

Because as an applicant to a writing program, you really can’t afford to have typos and grammar mistakes in your creative writing portfolio.

What can you do with a creative writing degree?

When you’ve been obsessed with writing all your life, deciding to go for a creative writing program is a no-brainer. You’ll probably have the time of your life getting your degree too. But what happens when you graduate and actually have to figure out what you want to do for a living?

It might take a little more thinking than choosing your education, as you have many more options for a writing career , so it’s not as straightforward. We’ll quickly review the different career paths that are all open for you, once you graduate with a creative writing degree.

Publish books and become an author

Becoming a published author or poet is probably what most students with a creative writing portfolio dream of. It’s definitely a logical and super suitable direction, but unfortunately, it’s not as easy as one might expect. You’ll have to do a lot of pitches to get signed with a publishing house. Alternatively, you can set up a site using an author website template and publish books on your own.

Choose marketing or advertising, become a copywriter

A field that’s easier to get into for writers is marketing and advertising. More specifically, copywriting. Creative directors often emphasize how important it is for copywriters to master the craft of writing. So much so, that they would rather recommend taking a creative writing course than going to a portfolio school.

Copywriters can work freelance, in-house, or at agencies and they write advertising and/or marketing materials. It can be anything from slogans for advertising campaigns, TV and radio spots, copy for Facebook and Google ads, or even complete email marketing campaigns.

The career path in this profession is usually the following: junior copywriter, copywriter, senior copywriter, associate creative director, creative director, global creative director

Write long-form pieces as a journalist or magazine columnist

If selling products and services is not your thing, writing for newspapers or magazines could be another option for you. It probably won’t pay as much as a job in advertising, but you get to write longer pieces about topics you’re (ideally) interested in. And after all, no matter what happens, we’ll always need and want to read about what’s going on in the world.

Interested in this field? Read our tips for creating a journalism portfolio !

Get into content marketing and SEO

If you don’t mind that you won’t be exclusively writing all day every day, content marketing and SEO (a.k.a. search engine optimization) would be a great option for you. You’d still be writing, namely long-form articles and blog posts that are preceded by thorough keyword research.

With SEO comes a more technical side of the job, but that only balances out the work and makes your daily routine more versatile. Not to mention that you’ll always have data of how well your content does, so you can measure your performance effectively.

Make writing impeccable as an editor or proofreader

If you’re the kind of writer that loves reading and is bit of a perfectionist, you’d make an amazing editor or proofreader. Although these professions don’t need you to actually sit and write a ton, the job couldn’t be done if you didn’t know all the ins and outs of writing.

How to make a professional creative writing portfolio

Once you graduate and decide which way to go, you’ll need a portfolio to get started. Not the kind of standard “15-page-document” they asked you to write for school. Oh no, nobody wants to read through that now. Instead, you’ll need something that stands out, something that’s easy to browse through while showcasing your excellent writing skills.

The best format for your creative writing portfolio

The best format for your real-life, professional creative writing portfolio is actually a website. Realistically, whether you’re applying for a job or looking to land freelance clients, you’ll get in touch with them online.

So handing over your good old “book” won’t be an option. Just like presenting them with a lengthy document won’t be either. Why? Because it’s essentially a big wall of text that would be way too overwhelming to read through.

A website on the other hand is easy on the eyes, has lots of visuals, and organizes all the materials you want to present nicely.

The three main essentials you need to have on your website are an eye-catching home page, a well-written about page and separate pages for each of your writing projects, whether it is advertising copy, poetry, or a published book.

The heart of it all: the home page

Your home page will be the most important page of your website. This is where everybody lands at first and thus where they get their first impressions from. To have a great first impression, turn it into genuine interest, and make your visitors convert, your home page will have to check some boxes.

• What website are they looking at? Looking at the home page, visitors have to be clear about what website they landed on. They should know at least your name and what you do by just looking at the very first page.
• How do they find out more? You should have a navigation bar that makes it easy for people to find what they are looking for: your work, your about page, your contact information.
• Who are you actually? Although you have your about page to elaborate on that, it's best if they can find out a little bit about you right on your homepage. Adding a photo of yourself and a short bio will immediately help them make a more personal connection with you.
• Why should they keep on reading? Now they know who you are and what you do, but they still need a reason to spend their precious time on your site and keep on reading. Feature your most impressive projects on your homepage to prove the quality of your work right away.

Crafting the perfect about page

The about page is your place to shine: it gives you a perfect opportunity to introduce yourself more in detail and get creative with your writing. What would be a better way to flaunt your storytelling skills than telling your own, after all?

But if possible, make sure it’s still not just a big wall of text: try to break it up with images to make it easier to read and to illustrate what you’re writing about.

