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roses - quotes and descriptions to inspire creative writing

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The heart has many sweet protective petals, closed until it feels a true spring and opens as a rose.

My love keeps you safe as the silken layers of petals upon a rose. Stay there if you wish. My heart is yours as long dwell there.

Rose petals in the opening bud were each a fresh new page, a page upon which their love story would be written.

Roses grew as if the slumbering earth had dreamed them during its wintry days.

Each petal hugged around the rose bud, protective of its sweet centre.

Come the dawn, come the light, come the orchestra of the birds, for the roses are in bloom.

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Describing Roses: Adjectives and Examples

When it comes to roses, they are more than just a beautiful flower. They are a symbol of love, passion, and elegance. But how do you find the right words to describe their captivating beauty? In this article, I’ll be sharing with you a collection of adjectives that perfectly capture the essence of roses. From vibrant and velvety to delicate and fragrant, these adjectives will help you express the unique characteristics of these beloved flowers. So, whether you’re a poet looking for inspiration or simply want to appreciate the beauty of roses, read on to discover the perfect words to describe these enchanting blooms.

Table of Contents

How to Describe roses? – Different Scenarios

When it comes to describing roses, there are many different scenarios in which you may want to use adjectives. Whether you’re writing a poem, describing a bouquet, or simply expressing your appreciation for these beautiful flowers, having a range of descriptive words can help you capture the essence of roses in all their glory. Let’s explore a few scenarios and the adjectives that can be used to vividly describe roses:

Remember, the beauty of roses lies not only in their physical appearance but also in the emotions and meanings they convey. So feel free to combine different adjectives to create descriptions that reflect the specific feelings you want to convey.

Describing Words for roses in English

When it comes to describing the beauty of roses, there are countless adjectives that perfectly capture their charm and allure. Whether you’re writing a poem, describing a garden, or simply want to appreciate the elegance of these flowers, using descriptive words can enhance your descriptions. Here are some adjectives to help you paint a vivid picture of roses:

By incorporating these descriptive words into your writing, you can create vivid descriptions of roses that truly capture their splendor. Feel free to mix and match these adjectives to create your own unique descriptions that reflect the specific feelings and emotions you want to convey.

Adjectives for roses

Positive adjectives for roses with example sentences.

Roses are renowned for their beauty and appeal. Here are some positive adjectives to describe them, along with example sentences to illustrate their usage:

Negative Adjectives for Roses with Example Sentences

Remember, when describing roses, the use of adjectives can add depth and vividness to your writing. Choose your adjectives carefully to evoke the desired emotions and create captivating descriptions.

Synonyms and Antonyms with Example Sentences

Synonyms for roses.

When it comes to describing roses, there are a variety of synonyms that can help add depth to your writing. Here are some common synonyms for roses:

Using synonyms like these can provide variations in your writing and make it more interesting. Here are a few example sentences using these synonyms:

Antonyms for Roses

Using antonyms can help you create contrasts and add a sense of complexity to your writing. Here are a few example sentences using these antonyms:

It is crucial to remember that the key to captivating writing lies in using a variety of descriptive words and expressions. This not only adds depth and dimension to your descriptions but also engages your readers’ senses, allowing them to visualize the roses in their minds.

So, whether you are writing a poem, a love letter, or simply describing a bouquet of roses, don’t be afraid to experiment with different adjectives. Let your words bloom and paint a vivid picture of the beauty and elegance of roses. Happy writing!

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Essay on Rose Flower for Students & Children in English

January 10, 2024 by Sandeep

Essay on Rose Flower: The queen of flowers, rose is very beautiful and attractive. It grows in different colours like red, white, yellow, pink and other varieties. Small thorns on the stem protect the plant. In terms of literature, the flower has been glorified as signs of love, compassion and eternal beauty. Rose petals are popularly used in face packs and for preparing fragrances. They stand out amongst all decorative flowers. They beautify garlands and found in all places of worship.

Short Essay on Rose Flower (100 Words)

The rose is one of the most popular flowers in the whole world. It appears in many colours, although the bold red rose is the most well-known because it symbolizes love. The other colour variants of roses include white, pink and yellow. White roses symbolize peace; yellow roses indicate friendship, and pink roses are a symbol of gratefulness and joy.

Roses grow in the form of shrubs. Flowers eventually grow into fruits, and similarly, when rose petals fall off, the rosehip fruit grows in its place. They have small thorns all over their stems to protect themselves and harm those who are greedy to pluck them. Their petals are soft and delicate, and form layers around the stamen and stigma.

Essay on Rose Flower 200 Words in English

All flowers are a treasure to this Earth. They come in various different shapes, sizes, colours and patterns. My favourite, however, is definitely the rose. While it does appear in many colours, the bold red rose is the most popular across the world to symbolize love. Roses grow in the form of shrubs. They have small thorns all over their stems to protect themselves and harm those who are greedy to pluck them. Their petals are soft and delicate. The other colour variants of roses include white, pink and yellow. White roses are said to symbolize peace, yellow roses indicate friendship and pink roses are a symbol of gratefulness and joy.

Roses have a pleasant smell, which makes them an important ingredient for many perfumes. Roses are also used to make rose water and rose oil, not to mention rose flavoured drinks. They are also used to make garlands or to simply be a part of bouquets that can be gifted to loved ones.

The 7th of February is referred to as Rose Day, which is a special day when you give a rose to someone you love. This extends to friends and family members as well, and you can take it as an opportunity to show how much you care about them using the popular symbol. What I love about the rose is that it has a lot of emotional significance in society, and I think that makes it the most beautiful flower of them all.

10 Lines Essay on Rose Flower in English

• The rose is one of the most popular flowers in the entire world.
• It appears in many colours, although the bold red rose is the most well-known because it symbolizes love.
• Roses grow in the form of shrubs.
• The fruit of the rose shrub is called rosehip and has medicinal benefits.
• They have small thorns all over their stems to protect themselves and harm those who are greedy to pluck them.
• Roses have a pleasant smell, which makes them an important ingredient for many perfumes.
• Roses are also used to make rosewater, rose oil and rose flavoured drinks.
• Rosewater is used in a lot of sweets across the world, most notably gulab jamun, barfi and Turkish delight.
• Roses also have an important place in many parts of the world in art and history.
• The 7th of February is referred to as Rose Day, which is a special day when roses are gifted to loved ones.

On writing about flowers and gardens

Last month, I joined the Fleurvana Virtual Summit as an instructor, sharing a 30-minute course with hundreds of attendees.

“ A Bouquet of Words :  Develop Your Creative Vocabulary to Enhance Your Personal Storytelling and Brand Message ” introduced several important writing tools that help floral professionals with their marketing toolboxes. We walked through prompts to help creatives — florists, farmer-florists and flower farmers, and others — elevate their writing game and transcend commonly-used language to enhance their floral storytelling.

After the course posted on August 24th, several attendees reached out to share what they wrote in response to the exercises. I have permission to share from two of them here. And I’m inspired to tell you that the course was the most-watched Fleurvana offering. The act of writing or fear of writing can be a roadblock for all of us. But as I told the attendees, writing is a skill that takes repetition and habitual use.

Like anything worth achieving, frequent, daily use of your floral language and confident floral storytelling techniques will keep your writer-muscles strong.

Thank you to Denisa Anderson of Merrily Along Floral Design , and Maureen Christmas , AIFD, CFD, EMC, of Floral Notes Acton , for sharing their writing samples.