The about page is also a great place to feature your writer resume . Some writers like to link to it as a PDF, some embed it as a picture, while others simply have theirs typed there as part of the page.

Project pages for books, poetry, and beyond

The way your project page should be structured depends a lot on the type of project you’d like to add to your creative writing portfolio. But there’s still a general formula you can follow to introduce the “behind-the-scenes” of your writing:

• What was the task you had or the reason why you decided to write this piece?
• What was your creative process of writing the piece? Did you face any challenges while writing? And if so, how did you overcome them?
• What was the impact your piece had once published?

These are pretty general questions, but it’s exactly because of that that they can be applied to many different forms of creative writing.

It’s also expected to feature the finished result so that people can actually read your writing and evaluate your skills. When it comes to shorter pieces like poetry, feel free to publish the whole thing.

But for longer writing like novels, nobody expects you to publish it from start to finish in your portfolio. You can add an excerpt - or if it’s been published and has received positive feedback, you can feature some quotes on what people said about it.

Build your creative writing portfolio with Copyfolio

If you want to create a beautiful website that has everything we outlined above… and you don’t want to spend hours upon hours figuring out the technical side of it… Your best bet is using a website builder or portfolio builder tool that was designed specifically for writers.

Don’t worry about coding or design

The good thing about using a tool like Copyfolio is that you won’t have to worry about the technical side of things. Or whether you can design it to look good or not.

Having the templates, palettes and presets makes sure you can build the foundations of your site in just a few clicks. And it will look good, no matter what you add to it.

Create professional images in the editor, with a few clicks

You don't need to have Photoshop or any other design program to have images that'll wow your site's viewers. Place your image into a magazine, laptop, or TV with a single click and have a portfolio that looks like it was professionally designed.

Get help with writing about your projects

Apart from the daily portfolio tips that you’re going to get in email after signing up, you’ll also find tips and prompts in the website builder itself.

Built with insights from successful freelance writers, hiring managers, and creative directors, we’re guiding you through the process to help you create a portfolio that has exactly what people are looking for.

Sign up today and create a stunning creative writing portfolio for free, in a matter of minutes!

9 creative writing portfolio examples

Joanna zhang.

Joanna created her portfolio using Copyfolio

Eve L. Ewing

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Tomi Adeymi

Ocean Vuong

Bethan Woollvin

Morgan Parker

Isaac Garza

Isaac created his portfolio with Copyfolio, using the "Billboard" template

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Creative Writing, B.F.A.

School of humanities and social sciences, program overview.

As a creative writing major, you will join a community of students, faculty, and mentors who will help you develop as an imaginative writer and a bold thinker. You’ll pursue a course of study that combines training in the art and craft of writing alongside literary scholarship. Working closely with our active, publishing, and award-winning faculty, you’ll sharpen your expertise in reading and analyzing literature and develop your skills at creating meaningful, transformative narratives.

Where You'll Go

The skills you will learn as a creative writing major—how to read and think critically, how to write with precision and ingenuity, how to do research—will prepare you well to be a creative writer, grants writer, content strategist, editor, copywriter, social media manager, and more.

Major Details

The program information listed here reflects the approved curriculum for the 2023–24 academic year per the Brooklyn College Bulletin. Bulletins from past academic years can be found here .

Major Requirements (47–52 Credits)

I. english 2120 and 2121 (8 credits).

English 2120 and 2121 are required. Creative writing majors should complete either English 2120 or 2121 , or be enrolled in one or the other, before continuing in other electives. No ENGL course numbered lower than 2115 may count toward the major.

II. Creative writing courses (16 credits)

• English 2301 .
• English 3301 , 3302 .
• English 3304 , 3305 .
• English 3306 , 3307 .
• One additional creative writing courses in the English Department: ENGL 2302 , or any of the courses 3301–3307 that has not been used to satisfy requirement (ii)b.

III. Periods of Study (10-12 credits)

One course from from 900–1800 and two from 1800 to the present:

• 900–1500: English 3111 , 3112 , 3520 , 4101 ; Comparative Literature 3614 .
• 1500–1660: English 3120 , 3121 , 3122 , 3123 , 3124 , 3125 , 4102 ; Comparative Literature 3615 .
• 1660–1800: English 3131 , 3132 , 3133 , 3234 , 4103 ; Comparative Literature 3616 .
• 1800–1900: English 3140 , 3141 , 3142 , 3143 , 3145 , 3151 , 3156 , 3157 , 3158 , 3160 , 4104 , 4107 ; Comparative Literature 3606 , 3617 .
• 1900–1950: English 2402 , 3152 , 3153 , 3156 , 3159 , 3160 , 3161 , 3162 , 3163 , 3164 , 3165 , 3170 , 3171 , 3172 , 3173 , 3193 , 4110 , 4107 , 4108 ; Comparative Literature 3607 , 3608 , 3610 , 3618 , 3622 , 3623 , 3624 , 3625 .
• 1950–the Present: English 2402 , 3154 , 3161 , 3162 , 3166 , 3167 , 3174 , 3180 , 3187 , 3193 , 3194 , 3254 , 4109 , 4112 , 4113 , 4114 ; Comparative Literature 3609 , 3611 , 3619 , 3621 , 3622 , 3623 , 3625 , 4601 , 4602 .