Floral narratives

Here’s what Denisa shared:

Thank you for the summit. What a constant source of ingenuity you are! I loved your creative writing tutorial. My mother was a creative writing teacher and is a published poet. I majored in language arts along with my education degree – later Library Science. All word-based loves, so very much in my wheelhouse. I used to write songs and play guitar but those days are in the past, for now ~ and my creative energy has waned this year. However, for fun I’m attempting a few short similes and metaphors to charge up the brain again! Thanks for a fun project. 

Describing plants and flowers

Here’s a message from Maureen:

I am inspired by your thought-provoking presentation this morning. (I even rewrote that sentence three times!)

Language can be as personal and distinct as your aesthetic. In writing vernacular, it’s called “voice.” As you find your voice, you can use it as a tool to better communicate your brand, your unique perspective as an artist and the value it delivers to your clients.

Coming up: You’re invited to sign up for my introductory Slow Flowers Creative Workshop , an online course, in which you will develop and write your juicy “about” description and use storytelling techniques to write at least one article or blog post for publication, not to mention work through expanded modules on floral adjectives, color descriptions and simile/metaphor modules.

The online Slow Flowers Creative Workshop launches November 1st Registration will open on October 15th, so click on this signup link to receive more details when we announce on October 1st.

And there’s more! The Fleurvana Holiday Workshop is coming up in late October — and I’ve been invited to join the instructor lineup again. Click here to be notified when that workshop is announced.

Debra Prinzing

Debra Prinzing is a Seattle-based writer, speaker and leading advocate for American-grown flowers. Through her many Slow Flowers-branded projects, she has convened a national conversation that encourages consumers and professionals alike to make conscious choices about their floral purchases. Debra is the producer of SlowFlowers.com, the weekly "Slow Flowers Podcast" and the American Flowers Week (June 28-July 4) campaign. Debra is author of 11 books, including Slow Flowers (2013), The 50 Mile Bouquet (2012) and Slow Flowers Journal (2020). She is the co-founder of BLOOM Imprint, the boutique publishing arm of Slow Flowers.

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Last updated on Feb 14, 2023

10 Types of Creative Writing (with Examples You’ll Love)

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Savannah Cordova

Savannah is a senior editor with Reedsy and a published writer whose work has appeared on Slate, Kirkus, and BookTrib. Her short fiction has appeared in the Owl Canyon Press anthology, "No Bars and a Dead Battery". 

About Rebecca van Laer

Rebecca van Laer is a writer, editor, and the author of two books, including the novella How to Adjust to the Dark. Her work has been featured in literary magazines such as AGNI, Breadcrumbs, and TriQuarterly.

A lot falls under the term ‘creative writing’: poetry, short fiction, plays, novels, personal essays, and songs, to name just a few. By virtue of the creativity that characterizes it, creative writing is an extremely versatile art. So instead of defining what creative writing is , it may be easier to understand what it does by looking at examples that demonstrate the sheer range of styles and genres under its vast umbrella.

To that end, we’ve collected a non-exhaustive list of works across multiple formats that have inspired the writers here at Reedsy. With 20 different works to explore, we hope they will inspire you, too. 

People have been writing creatively for almost as long as we have been able to hold pens. Just think of long-form epic poems like The Odyssey or, later, the Cantar de Mio Cid — some of the earliest recorded writings of their kind. 

Poetry is also a great place to start if you want to dip your own pen into the inkwell of creative writing. It can be as short or long as you want (you don’t have to write an epic of Homeric proportions), encourages you to build your observation skills, and often speaks from a single point of view . 

Here are a few examples:

“Ozymandias” by Percy Bysshe Shelley

Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.

This classic poem by Romantic poet Percy Shelley (also known as Mary Shelley’s husband) is all about legacy. What do we leave behind? How will we be remembered? The great king Ozymandias built himself a massive statue, proclaiming his might, but the irony is that his statue doesn’t survive the ravages of time. By framing this poem as told to him by a “traveller from an antique land,” Shelley effectively turns this into a story. Along with the careful use of juxtaposition to create irony, this poem accomplishes a lot in just a few lines. 

“Trying to Raise the Dead” by Dorianne Laux

 A direction. An object. My love, it needs a place to rest. Say anything. I’m listening. I’m ready to believe. Even lies, I don’t care.

Poetry is cherished for its ability to evoke strong emotions from the reader using very few words which is exactly what Dorianne Laux does in “ Trying to Raise the Dead .” With vivid imagery that underscores the painful yearning of the narrator, she transports us to a private nighttime scene as the narrator sneaks away from a party to pray to someone they’ve lost. We ache for their loss and how badly they want their lost loved one to acknowledge them in some way. It’s truly a masterclass on how writing can be used to portray emotions. 

If you find yourself inspired to try out some poetry — and maybe even get it published — check out these poetry layouts that can elevate your verse!

Song Lyrics

Poetry’s closely related cousin, song lyrics are another great way to flex your creative writing muscles. You not only have to find the perfect rhyme scheme but also match it to the rhythm of the music. This can be a great challenge for an experienced poet or the musically inclined. 

To see how music can add something extra to your poetry, check out these two examples:

“Hallelujah” by Leonard Cohen

 You say I took the name in vain I don't even know the name But if I did, well, really, what's it to ya? There's a blaze of light in every word It doesn't matter which you heard The holy or the broken Hallelujah 

Metaphors are commonplace in almost every kind of creative writing, but will often take center stage in shorter works like poetry and songs. At the slightest mention, they invite the listener to bring their emotional or cultural experience to the piece, allowing the writer to express more with fewer words while also giving it a deeper meaning. If a whole song is couched in metaphor, you might even be able to find multiple meanings to it, like in Leonard Cohen’s “ Hallelujah .” While Cohen’s Biblical references create a song that, on the surface, seems like it’s about a struggle with religion, the ambiguity of the lyrics has allowed it to be seen as a song about a complicated romantic relationship. 

“I Will Follow You into the Dark” by Death Cab for Cutie

 ​​If Heaven and Hell decide that they both are satisfied Illuminate the no's on their vacancy signs If there's no one beside you when your soul embarks Then I'll follow you into the dark

You can think of song lyrics as poetry set to music. They manage to do many of the same things their literary counterparts do — including tugging on your heartstrings. Death Cab for Cutie’s incredibly popular indie rock ballad is about the singer’s deep devotion to his lover. While some might find the song a bit too dark and macabre, its melancholy tune and poignant lyrics remind us that love can endure beyond death.

Plays and Screenplays

From the short form of poetry, we move into the world of drama — also known as the play. This form is as old as the poem, stretching back to the works of ancient Greek playwrights like Sophocles, who adapted the myths of their day into dramatic form. The stage play (and the more modern screenplay) gives the words on the page a literal human voice, bringing life to a story and its characters entirely through dialogue. 

Interested to see what that looks like? Take a look at these examples:

All My Sons by Arthur Miller

“I know you're no worse than most men but I thought you were better. I never saw you as a man. I saw you as my father.” 

Arthur Miller acts as a bridge between the classic and the new, creating 20th century tragedies that take place in living rooms and backyard instead of royal courts, so we had to include his breakout hit on this list. Set in the backyard of an all-American family in the summer of 1946, this tragedy manages to communicate family tensions in an unimaginable scale, building up to an intense climax reminiscent of classical drama. 

💡 Read more about Arthur Miller and classical influences in our breakdown of Freytag’s pyramid . 

“Everything is Fine” by Michael Schur ( The Good Place )

“Well, then this system sucks. What...one in a million gets to live in paradise and everyone else is tortured for eternity? Come on! I mean, I wasn't freaking Gandhi, but I was okay. I was a medium person. I should get to spend eternity in a medium place! Like Cincinnati. Everyone who wasn't perfect but wasn't terrible should get to spend eternity in Cincinnati.” 

A screenplay, especially a TV pilot, is like a mini-play, but with the extra job of convincing an audience that they want to watch a hundred more episodes of the show. Blending moral philosophy with comedy, The Good Place is a fun hang-out show set in the afterlife that asks some big questions about what it means to be good. 

It follows Eleanor Shellstrop, an incredibly imperfect woman from Arizona who wakes up in ‘The Good Place’ and realizes that there’s been a cosmic mixup. Determined not to lose her place in paradise, she recruits her “soulmate,” a former ethics professor, to teach her philosophy with the hope that she can learn to be a good person and keep up her charade of being an upstanding citizen. The pilot does a superb job of setting up the stakes, the story, and the characters, while smuggling in deep philosophical ideas.

Personal essays

Our first foray into nonfiction on this list is the personal essay. As its name suggests, these stories are in some way autobiographical — concerned with the author’s life and experiences. But don’t be fooled by the realistic component. These essays can take any shape or form, from comics to diary entries to recipes and anything else you can imagine. Typically zeroing in on a single issue, they allow you to explore your life and prove that the personal can be universal.

Here are a couple of fantastic examples:

“On Selling Your First Novel After 11 Years” by Min Jin Lee (Literary Hub)

There was so much to learn and practice, but I began to see the prose in verse and the verse in prose. Patterns surfaced in poems, stories, and plays. There was music in sentences and paragraphs. I could hear the silences in a sentence. All this schooling was like getting x-ray vision and animal-like hearing. 

This deeply honest personal essay by Pachinko author Min Jin Lee is an account of her eleven-year struggle to publish her first novel . Like all good writing, it is intensely focused on personal emotional details. While grounded in the specifics of the author's personal journey, it embodies an experience that is absolutely universal: that of difficulty and adversity met by eventual success. 

“A Cyclist on the English Landscape” by Roff Smith (New York Times)

These images, though, aren’t meant to be about me. They’re meant to represent a cyclist on the landscape, anybody — you, perhaps. 

Roff Smith’s gorgeous photo essay for the NYT is a testament to the power of creatively combining visuals with text. Here, photographs of Smith atop a bike are far from simply ornamental. They’re integral to the ruminative mood of the essay, as essential as the writing. Though Smith places his work at the crosscurrents of various aesthetic influences (such as the painter Edward Hopper), what stands out the most in this taciturn, thoughtful piece of writing is his use of the second person to address the reader directly. Suddenly, the writer steps out of the body of the essay and makes eye contact with the reader. The reader is now part of the story as a second character, finally entering the picture.

Short Fiction

The short story is the happy medium of fiction writing. These bite-sized narratives can be devoured in a single sitting and still leave you reeling. Sometimes viewed as a stepping stone to novel writing, that couldn’t be further from the truth. Short story writing is an art all its own. The limited length means every word counts and there’s no better way to see that than with these two examples:

“An MFA Story” by Paul Dalla Rosa (Electric Literature)

At Starbucks, I remembered a reading Zhen had given, a reading organized by the program’s faculty. I had not wanted to go but did. In the bar, he read, "I wrote this in a Starbucks in Shanghai. On the bank of the Huangpu." It wasn’t an aside or introduction. It was two lines of the poem. I was in a Starbucks and I wasn’t writing any poems. I wasn’t writing anything. 

This short story is a delightfully metafictional tale about the struggles of being a writer in New York. From paying the bills to facing criticism in a writing workshop and envying more productive writers, Paul Dalla Rosa’s story is a clever satire of the tribulations involved in the writing profession, and all the contradictions embodied by systemic creativity (as famously laid out in Mark McGurl’s The Program Era ). What’s more, this story is an excellent example of something that often happens in creative writing: a writer casting light on the private thoughts or moments of doubt we don’t admit to or openly talk about. 

“Flowering Walrus” by Scott Skinner (Reedsy)

I tell him they’d been there a month at least, and he looks concerned. He has my tongue on a tissue paper and is gripping its sides with his pointer and thumb. My tongue has never spent much time outside of my mouth, and I imagine it as a walrus basking in the rays of the dental light. My walrus is not well. 

A winner of Reedsy’s weekly Prompts writing contest, ‘ Flowering Walrus ’ is a story that balances the trivial and the serious well. In the pauses between its excellent, natural dialogue , the story manages to scatter the fear and sadness of bad medical news, as the protagonist hides his worries from his wife and daughter. Rich in subtext, these silences grow and resonate with the readers.

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Perhaps the thing that first comes to mind when talking about creative writing, novels are a form of fiction that many people know and love but writers sometimes find intimidating. The good news is that novels are nothing but one word put after another, like any other piece of writing, but expanded and put into a flowing narrative. Piece of cake, right?

To get an idea of the format’s breadth of scope, take a look at these two (very different) satirical novels: 

Convenience Store Woman by Sayaka Murata

I wished I was back in the convenience store where I was valued as a working member of staff and things weren’t as complicated as this. Once we donned our uniforms, we were all equals regardless of gender, age, or nationality — all simply store workers. 

Keiko, a thirty-six-year-old convenience store employee, finds comfort and happiness in the strict, uneventful routine of the shop’s daily operations. A funny, satirical, but simultaneously unnerving examination of the social structures we take for granted, Sayaka Murata’s Convenience Store Woman is deeply original and lingers with the reader long after they’ve put it down.

Erasure by Percival Everett

The hard, gritty truth of the matter is that I hardly ever think about race. Those times when I did think about it a lot I did so because of my guilt for not thinking about it.  

Erasure is a truly accomplished satire of the publishing industry’s tendency to essentialize African American authors and their writing. Everett’s protagonist is a writer whose work doesn’t fit with what publishers expect from him — work that describes the “African American experience” — so he writes a parody novel about life in the ghetto. The publishers go crazy for it and, to the protagonist’s horror, it becomes the next big thing. This sophisticated novel is both ironic and tender, leaving its readers with much food for thought.

Creative Nonfiction

Creative nonfiction is pretty broad: it applies to anything that does not claim to be fictional (although the rise of autofiction has definitely blurred the boundaries between fiction and nonfiction). It encompasses everything from personal essays and memoirs to humor writing, and they range in length from blog posts to full-length books. The defining characteristic of this massive genre is that it takes the world or the author’s experience and turns it into a narrative that a reader can follow along with.

Here, we want to focus on novel-length works that dig deep into their respective topics. While very different, these two examples truly show the breadth and depth of possibility of creative nonfiction:

Men We Reaped by Jesmyn Ward

Men’s bodies litter my family history. The pain of the women they left behind pulls them from the beyond, makes them appear as ghosts. In death, they transcend the circumstances of this place that I love and hate all at once and become supernatural. 

Writer Jesmyn Ward recounts the deaths of five men from her rural Mississippi community in as many years. In her award-winning memoir , she delves into the lives of the friends and family she lost and tries to find some sense among the tragedy. Working backwards across five years, she questions why this had to happen over and over again, and slowly unveils the long history of racism and poverty that rules rural Black communities. Moving and emotionally raw, Men We Reaped is an indictment of a cruel system and the story of a woman's grief and rage as she tries to navigate it.