IV. Electives (13-16 credits)

• A) A course that addresses race/ethnicity or empire/post-colonialism (e.g., English 3158 , 3160 , 3161 , 3162 , 3166 , 3169 , 3182 , 3194 , 3234 , 3240 , 3526 , Comparative Literature 3620 , 3623 , 3625 , 3632 , or another course with permission of the chair)
• B) A genre course, or a thematic studies course (addressing a theme such as memory, migration, environmental humanities, literature and psychology, gender and sexuality), or an interdisciplinary studies course (English 3156 , 3157 , 3158 , 3159 , 3163 , 3181 , 3182 , 3183 , 3184 , 3185 , 3186 , 3188 , 3189 , 3190 , 3191 , 3192 , 3265 , 3281 , 3282 , 3286 , 3287 , 3288 , 3292 , 4107 , 4110 , 4111 , Comparative Literature 3601 , 3602 , 3603 , 3604 , 3605 , 3608 , 3612 , 3613 , 3628 , 3629 )
• Capstone seminar: ENGL 4301
• Three to four additional credits in advanced English Department courses. Related courses offered by other departments may be substituted with permission of the English Department chair.

Student Learning Outcomes

Department goal 1: read and think critically..

Program Objective 1: Learn to read literature with a focus on the ways in which form serves content.

Program Objective 2: Use close reading effectively to identify literary techniques, styles, and themes.

Program Objective 3: Learn to read and comment constructively and critically on the creative writing of peers in the workshop context.

Department Goal 2: Understand how language operates.

Program Objective 1: Demonstrate knowledge of literary tropes and techniques (e.g., metaphor, simile, metonymy, synecdoche, word play, and sonic effects such as alliteration, assonance, consonance, and rhythm, etc.)

Department Goal 3: Express ideas—both orally and in writing—correctly, cogently, persuasively, and in conformity with the conventions of the discipline.

Program Objective 1: Create original examples of creative writing that demonstrate complexity through attention to rhetoric, syntax, and tone.

Program Objective 2: Comment and write cogently and persuasively about classmates’ writing in the workshop context.

Program Objective 3: Demonstrate the ability to respond to constructive criticism from instructor and peers by effectively revising writing assignments.

Program Objective 4: Demonstrate the ability to use the currently accepted conventions of standard English mechanics and grammar, with an eye toward how those standards can be stretched in order to achieve innovative modes of expression.

Department Goal 4: Conduct research

Program Objective 1: Learn how to research and seek out historical and contemporary literary voices relevant to their individual voice.

Program Objective 2: Make use of the opportunities that Brooklyn College and New York City afford by attending readings, plays, literary panel discussions, and submitting to literary magazines.

Outcomes for demonstrating achievement of objectives

Written work (including poems/stories/plays, in-class writing exercises, short written reflections on literary techniques used by published writers, workshop responses for peers, revised writing samples, etc.)

Contributions to class discussions and workshops

Attendance at readings, panels, performances or a related research project (such as researching literary magazines/submitting one’s work); documented via written summary of the activity handed into instructor

Degree Maps

View all past degree maps .

Contact the  English Department for information on academic advisers and office hours.

Or contact:

Office of Undergraduate Admissions

222 West Quad Center 2900 Bedford Avenue Brooklyn, NY 11210 E:  [email protected]

To make an appointment with an undergraduate admissions counselor, visit:

Virtual Admissions Counselor Appointments

The Support You’ll Find

Brooklyn College is an integral part of the cultural and artistic energy of New York City. Our faculty members in English offer incomparable expertise and tremendous talent, and each brings a unique perspective to their teaching and mentoring in and out of the classroom.

Helen Phillips

Helen Phillips is the author of six books, including the novel THE NEED (Simon & Schuster, 20...

Tanya L. Pollard

Tanya Pollard trained in Classics, English, and Comparative literature, at Oxford and Yale. She t...

Karl T. Steel

For Karl Steel’s CV, see

Dorell Thomas

Dorell Thomas earned master’s degrees in both English Adolescent Literature, Grade 7-12 and...