Cork Dork by Bianca Bosker

He believed that wine could reshape someone’s life. That’s why he preferred buying bottles to splurging on sweaters. Sweaters were things. Bottles of wine, said Morgan, “are ways that my humanity will be changed.” 

In this work of immersive journalism , Bianca Bosker leaves behind her life as a tech journalist to explore the world of wine. Becoming a “cork dork” takes her everywhere from New York’s most refined restaurants to science labs while she learns what it takes to be a sommelier and a true wine obsessive. This funny and entertaining trip through the past and present of wine-making and tasting is sure to leave you better informed and wishing you, too, could leave your life behind for one devoted to wine. 

Illustrated Narratives (Comics, graphic novels)

Once relegated to the “funny pages”, the past forty years of comics history have proven it to be a serious medium. Comics have transformed from the early days of Jack Kirby’s superheroes into a medium where almost every genre is represented. Humorous one-shots in the Sunday papers stand alongside illustrated memoirs, horror, fantasy, and just about anything else you can imagine. This type of visual storytelling lets the writer and artist get creative with perspective, tone, and so much more. For two very different, though equally entertaining, examples, check these out:

Calvin & Hobbes by Bill Watterson

"Life is like topography, Hobbes. There are summits of happiness and success, flat stretches of boring routine and valleys of frustration and failure." 

This beloved comic strip follows Calvin, a rambunctious six-year-old boy, and his stuffed tiger/imaginary friend, Hobbes. They get into all kinds of hijinks at school and at home, and muse on the world in the way only a six-year-old and an anthropomorphic tiger can. As laugh-out-loud funny as it is, Calvin & Hobbes ’ popularity persists as much for its whimsy as its use of humor to comment on life, childhood, adulthood, and everything in between. 

From Hell by Alan Moore and Eddie Campbell 

"I shall tell you where we are. We're in the most extreme and utter region of the human mind. A dim, subconscious underworld. A radiant abyss where men meet themselves. Hell, Netley. We're in Hell." 

Comics aren't just the realm of superheroes and one-joke strips, as Alan Moore proves in this serialized graphic novel released between 1989 and 1998. A meticulously researched alternative history of Victorian London’s Ripper killings, this macabre story pulls no punches. Fact and fiction blend into a world where the Royal Family is involved in a dark conspiracy and Freemasons lurk on the sidelines. It’s a surreal mad-cap adventure that’s unsettling in the best way possible. 

Video Games and RPGs

Probably the least expected entry on this list, we thought that video games and RPGs also deserved a mention — and some well-earned recognition for the intricate storytelling that goes into creating them. 

Essentially gamified adventure stories, without attention to plot, characters, and a narrative arc, these games would lose a lot of their charm, so let’s look at two examples where the creative writing really shines through: 

80 Days by inkle studios

"It was a triumph of invention over nature, and will almost certainly disappear into the dust once more in the next fifty years." 

Named Time Magazine ’s game of the year in 2014, this narrative adventure is based on Around the World in 80 Days by Jules Verne. The player is cast as the novel’s narrator, Passpartout, and tasked with circumnavigating the globe in service of their employer, Phileas Fogg. Set in an alternate steampunk Victorian era, the game uses its globe-trotting to comment on the colonialist fantasies inherent in the original novel and its time period. On a storytelling level, the choose-your-own-adventure style means no two players’ journeys will be the same. This innovative approach to a classic novel shows the potential of video games as a storytelling medium, truly making the player part of the story. 

What Remains of Edith Finch by Giant Sparrow

"If we lived forever, maybe we'd have time to understand things. But as it is, I think the best we can do is try to open our eyes, and appreciate how strange and brief all of this is." 

This video game casts the player as 17-year-old Edith Finch. Returning to her family’s home on an island in the Pacific northwest, Edith explores the vast house and tries to figure out why she’s the only one of her family left alive. The story of each family member is revealed as you make your way through the house, slowly unpacking the tragic fate of the Finches. Eerie and immersive, this first-person exploration game uses the medium to tell a series of truly unique tales. 

Fun and breezy on the surface, humor is often recognized as one of the trickiest forms of creative writing. After all, while you can see the artistic value in a piece of prose that you don’t necessarily enjoy, if a joke isn’t funny, you could say that it’s objectively failed.

With that said, it’s far from an impossible task, and many have succeeded in bringing smiles to their readers’ faces through their writing. Here are two examples:

‘How You Hope Your Extended Family Will React When You Explain Your Job to Them’ by Mike Lacher (McSweeney’s Internet Tendency)

“Is it true you don’t have desks?” your grandmother will ask. You will nod again and crack open a can of Country Time Lemonade. “My stars,” she will say, “it must be so wonderful to not have a traditional office and instead share a bistro-esque coworking space.” 

Satire and parody make up a whole subgenre of creative writing, and websites like McSweeney’s Internet Tendency and The Onion consistently hit the mark with their parodies of magazine publishing and news media. This particular example finds humor in the divide between traditional family expectations and contemporary, ‘trendy’ work cultures. Playing on the inherent silliness of today’s tech-forward middle-class jobs, this witty piece imagines a scenario where the writer’s family fully understands what they do — and are enthralled to hear more. “‘Now is it true,’ your uncle will whisper, ‘that you’ve got a potential investment from one of the founders of I Can Haz Cheezburger?’”

‘Not a Foodie’ by Hilary Fitzgerald Campbell (Electric Literature)

I’m not a foodie, I never have been, and I know, in my heart, I never will be. 

Highlighting what she sees as an unbearable social obsession with food , in this comic Hilary Fitzgerald Campbell takes a hilarious stand against the importance of food. From the writer’s courageous thesis (“I think there are more exciting things to talk about, and focus on in life, than what’s for dinner”) to the amusing appearance of family members and the narrator’s partner, ‘Not a Foodie’ demonstrates that even a seemingly mundane pet peeve can be approached creatively — and even reveal something profound about life.

We hope this list inspires you with your own writing. If there’s one thing you take away from this post, let it be that there is no limit to what you can write about or how you can write about it. 

In the next part of this guide, we'll drill down into the fascinating world of creative nonfiction.

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10 Words to Describe a Flower Garden

By Isobel Coughlan

Do you need some words to describe a flower garden in a scene you’re writing in your novel? See how the following 10 could be included in your writing

A place that’s quiet and calm.

“He glanced around the serene flower garden, and everyone he saw was quiet and peaceful.”

“The serene flower garden was still despite the chaos outside its walls.”

How it Adds Description

Gardens, flowers, and natural spaces are usually quiet and calm areas, therefore the word “serene” is apt to describe their ambience. This gives your reader a clearer understanding of the flower garden’s atmosphere, and it helps you build a more complex fictional world. “Serene” can also hint that your characters feel calm and safe within the space.

2. Splendid

Somewhere very good or pleasant.

“Gosh, what a splendid flower garden! I’d spend all day here if I could!”

“She wished to remain in the splendid flower garden for the rest of time, but her modern life beckoned her away from the beauty.”

If your flower garden is a positive place, the word “splendid” can convey this to your reader. “Splendid” is linked to pleasant and nice places, and it can also be used to refer to how somewhere looks. Therefore, you can also use this adjective to imply how pretty the flower garden is to your reader.

3. Delightful

A place that’s pleasant , beautiful, or causes joy in visitors.

“Mama, please can we visit the delightful flower garden again? I want to see the roses!”

“He strolled through the delightful flower garden and his thoughts were consumed with nothing but the beauty of the scene.”

The word “delightful” is another way to convey your fictional garden’s positive feelings and pleasantness. Unlike “splendid”, “delightful” is more linked with a positive feeling. This is a powerful adjective to use if you want to show the setting’s beauty and its emotional effect on your characters.

Somewhere that’s wonderful, unique, and has seemingly mystical qualities.

“The magical flower garden was like no other. Here the flowers bloomed all year round and the sun was always shining.”

“She wondered how the magical flower garden was always so pristine. There was no way only one gardener could maintain the space!”

The word “magical” implies that your flower garden is above average or has unusual (but positive) qualities. This can be used to emphasize the beauty of your garden. However, you can use this adjective to foreshadow actual magic or later plot points that do set the space apart from standard gardens.

5. Exquisite

Somewhere extremely attractive or beautiful.

“He longed for the exquisite flower garden. It was the only place he ever found true beauty.”

“Are you visiting the exquisite flower garden? I love that spot! Please, send me photos!”

The word “exquisite” is helpful if you want to build up a visual image of your garden’s aesthetics. “Exquisite” implies that the flower garden has above average beauty, which will ensure the location stands out as a memorable place to your reader. This word can also be used to show characters are in awe of the location.

A place that’s peaceful, tranquil , or quiet.

“She awoke in the calm flower garden, and she was instantly full of peace and joy.”

“You could hear soft giggles as the children played in the calm flower garden.”

If you want to position your flower garden as an oasis or welcoming location, the adjective “calm” can help. “Calm” will provide your reader with positive imagery, allowing them to visualize a pleasant location. “Calm” can also cement the flower garden as a safe spot for characters, which you can use later in your novel if you need to contrast a negative place.

Somewhere verdant if full of greenery, plants , and trees.

“The verdant flower garden allowed her to truly unwind. She’d never felt so in touch with nature.”

“He snapped a picture of the verdant flower garden, and he was impressed by the intense green hues on the screen.”

Alongside colorful flowers, flower gardens often have an abundance of greenery and plants. If you want to convey the presence of nature in your flower garden, the word “verdant” offers a clear image for readers.

8. Undisturbed

A place that’s not touched or changed by outsiders.

“The undisturbed flower garden offered unmatched beauty and a calming place to rest.”

“She found the undisturbed flower garden behind the old church. No one has stepped inside its walls in decades.”

If your flower garden is older or full of wild plants, the word “undisturbed” can convey its characteristics to your reader. This word shows that no one has touched the space, and you can use this to build on previous plot points or to build a sense of suspense for future happenings.

Somewhere with an excess of healthy nature and plants.

“The lush flower garden was always beautiful, but it looked best when in bloom during the spring.”

“They yearned for the lush flower garden, but winter had stripped away all of the beauty.”

The word “lush” can be used to give extra details about the plants and flowers within the garden. This adjective has positive connotations or beauty and health, so using this will show the reader your garden is thriving.

10. Elegant

Somewhere visually pleasing, stylish, or attractive .

“Let’s have lunch in the elegant flower garden. Its displays are created by expert florists!”

“Take a photo of me in the elegant flower garden. I’m wearing my best frock for the occasion!”

Not all flower gardens are wild and unruly. If your fictional place is carefully curated and full of beautiful flowers, the word “elegant” can emphasize its attractiveness to your reader. This adjective can also convey that your characters are impressed by the location, which gives your reader more insight into their minds.

• David Kirkham

Rose Tremain

• Short Stories
• London, England
• Chatto & Windus
• Sheil Land Associates Ltd

Novelist Rose Tremain was born in 1943 in London.

She was educated at the Sorbonne and is a graduate of the University of East Anglia, where she taught creative writing from 1988-95. Her publications include novels and short-story collections, and she is also the author of a number of radio and television plays, including Temporary Shelter , which won a Giles Cooper Award, and One Night In Winter , first broadcast by BBC Radio 4 in December 2001. She was awarded an honorary LittD by the University of East Anglia in 2000.Her first novel, Sadler's Birthday , was published in 1976. This was followed by Letter to Sister Benedicta (1978), The Cupboard (1981) and The Swimming Pool Season (1985), which won the Angel Literary Award. Restoration (1989), set during the reign of Charles II, tells the story of Robert Merivel, an anatomy student and Court favourite, who falls in love with the King's mistress. The novel won the Angel Literary Award, the Sunday Express Book of the Year award and was shortlisted for the Booker Prize for Fiction. It was made into a film in 1996. Her other novels include Sacred Country (1992), winner of the James Tait Black Memorial Prize (for fiction) and the prestigious Prix Fémina Etranger (France), about a young girl's crisis of gender and identity; The Way I Found Her (1997), a psychological thriller set in Paris; and Music and Silence (1999), winner of the Whitbread Novel Award, a historical novel set in the early seventeenth century, the story of an English lute player, Peter Claire, employed at the Danish Court to play for King Christian IV. The Colour (2003), set in New Zealand at the time of the West Coast Gold Rush in the 1860s, was shortlisted for the 2004 Orange Prize for Fiction.Rose Tremain has published several collections of short stories, including The Colonel's Daughter and Other Stories (1984), The Garden of the Villa Mollini and Other Stories (1987) and Evangelista's Fan and Other Stories (1994). Her latest collection of short stories is The American Lover (2014).

She was chosen as one of the 20 'Best of Young British Novelists' in a promotion by the literary magazine Granta in 1983, and was a judge for the Booker Prize for Fiction in 1988 and in 2000. She reviews and broadcasts regularly for press and radio, and lives in Norfolk and London.

Rose Tremain's later books are a collection of short stories: The Darkness of Wallis Simpson (2005); and a novel, The Road Home (2007), shortlisted for the 2007 Costa Novel Award and winner of the 2008 Orange Prize for Fiction. Recent novels include  Trespass (2010); Merival: A Man of His Time (2012), a sequel to Restoration;  and The Gustav Sonata (2016).

Rose Tremain was awarded a CBE in 2007.

Critical perspective

Multi-prizewinning novelist Rose Tremain is a great example of how a highly literary writer can become a popular one. Her books are at once sophisticated in their narrative strategies and entertaining page-turners; equally capable of poignant, shocking or amusing touches.

Her hallmarks are the atmospheric creation of places and personalities – whether in historical or contemporary settings – and the sensuous evocations of food, drink, and sexual appetites. She conveys the fears and foibles of her characters and allows us to see the humanity behind even their darkest deeds and secrets. The storytelling bravura can also be deliberately playful, as when Robert Merivel, the blustering hero of Restoration (1989), directly addresses the reader: ‘You have all too clear a picture of me now, have you not? ….. I am, precisely as I have suggested, in the middle of a story, but who can say yet – not you, not I – how it will end?’

Tremain’s novels sometimes employ multiple viewpoints, setting up several plot-line threads, to be eventually joined, more often ambiguously than with happy endings. Such a command of fictional techniques reminds us that Rose Tremain for many years taught on the famed Creative Writing M.A. course at the University of East Anglia. Among those she beneficently tutored have been some leading novelists of the future, including Kazuo Ishiguru and Andrew Miller. Her own student days were at the Sorbonne in Paris, which may account for the significant Francophile invocations of places, landscapes, and especially the French food-and-drink culture. These appear, for instance, in an early short story ‘My Wife is a White Russian’ ( Granta magazine, ‘Best of Young British Novelists’, 1983) and the Paris-based adventure The Way I Found Her (1997), about an adolescent boy’s attachment to a famous author who has disapppeared. France is also the setting of the psychological thriller Trespass (2010), though its rural scenes are far darker and more unsettling, as is its view of human nature.