Monica De La Torre

Simanique Moody

Eric Alterman

Eric Alterman is a CUNY Distinguished Professor of English and Journalism. He was the “The ...

Sophia Bamert

Matthew Burgess

Matthew Burgess began teaching at Brooklyn College in 1999 while pursuing his M.F.A. in Poetry. H...

Joseph Entin

Joseph Entin teaches in the English Department and the American Studies program at Brooklyn Colle...

Nicola Masciandaro

The Whim (blog) Current Projects: Appalling Melodrama, ...

Roni Natov has lived her entire life (almost) at Brooklyn College, where she was a student and ha...

Jonathan Nissenbaum

Jon Nissenbaum earned his Ph.D. under the supervision of Noam Chomsky and David Pesetsky. Before ...

Ellen Tremper

Native New Yorker Ellen Tremper has taught at New York University and joined the Brooklyn College...

Internships and Employers

Through job fairs, the internship database, and internship panels, the Magner Career Center gives students in the creative writing B.F.A. program access to career opportunities at a wide variety of employers, including:

• CBS News and Stations
• Harlem Children’s Zone
• Planned Parenthood
• Rent the Runway
• Varsity Tutors

Student Resources

Take the Next Step

Request Info Visit Our Campus Apply Now

Brooklyn. All in.

Write or Left

(6 reviews)

Sybil Priebe, North Dakota State College of Science

Copyright Year: 2016

Last Update: 2022

ISBN 13: 9798783934094

Publisher: Sybil Priebe

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

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

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

Comprehensiveness rating: 5 see less

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

Content Accuracy rating: 5

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

Relevance/Longevity rating: 4

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

Clarity rating: 5

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

Consistency rating: 5

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

Modularity rating: 5

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

Organization/Structure/Flow rating: 5

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

Interface rating: 4

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

Grammatical Errors rating: 4

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

Cultural Relevance rating: 3

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

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

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

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

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

Content Accuracy rating: 4

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

Relevance/Longevity rating: 3

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

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

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

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

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

Interface rating: 5

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

Grammatical Errors rating: 5

I haven't found any grammatical errors.

Cultural Relevance rating: 4

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

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

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

Comprehensiveness rating: 3 see less

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

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

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

Clarity rating: 4

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

Consistency rating: 3

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

Modularity rating: 4

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

Organization/Structure/Flow rating: 3

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

Interface rating: 3

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

Grammatical Errors rating: 3

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

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

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

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

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

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

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

Relevance/Longevity rating: 5

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

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

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

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

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

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

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

Cultural Relevance rating: 5

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

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

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

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

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

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

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

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

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

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

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

I did not note any interface issues.

I did not note any grammatical errors.

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

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

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

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

Comprehensiveness rating: 2 see less

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

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

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

Clarity rating: 3

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

Consistency rating: 4

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

Modularity rating: 3

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

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

Interface rating: 1

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

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

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

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

Table of Contents

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

Ancillary Material

About the book.

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

About the Contributors

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

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College Creative Writings Samples For Students

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Creative Writing Prompts

When the idea to start a weekly newsletter with writing inspiration first came to us, we decided that we wanted to do more than provide people with topics to write about. We wanted to try and help authors form a regular writing habit and also give them a place to proudly display their work. So we started the weekly Creative Writing Prompts newsletter. Since then, Prompts has grown to a community of more than 450,000 authors, complete with its own literary magazine, Prompted .  

Here's how our contest works: every Friday, we send out a newsletter containing five creative writing prompts. Each week, the story ideas center around a different theme. Authors then have one week — until the following Friday — to submit a short story based on one of our prompts. A winner is picked each week to win $250 and is highlighted on our Reedsy Prompts page.

Interested in participating in our short story contest? Sign up here for more information! Or you can check out our full Terms of Use and our FAQ page .

Why we love creative writing prompts

If you've ever sat in front of a computer or notebook and felt the urge to start creating worlds, characters, and storylines — all the while finding yourself unable to do so — then you've met the author's age-old foe: writer's block. There's nothing more frustrating than finding the time but not the words to be creative. Enter our directory! If you're ready to kick writer's block to the curb and finally get started on your short story or novel, these unique story ideas might just be your ticket.

This list of 1800+ creative writing prompts has been created by the Reedsy team to help you develop a rock-solid writing routine. As all aspiring authors know, this is the #1 challenge — and solution! — for reaching your literary goals. Feel free to filter through different genres, which include...

Dramatic — If you want to make people laugh and cry within the same story, this might be your genre.

Funny — Whether satire or slapstick, this is an opportunity to write with your funny bone.

Romance — One of the most popular commercial genres out there. Check out these story ideas out if you love writing about love.