Her breakthrough to bestseller status came with the historical novel Restoration set, as its title suggests, in the reign of King Charles II. Switching between the court in London and Robert Merivel’s Norfolk, this is a partly serious story but also part-romp, rejoicing in bawdy incidents. In the first half, Merivel is a randy medical student who gains royal favour by curing a favourite dog, but more particularly by agreeing to be the complaisant husband of royal mistress ‘fair Celia’. Merivel’s own spiritual ‘restoration’ takes place in the second half when he becomes a physician in a mental asylum run by sober Quakers. But he still manages to enjoy love ‘of the most profane kind’ with a comely female inmate. He returns to London, destined to witness the Great Plague and the Great Fire.

Its recent sequel is Merivel: A Man of His Time (2012), again full of delicious episodes though with more stress upon the fragility of human lives. Resident at Bidnold Manor in Norfolk with a much-loved daughter Margaret, he is now beset by the anxieties of middle age. Commanded again to serve the King – who is a more active character than previously – he travels to the court at Versailles, failing to deliver the royal message but typically falling for the allure of Madame de Flamanville. He is forced to choose between happiness and duty, England and a new life in Switzerland. But then Merivel’s skills as a physician are called into action, firstly to save his daughter, then an ex-lover, and finally the now dying King. An era is coming to a chaotic end, and Merivel has to ask himself what he has achieved in life: ‘And all that I could answer was that I had persevered’.

Music & Silence (1999) is a very different kind of historical novel; though also featuring charged encounters between royals and commoners it is darker and more poetic. This is 1629-30 in Denmark at the court of King Christian IV. His superstitious fears and ailments can be soothed only by the playing of English lute player Peter Claire, whom he comes to regard as a protecting angel. Claire himself is worldlier, ardently pursuing servant girl Emilia under the eyes of scheming Queen Kirsten – who has a secret lover of her own. Told from various viewpoints, the book exemplifies what Tremain has called her ‘Law of Historical Fiction’: using a basis of research, an understanding of the mentality of the era, but still allowing the writer certain liberties of invention. Thus, alongside authentic-seeming details of events and customs there are elements of magic and wonder, romance and lust, and a demonstration of the powers of music to charm and seduce.

The rugged characters in The Colour (2003) take us to mid-19 th century New Zealand for a story of hardy pioneers and desperate gold-diggers in ‘The Rush’. Newly-married Joseph and Harriet Blackstone have emigrated from Norfolk in search of a new life near the Okuku River, where they build a homestead, keep animals and plant crops. Yet theirs is a loveless marriage of convenience, soon under stress from the relentless weather and from Joseph’s increasing obsession with finding gold. Convinced that ‘All life … is a flight from mistake to mistake’, he sets off a chain of events that lead to the makeshift gold-mining camps and, in himself, the re-emergence of buried memories and desires. As a counterpoint, we sense the spiritual landscapes dear to Maori woman Pare, and to Chinese trader Pao Yi who befriends Harriet after a destructive flood.

Tremain’s several collections of short stories demonstrate her skills on a smaller scale. The outstanding title story of The Darkness of Wallis Simpson (2005), for example, depicts the mind of ‘Bessiewallis’ in her last days in Paris as a senile prisoner of lawyer Madame Blum. The latter is sadistically intent on making her ‘an honest witness to the past’. Ironically, when Blum at last makes Wallis talk, she recalls her meeting with Hitler. Some other stories feature characters fleeing after the fall of the Berlin Wall, or simply their own pasts. Ever adept at balancing shade with light, ‘Peerless’ is the light-hearted tale of a man regaining a sense of purpose by sponsoring a zoo penguin with the same name as a late school friend. ‘”Imagination”, Anthony Peerless used to say, “is everything. Without it, the world’s doomed”’.

Several of her recent novels have been set in the present day. Polish workers in Britain are the subject in The Road Home (2007), revolving around its protagonist Lev. He is a grieving widower who becomes a kitchen hand in a fashionable London restaurant, then has a tempestuous affair with party girl Sophie. His ambition is to open his own restaurant back in Poland, and the plot moves him in that direction. Trespass is by contrast a brutal psychological tale. In the Cevennes, southern France, the incoming British are received with apparent indifference, including antiques dealer Anthony, a would-be house buyer. The house itself becomes the focus of the drama, with long-suppressed family conflicts between siblings being brought out into the light. An atmosphere of terror is conjured up amidst the beautiful landscape, heightened by the interior loneliness of the characters. Choreographing all these elements, Rose Tremain shows yet again her mastery of the art of compelling fiction.

Dr Jules Smith, 2013

Bibliography

Author statement.

'I suspect that many writers deceive themselves about why they write. My self-deception is that I create in order to understand and that the final end of it all might be wisdom. This means that I deliberately seek out the strange, the unfamiliar, even the unknowable, as subjects for my novels and trust my imagination to illuminate them to the point where both I and the reader can see them with a new clarity. The writers I admire most seem to have this kind of goal: to comprehend experience distant from their own, in nature, place and time, and to let the extraordinary cast new light on the quotidian.'

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Essay On Rose Flower – 10 Lines, Short And Long Essay For Children

Key Points To Remember When Writing An Essay On Rose For Lower Primary Classes

10 lines on rose for kids, a paragraph on rose for children, short essay on rose flower in english for kids, long essay on rose for children, what will your child learn from the essay on rose.

Rose is a flower so beautiful that it has invoked inspiration in several artists and poets. Children are familiar with the rose and other such flowers right from toddlerhood when they took strolls in the garden, to the time they started enjoying picture books, to learning the alphabet ‘R’ for rose. The flower may have been a part of their home décor, or a gift they gave someone on an occasion.

So when asked to write an essay on rose in English, children may not face a lot of difficulties. For a topic like this, children can write about their opinions and personal experiences along with a few facts that they can learn and memorise. Let us guide your child to write a good essay on rose for classes 1, 2 and 3.

Keep these tips in mind to learn how to write an essay on rose flower

• A good essay needs excellent unique points to be researched.
• Facts should be combined with personal experiences and anecdotes to make the topic relatable.
• The language should be grammatically correct with use of appropriate vocabulary.
• Short essays can talk about the basic properties of a rose and its uses for us, while long essays can go deeper into the details about the flower and how it plays a part in our lives.

Read these few lines on rose to learn how to write an essay for class 1 and 2:

• Rose is one of the most beautiful flowers among several others.
• It has beautiful petals and a stem that is usually full of thorns.
• Roses can be found in many colours, our of which red and white are more common.
• Apart from that, there are pink and yellow roses too.
• Apart from their beautiful look, roses have a wonderful fragrance that freshen up any space.
• Roses are so popular that they are one of the most preferred flowers for gifting.
• Moreover, a special ‘Rose Day’ too is celebrated on February 12 every year, when people gift each other roses to signify their affection.
• The flower also has several beneficial properties, because of which many natural cosmetics use products derived from rose, like rose essence in soaps and perfumes, rose water as a humidifier, and many more.
• Rose is also an edible flower, thus the rose essence is added to many things like milk, sherbet, lassi, and even desserts like mithais and chocolates.
• Rose is rightfully called the king of flowers.