Fantasy — The beauty of this genre is that the possibilities are as endless as your imagination.

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• How to Write a Short Story That Gets Published — a free, ten-day course by Laura Mae Isaacman, a full-time editor who runs a book editing company in Brooklyn.
• Best Literary Magazines of 2023 — a directory of 100+ reputable magazines that accept unsolicited submissions.
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Beyond creative writing prompts: how to build a writing routine

While writing prompts are a great tactic to spark your creative sessions, a writer generally needs a couple more tools in their toolbelt when it comes to developing a rock-solid writing routine . To that end, here are a few more additional tips for incorporating your craft into your everyday life.

• NNWT. Or, as book coach Kevin Johns calls it , “Non-Negotiable Writing Time.” This time should be scheduled into your routine, whether that’s once a day or once a week. Treat it as a serious commitment, and don’t schedule anything else during your NNWT unless it’s absolutely necessary.
• Set word count goals. And make them realistic! Don’t start out with lofty goals you’re unlikely to achieve. Give some thought to how many words you think you can write a week, and start there. If you find you’re hitting your weekly or daily goals easily, keep upping the stakes as your craft time becomes more ingrained in your routine.
• Talk to friends and family about the project you’re working on. Doing so means that those close to you are likely to check in about the status of your piece — which in turn keeps you more accountable.

Arm yourself against writer’s block. Writer’s block will inevitably come, no matter how much story ideas initially inspire you. So it’s best to be prepared with tips and tricks you can use to keep yourself on track before the block hits. You can find 20 solid tips here — including how to establish a relationship with your inner critic and apps that can help you defeat procrastination or lack of motivation.

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Student life, you are here, creative writing samples.

• A Substance-Free High , by Grace Asher a poem (Creative Writing, Tracy Helixon)
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• Everything , by Jamie Holweger a poem (Creative Writing, Tracy Helixon)
• Journey Through Meter , by Naomi Miicke a poem (Creative Writing, Tracy Helixon)
• Whispering Pines/Fear , by Lori Pipkin a poem (Creative Writing, Tracy Helixon)
• I Thought I'd Write A Poem Today, by Justin Sagler a poem (Creative Writing, Tracy Helixon)
• Fast Food Generation , by John Schmidt a poem (Creative Writing, Tracy Helixon)
• Loneliness , by Kelsey Shutter a poem (Creative Writing, Tracy Helixon)

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• Floating Away , by Jamie Holweger a short story (Creative Writing, Tracy Helixon)

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Expert Guide: Writing Portfolio for College

• Last modified 2023-12-05
• Published on 2020-12-24

If you’re interested in applying for a Creative Writing major in college, or any Writing majors, it may be beneficial for you to submit a writing portfolio for college as supplemental information. This allows college admission officers to evaluate your potential and your growth as a writer. Keep reading to understand how to make a writing portfolio for college admission in the article below

1. What is a writing portfolio?

Similar to an art portfolio, a writing portfolio for college is a collection of writing work you’ve written in the past. The portfolio can take two forms, either print or electronic, and your work samples can either be published or unpublished. An outstanding portfolio not only assesses an applicant’s writing proficiency but also demonstrates an applicant’s potential as a writer and critical thinker. 

A strong portfolio is more than a showcase of your work. It is a reflection and a representation of yourself as a writer, more specifically, a poet, a scriptwriter, journalist, or a creative writer.   

According to Cengage , there are two kinds of Writing portfolios:   

• A growth or process portfolio, which shows the writer’s improvements and writing growth.   
• Best-work or presentation portfolio, which highlights a writer’s ability and achievements.   

2. What should I include in my writing portfolio?

Creating a portfolio can be time-consuming. A writing portfolio for college can be customized based on each writer’s specialty and preferences. For example, if you’re interested in scriptwriting for films or plays, you can focus on providing samples related to the field, by showing playwriting works. However, if you’re not sure the direction you’re heading towards with your writing, your portfolio can include various work types.   

In Knox College’s scholarship application, it’s specified that a student’s manuscript can be submitted in one or more of the categories below, but can’t exceed 20 pages total. For Knox College, the preference is given to students who show a range of talent and potential in all represented genres:   

• Poetry (5-8 pages) 
• Fiction (one short story) 
• Creative nonfiction (one essay on any topic) 
• Journalism (2 articles of investigative reporting) 
• Playwriting (one-act play) 
• Critical essay (one analytical paper on literature, film, or dramatic performance)  

Taking the University of the Arts, for example, this school has different requirements for students applying to the Creative Writing program or the Screenwriting program. For the creative writing program, students are required to submit a 10-15 page of a portfolio that includes at least two different pieces of writing, along with an essay answering a designated prompt.   

Therefore, depending on schools, you may have a different set of requirements on what to include in a portfolio. Remember to check each school you’re applying to!   

Overall, a portfolio should have a range of works: poetry, short stories, creative nonfiction, screenplays, novels, etc.   

After collecting your work samples, it’s recommended that you should write a reflective statement at the beginning of your portfolio, or at the beginning of each work. A reflective statement is a personal assessment of your writing achievements over a period of time. Beyond a portfolio summary, the reflective statement shows critical thinking and the analytical ability to evaluate one’s own work.   

3. How should I create my electronic portfolio?

For your electronic or online writing portfolio, there are many free and paid portfolio website. A portfolio shows your writing achievements, expresses your personal brand, and increases your online presence for freelance writing opportunities with potential clients.

An outstanding portfolio should be simple, navigable, and coherent . It means the portfolio should be simple and straight to the point and easy to navigate. It’s important to have a clear menu bar that helps the reader navigate your portfolio without trouble. Below are some portfolio websites and a few examples of writing portfolio site that stand out.   

• WordPress  
• Portfoliopen   
• Squarespace   
• Alice Driver  
• Akwaeke Emezi

4. Where can I get help preparing my writing portfolio for college?

Great question! Depending on which stage you’re at in the writing process, you can seek professional writers or writing tutors’ help.   

If you’re interested in applying for a college writing program and want to have a set of writing samples for your portfolio, consider entering different writing competitions. A writing competition is an excellent way for you to practice and test your writing ability and to receive rewards can give you a great jumpstart to your writing career. 

Aralia has great writing programs tailored for your needs, from writing competition preparation, to creative writing and writing portfolio guidance. Our classes are 1:1 or small group sized (with 3-7 students per class). Aralia’s instructors will give you practice and critical feedback for your portfolio.   

Second, suppose you’re preparing work for your portfolio. In that case, Aralia’s tutors are experienced writers with advanced degrees in Creative Writing and English literature. They have helped students prepare writing samples to enter different writing competitions across America. We also have two blogs where many of our students’ works are shown: People’s Republic of Creativity & Haringey Unchained .   

If you’re in the process of compiling samples and designing portfolios, your writing teachers at school can be of great resource for advice and guidance. Your teachers can provide feedback about anything, from your writing style, to strong pieces to put in your portfolio. If you need additional guidance, feel free to reach out to Aralia. We are more than happy to set you up with tutoring or classes with one of our writing teachers. 

Students will learn the nuances of language, including figurative language, effective structuring, and specific forms to apply to their own piece(s). Students will work directly with both literary and media texts to plan and write their piece(s). This class will also help the students write with an aim for an audience as their submission for nation-wide and international writing competitions that are timely with the course schedule.

• College Application

Interested in learning more?

Aralia Education is an innovative online education platform for ambitious middle and high school students worldwide. Aralia’s instructors propel students forward by helping them build a strong foundation in traditional academic courses. They also actively engage and guide students in exploring personal interests beyond their school curriculum. With this holistic approach, Aralia ensures its students are well-prepared for college and equipped for success in their future careers.

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8 mins read

12 Top Writing Portfolio Examples to Inspire You (2024)

A collection of 12 best writing portfolio examples — draw inspiration from these to create your writing portfolio to solicit more work.

Protim Bhaumik

Director, Content Marketing

Written by Protim Bhaumik , edited by Shreya Bose , reviewed by Eric Hauch .

6. Oct 2022 , updated 8. Feb 2024

Creating a writing portfolio is challenging. You have to appeal to potential clients within a few seconds and get them to start scrolling through your work.  To that end, I've written an extensive guide on how to create the perfect writing portfolio.

For now, let's get you inspired by a collection of writing portfolio examples that I've carefully curated. These contain examples from writers, authors, copywriters, and content marketers built on a variety of portfolio builders or websites .

For each example, I have highlighted my favorite aspects — factors you can incorporate into your own portfolio. When used in your writer's portfolio, it'll help your work stand out, especially if you're a freelance writer.

With that in mind, let's look at the top writing portfolios.

The top twelve writing portfolio examples

1. gari cruze.

Gari Cruze is an associate creative director and copywriter . His online portfolio website —which uses a grid layout with all his work — is filled with humor, and I love it! He's divided his professional online portfolio into sections called "About" (fairly normal), "17 Random Things", and "Oh Yes, They're Talking" instead of the usual "Get to know me" or "Testimonials."

Moreover, even in the About section, he uses copy that brings out his creative writing — words such as "the full blah blah" and "pink squiggly stuff in people's skulls" strike a chord. He also has a "testimonial" from his dad that finishes with "... Gari's like one of the slower primates."