Once you have learnt a few facts on the rose flower, you can go on to compose a small paragraph on the given topic. Here is an example:

The queen of flowers, rose is very beautiful and attractive. It grows in different colours like red, white, yellow, pink and other varieties. Small thorns on the stem protect the plant. In the world of art, poetry and literature, rose has been glorified as a symbol of love, compassion and eternal beauty. So it is one of the most commonly used flowers when gifting a bouquet or decorating a space with floral arrangements. Rose also has many beneficial properties. So they are used in many home remedies and self-care products. Rose is also the most beautifully fragrant flower, and its essence is also used in many cosmetic products like creams, soaps and perfumes. Interestingly, the rose is an edible flower so it lends itself to several recipes like rose milk or rose lassi, or even rose flavoured candy, chocolates and mithais. Roses stand out amongst all other beautiful and colourful flowers.

Once you have mastered how to write about rose in a small paragraph, you can elaborate your points to compose a small essay. Make sure you have a good introduction and conclusion and present unique points with each paragraph. Take a look at the example of a composition on rose given below:

The rose is one of the most well known flowers in the world. It is popularly known as the flower of love. Roses can be found in different colours but the red coloured rose is the most favourite one for many people. It is one of the most beautiful flowers.

The composition of a rose flower is one of nature’s best beauties. Even at the bud stage, it looks extremely pretty like a ruby gemstone. When it blooms, the rose has many layers of petals. It has a centre with stamen and pollen like all flowers. A rose bush typically has plenty of thorns to protect the flower from animals. Roses come in many different colours and varieties. Although the red rose is the most commonly found colour.

Rose is most known for its sweet and refreshing fragrance. That’s why, people love decorating roses in vases. The essence of the rose flower is used in many fragrances such as perfumes, body soaps, room fresheners and many others.

Rose is also an edible flower so its petals are used in many different types of recipes either as a flavouring ingredient or simply as a beautiful, colourful garnish.

Rose is also known to be a pure flower and is used as an offering to God during prayers. Temples and are decorated with roses during important days like festivals and the flowers are also used to make garlands.

Because of its beauty, rose has inspired several artists, painters and poets, and the flower has become a symbol of love. Different colours of roses stand for different human emotions. Red rose is a symbol of love. Yellow rose stands for friendship. A white rose is the symbol of purity and pink rose is for joy.

Because of the popularity of rose, a special day is earmarked to express emotions with a rose. ‘Rose Day’ is celebrated on February 12 every year, when people gift each other roses to signify their affection.

When students of class 3 are assigned to write an essay on rose, they will be required to write an extensive composition. For this, guide your child to organise their ideas into various subheadings and elaborate on each point. Here is an example of a long essay for class 3:

Rose is a beautiful flower with a sweet fragrance. It is a very popular flower that can be found commonly in gardens. It is my favourite flower because it is the epitome of beauty and purity. Rose signifies many emotions, like love and joy. That’s why we gift roses or bouquets of roses to the ones we love.

Roses can be grown in flower beds as well as flower pots. It can be found in many parts of the world, when grown under the right conditions. They require some sunlight, cool climate and regular watering. Even in cities where these weather conditions are not met, roses can be grown in special arrangements like greenhouse.

Origin Of Rose Flower

Initially, rose flowers were known to be wildflowers, and they came from many parts of the earth. They are found in many continents, like Asia, Europe, North America, and northwest Africa. According to research, there are over a hundred species of roses that have been discovered in the world. Research then found means to grow these wildflowers in the vicinity of houses especially in gardens.

Importance And Uses Of Rose Flower

Rose is most popular for its good scent. This is because, naturally, the rose flower produces a beautiful fragrance. This fragrance comes from its petals, as there are tiny perfume glands on them. So, rose extracts are used as natural perfumes.

Similarly, rose water extracted out of rose petals is used in many cultures for many purposes. It has many beneficial effects on the skin when applied directly, thus, it is part of many cosmetic products.

Rose petals can be eaten even in their raw form, thus, rose is used as a natural flavouring ingredient. In the simplest form, the rose essence is used to make syrups which is used in preparations like rose falooda, rose sherbet and rose milk. Rose petals mixed with sugar are also used to prepare a sweet preserve known as gulkand, which is eaten for a cooling effect in the stomach.

Rose flower has a symbolic significance in different cultures. For example, the red rose is a symbol of love. No other flower is as popular as a red rose when it comes to conveying feelings of love. This is evident from the huge number of red roses used on special occasions like weddings, anniversaries, engagements and Valentine’s Day. Not just that, there is a special day dedicated to expressing emotions by gifting roses. Rose Day is observed every year on February 12.

Essay writing is an important assignment that helps children develop their writing skills. FOr this assignment, children will be required to gather some facts on the rose flower and combine that information with their own observations and opinions. This will help them improve their creative thinking and imagination. It will also expand their vocabulary as they learn to express themselves using new words.

1. What Is The Best Time To Plant Rose Flower?

A. Rose bushes are best planted in the spring season or in the fall. Planting early enough in the fall gives the root enough time to establish before the plants go dormant over the winter. Especially in countries that experience severe frost.

2. How Long Does The Rose Flower Live?

A. The average lifespan of a rose plant is 35 years, but if maintained well in good conditions, it can go on to live for much longer. Regular feeding and thick mulching is the key to ensuring longevity.

3. Are Black Coloured Roses Natural?

A. Yes, the flowers that are popularly known as ‘Black Roses’ are naturally occurring flowers. However, these flowers only appear black in colour. If you look closely, you will realise that they are actually a very dark red or purple. An actual black-coloured rose can also be obtained but only through dyeing.

Essay On ‘My Favourite Flower’ for Kids Essay On Lotus Flower for Class 1,2 and 3 Children How to Write An Essay On Trees for Lower Primary Classes

• Essays for Class 1
• Essays for Class 2
• Essays for Class 3

Shraddha Mishra

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Augustus Rose

As a novelist I write from the impulse that creating fiction is a process of discovery and that a writer should follow their interests and their curiosity, especially when these interests lead them into weird or unexpected territory. Because this territory is singular to each writer this process can be encouraged but not exactly taught. But the mechanics of writing can be taught , and as a teacher I tend to focus most heavily on narrative structure, conflict, and character arc, and how these areas intersect, drive one another, and ultimately become the engines that take the reader through the author’s aforementioned territories.

Writing Profile

My debut novel The Readymade Thief (Viking, 2017) follows a homeless teenager navigating the Philadelphia underground—a shadowy world of urban exploration, consciousness-obliterating psychedelics, the dark net, and the shotgun marriage of alchemy and string theory—as she tries to uncover a message that may or may not have been encoded within the works of early twentieth-century artist Marcel Duchamp.

Currently I’m working on a novel I describe as Portrait of the Artist as a Young Man meets Training Day set in a San Francisco high school in 1984. It follows a young artist-to-be taken under the wing of a teenage provocateur who introduces him to a life of crime and cultural subversion. The novel is also about my hometown, San Francisco, especially as a once-haven for weirdo visionairies and iconoclasts transformed into a capitalist playground.

I also dabble in screenwriting, and my screenplay Far from Cool was a finalist for the Academy Nicholl Awards.

Work with Students

I’ve advised everything from novels-in-progress to story collections to screenplays to a single-paragraph experimental novella. I don’t judge or discriminate according to genre, only by the quality of the work. I see it as my job to help students evolve as writers, thinkers, readers, and researchers, all in the service of helping that student create work that is as close as possible to their own vision of what they want it to be.  