So, all in all, it's an excellent representation of his work and who he is!

Read More: The Ultimate Guide to Displaying Your Web Copy on Your Portfolio (for more gigs)

2. Kayla Lewkowicz

Kayla Lewkowicz is a writer, content marketer, and teacher . Her writer website landing page is about who she is and what she does — like "turning great ideas into compelling stories" and, more importantly, "arguing about the finer points of the Oxford comma." Hear, hear!

When you scroll down on her landing page, you see various photos of her travels accompanied by client testimonials and service offerings. The portfolio section has been categorized by topic and what's great to see is that each topic has three posts highlighted for the reader to look at first.

3. Jennifer Fernandez

Jennifer Fernandez is a writer and editor on staff at Architectural Digest , Travel + Leisure , and Martha Stewart Weddings ; her work has also appeared in The Wall Street Journal , Elle Decor , House Beautiful , Afar , Departures , and more.

Her beautiful writing portfolio site follows a super minimalist style, and her writing samples are divided into three sections so that it's easy to navigate.

4. Qin Chen

Qin Chen is a Beijing-based writer , journalist, and news editor at TechNode and has spent the past two years helping English readers make sense of the top news from the world's second-largest economy.

Her portfolio opens with a quaint picture of a riverboat that's both calming and intriguing. From the off, her work is collected into two sections: writing and video . And her writing samples are arranged into an easily parsable format divided by year.

5. Ann Friedman

Ann Friedman is a journalist, essayist, and author and currently a contributing editor to The Gentlewoman, having written for places like The Cut , The Los Angeles Times , The New York Times , ELLE , and The Guardian , and has co-written the best-selling book Big Friendship: How We Keep Each Other Close and co-hosts the pioneering podcast Call Your Girlfriend .

Her portfolio is a favorite of many lists like these because of its minimalist, friendly vibe. Her writing samples are collected under headings such as books, essays, interviews, and more, making it super easy to go through.

6. Tyler Koenig

Tyler Koenig is a copywriter and content strategist living in the Bay area after having traveled the world copywriting for various brands. He's currently the content lead at CapitalG , Alphabet's independent growth fund.

His portfolio is clean and straightforward,  and among the best writer portfolio examples I've recently seen. His main landing page says who he is and what he does through both the visuals and the copy, while his work is tucked under the "Content" section.

7. Alice Lemée

Alice Lemée is a creator , freelance content writer, and copywriter who writes on freelancing, the creator economy, and personal development.

Her portfolio page is an excellent example of how a single landing page can accomplish a lot — intelligent copy coupled with beautiful imagery and call-to-action buttons interspersed in just the right areas.

8. Muriel Vega

Muriel Vega is a writer and editor living in Atlanta , writing about tech, culture, and food with bylines at Delta Sky Magazine , The Guardian , Apartment Therapy , Eater , VICE , Splinter News , The Washington Post , Atlanta Magazine , The Bitter Southerner , Outside Magazine , and more.

Muriel's clever use of colorful icons in a simple white background for her portfolio evokes a sense of friendliness, approachability, and creativity. Also, her creative writing has been astutely collected under relevant topic headings for easy perusal.

9. Hank Herman

Hank Herman is an award-winning author, humorist, and writing instructor whose memoir, Accept My Kid, Please! A Dad's Descent Into College Application Hell has led to speaking engagements throughout the Northeast, and his 15-book series of basketball novels, Super Hoops , is read by grade-schoolers everywhere.

His is one of the few portfolio sites to use a comic (of him and a beagle zooming around on a car!), which certainly lends an air of whimsy to an excellently organized website.

10. Shayna Condé

Shayna Condé is a writer, model, and actor who looks to create spaces that build community, share valuable information, and foster discussions behind brands.

Her beautiful portfolio website is a collection of photos of her, as well as sections for her writing, modeling, and acting.

11. Colleen Fisher Tully

Colleen Fisher Tully is a content writer & editor working in the health, food, cannabis, nutrition, finance, and family spaces.

Her minimalist freelance writing portfolio has been separated into easy-to-read collections on the numerous topics she writes on.

12. Pamela Rosen

Pamela Rosen specializes in creating long- and short-form content for B2B and B2C audiences .

Her portfolio is divided into the various types of content that she writes.

How to create an online writing portfolio that gets you clients

Now that you're adequately inspired by the aforementioned writer portfolio examples,  let's learn how to create one of these portfolios easily. We highly recommend reading our guide on creating a writing portfolio from scratch .

What we've seen above has been created on an eclectic mix of builders for portfolios, website builders, and more. A lot of these solutions are time-consuming and quite complex to set up.

Authory for all your content needs

And that's why a portfolio builder like Authory makes so much sense. It's super simple to set up, is good-looking, and gives you a portfolio out of the box.

Not only that, Authory is self-updating, which means that you don't have to keep track of all your work actively — Authory does that for you!

Authory also backs up all your content forever — there's no need to fret about losing access to your work if a site goes down — Authory has it all locked down.

Read More : Get an automated backup of everything you have ever created

You can even use Authory to prove definitely that you do not use AI to write, at all, ever.

Whether you're creating a freelance writing business or collating all everything you've done at your full-time job, an Authory portfolio will see you through for years to come.

Get Authory for free now!

Protim is a startup founder & marketer with over a decade of experience in content marketing, content writing, SEO, and more. He loves dogs, D&D, and music!

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WRTG 10600 Academic Writing I

This introductory writing course teaches academic writing as a craft that includes multiple genres and technologies. Students locate, evaluate, and integrate information into projects that see them forming and supporting their own arguments and positions. Academic writing as a craft is anchored in rhetorical situations of audience, context, purpose, language, and image. It is also an ethical practice that grapples with questions of diversity, equity, and inclusion. The course therefore enables students to enter academic, civic, and professional conversations with rhetorical awareness. (F,S,Y) Attributes: 3A, HU 4 Credits

WRTG 17500 Introduction to Creative Writing

This class offers a hands-on exploration of what creative writing is and why we write it. Students experiment with genres of fiction, creative nonfiction, and poetry while also challenging the boundaries of genre. Students analyze strategies used by other writers from a diverse range of cultural experiences and reflect on how creative writing engages identity in intentional ways that unveil systems of power. (F,S,Y) Attributes: 3A, CA, FA, HM, MC, TIDE, TIII 4 Credits

WRTG 20500 Personal Essay

Introduction to writing essays in which students explore their own memories, experiences, observations, perspectives, and identities. Emphasis is placed on self-interrogation and inquiry, as well as craft techniques such as narration, description, reflection, and analysis. Course material will provide examples of the personal essay form and help students examine the insights and limitations of personal experience as they consider the self within the context of the larger world. Prerequisites: ICSM10800 , ICSM 11800, or WRTG10600 . (F,S,Y) Attributes: 3A, CA, HM, HU, TIDE, WRCW, WRRC 4 Credits

WRTG 21100 Writing for the Workplace

Basic on-the-job writing necessary to join, manage, and promote any organization, whether profit or nonprofit. Focus is primarily on short forms: résumés, memos, business letters, summaries, brochures, newsletters, press releases, informal proposals, and reports. Course also explores how various social, economic, and ethical issues affect workplace writing. Prerequisites: ICSM10800 , ICSM 11800, or WRTG10600 . (F,S,Y) Attributes: ESTS, HU, WI, WRPW 4 Credits

WRTG 21700 Inquiry, Research, and Writing Across the Disciplines

Prepares students across the disciplines to engage in inquiry-based research, examining questions relevant to their fields and interests and producing substantial formal writing in a range of research genres. Emphasizes writing and research as recursive processes. Focuses on development of effective research practices, including identifying, locating, evaluating, and integrating sources ethically and effectively. Prerequisites: ICSM10800 , ICSM 11800, or WRTG10600 . (F,S,Y) Attributes: HM, TIII, WI, WRRC 4 Credits

WRTG 25200 Sophomore Internship

Work and study project designed by the student early in undergraduate career, in consultation with a faculty sponsor and a practicing professional. The H&S internship proposal includes learning objectives, a detailed work plan, and a description of the student's plans for reports to the faculty sponsor. May be repeated up to 3 cr total. Offered on demand only. Prerequisites: Two WRTG courses. (F,S,U,Y) 1-3 Credits

WRTG 29400 Writing Heals: Self Reflection as Daily Practice

Engage in a daily practice of contemplative writing as a way to return to our bodies, to be IN our bodies, to make sense of our past traumas/conflicts or current stressors as told by the narrator, the body. Write in multiple genres to better understand past traumas or stressors (e.g., poetry, short story, research presentation, reflection essay). Build a theoretical and practical foundation for writing as a healing practice, but more importantly, participate in an inclusive community of writers to process the emotional, physical, and psychological stress of college. Prerequisites: WRTG 10600, ICSM 10800, or ICSM 11800.

WRTG 35400 Selected Topics in Creative Writing: Writers’ Practice

This advanced creative writing workshop leads students to experiment with writing, creative, and revising new work in a series of directed exercises. Participants will share emerging drafts for peers’ and professor’s response toward improvement. Prerequisites: Junior standing and WRTG 20500; or permission of instructor.