• Technical Seminar in Research and Worldbuilding
• Fundamentals in Creative Writing: The Question of Perspective
• Fundamentals in Creative Writing: The Grammar of Narrative
• Thesis & Special Projects Workshop
• Advanced Workshop: Narrative Structure and Character Arc
• Advanced Workshop: Narrative Questions & Rate of Revelation
• Advanced Workshop: Novel Writing, the First Chapters
• Advanced Workshop: Plot
• Beginning Workshop: Character and Characterization
• Reading as a Writer: Crime & Story

Selected Publications

• The Readymade Thief (New York: Viking Books, 2017).  Editions and translations also published in the UK, Germany, the Czech Republic, and Italy.

The Readymade Thief

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English: Assistant Professor in Creative Writing

Job information.

Position: The English Department in the College of Arts and Sciences at the University of Wisconsin-Eau Claire seeks to hire a tenure-track Assistant Professor of English with expertise in screenwriting for the 2025-2026 academic year with a start date of August 18, 2025. Final authorization of the position is subject to availability of funding.

Required Qualifications:

• Doctoral candidates who are ABD will be considered, but all requirements for the doctoral degree must be completed by August 18, 2025.
• Evidence of successful teaching at the college level (or equivalent experience)
• Evidence of professional experience in writing for film, video and/or television, in short and/or feature-length formats and/or narrative series
• Earned M.F.A. or doctorate in screenwriting, creative writing, film or closely related field.  Doctoral candidates who are ABD will be considered, but all requirements for the doctoral degree must be completed by August 18, 2025.

Preferred Assets:

• Secondary area of specialization in the literature of film or film studies
• Experience with filmmaking, and/or film production
• Demonstrated commitment to support and enhance the diversity and cultural and global awareness of students, faculty, and staff.

Responsibilities:

The successful candidate will teach courses as assigned in the English Department: All department members teach in the Blugold Seminar in Critical Reading and Writing, our first-year writing program ( https://www.uwec.edu/academics/blugold-seminar/), every semester. The typical semester load is 3 courses, equivalent to 11-12 credits. The successful candidate will teach introductory creative writing courses, advanced screenwriting courses, literature-of-film courses or other pertinent literature courses.  In addition, all department members participate in research and scholarly activities; provide academic advising to students as assigned; and engage in service to the department, university, and profession.

Department:

The English department is a thriving, diverse academic community dedicated to excellence in teaching and learning and committed to sustaining an inclusive and equitable environment for those it serves. The department offers rigorous emphases in critical studies in literature, culture and film; creative writing; scientific and technical writing; linguistics; and education.

University and Eau Claire Community:

The University of Wisconsin-Eau Claire promotes diversity and inclusiveness, stewardship and sustainability, leadership and innovation. With approximately 10,000 students, UW-Eau Claire is consistently rated as one of the top comprehensive, liberal-arts universities in the Midwest and is widely known as a leader in faculty-undergraduate research and study abroad.

A community of 70,000, Eau Claire is the largest city in western Wisconsin with thriving arts and music scenes, as featured in the Star Tribune, Milwaukee Journal Sentinel, Thrillist

( https://www.thrillist.com/travel/nation/things-to-do-in-eau-claire-wi) , and other media sources. Eau Claire and the surrounding areas offer scenic rivers, parks, bike trails, farmers¿ markets, outdoor concerts, a modern performing arts center ( https://www.pablocenter.org/ ), writing retreats, poetry readings, and more. Eau Claire is 90 miles from Minneapolis-St. Paul, which additionally offers world-class theater, symphony and chamber orchestras, opera, and major-league sports.

Application Procedure:

Applications are submitted electronically at the following UW-Eau Claire website: https://www.uwec.edu/employment-opportunities . You must create an account and login before you can apply. If you have not yet registered, click on the "Click here to Register" link to begin the registration process. If you are already a registered user, input your "User Name" and "Password" and select "Login." Click on the link to the English: Assistant or Associate Professor in Creative Writing-Screenwriting position ( Job ID: 21220 ) and then click the "Apply Now" button. Your application will not be considered complete unless all required documents (in Microsoft Word or PDF format) are submitted:

• letter of application, in which you explicitly address how you meet the qualifications listed in the position description
• curriculum vita
• writing sample (15-25 pages)
• unofficial graduate school transcript

In addition, three confidential letters of recommendation will need to be emailed to Candis Sessions, [email protected] . Please have your letter writer or portfolio service put "Screenwriting" and your name in the subject line.

Direct any questions to Dr. José Alvergue, Chair of the English Department,  [email protected] .

To ensure priority consideration, completed applications must be received no later than 11:59 pm on October 14, 2024 . However, screening may continue until position is filled. The university reserves the right to contact additional references with notice given to the candidates at an appropriate time in the process. Employment will require a background check. Employment will also require you and your references to answer questions regarding past conduct related to sexual violence and sexual harassment.

The University of Wisconsin System will not reveal the identities of applicants who request confidentiality in writing, except that the identity of the successful candidate will be released. See Wis. Stat. §. 19.36(7).

The UW-Eau Claire Police Department is dedicated to maintaining a safe and secure environment for learning and working. Although crime at the University of Wisconsin-Eau Claire is limited, the University Police want students, faculty and staff to be aware of crime on campus and the area surrounding the campus. The Jeanne Clery Disclosure of Campus Security Policy and Campus Crime Statistics Act is a federal law that requires colleges and universities to disclose annual information about campus crime .  Visit Campus Security and Fire Report  ( https://www.uwec.edu/files/8/annual-security-report.pdf ) .  Also visit our Campus Security Authority policy ( https://www.uwec.edu/files/787/CleryCompliancePolicy.pdf ).

UW-Eau Claire is an AA/EEO/Veterans/Disability employer.

University of Wisconsin-Eau Claire

105 Garfield Avenue  P.O. Box 4004  Eau Claire, WI 54702-4004 

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253 Summer 2023/4

Dženana Vucic on the subtle and not-so-subtle Marxist symbolism in Sailor Moon, John Docker, a "non-theatre person" by his own admission on The New Theatre, Sarah Schwartz on prison healthcare as punishment and the killing of Veronica Nelson, a poignant short story on memory and displacement from Nasrin Mahoutchi-Hosaini, Jeanine Leane's prize-winning poem, "Water under the bridge", and more.

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What I learnt from my PhD (in creative writing)

Last year I was fortunate enough to have the creative component of my PhD published as a novel. Would I say my PhD has taught me how to write novels? I think, rather, it helped me write that one. As Helen Garner has famously said, ‘we have to learn to write again for each new book’. For context, I’d already had one novel published; for further context, that too had been developed through a higher education program – a masters. Clearly I’m in favour of formal learning, but coming to the end of our highest arts degree I’ve been reflecting on what, exactly, it’s taught me.

Last year I was fortunate enough to have the creative component of my PhD published as a novel. Would I say my PhD has taught me how to write novels? I think, rather, it helped me write that one. As Helen Garner has famously said, ‘ we have to learn to write again for each new book ’. For context, I’d already had one novel published; for further context, that too had been developed through a higher education program – a masters. Clearly I’m in favour of formal learning, but coming to the end of our highest arts degree I’ve been reflecting on what, exactly, it’s taught me.

Perhaps research is what I’ve learnt: what it is, why to do it, how to do it well – in the context of both my creative work and its critical exegesis. But although I’ve been successful at presenting chapters from my dissertation as standalone papers and articles, my full thesis had an intimate audience of just three examiners (besides my supervisor). And while these academic skills will likely have future application, and further development (and possibly a broader audience than my creative work), that’s largely because I’m already employed as a university lecturer.

(Both the creative and critical endeavours – and their interrelationship – have honed my professional research, writing and editing skills, but as Justin Stover argues in ‘ There is no case for the humanities ’ this is ‘a valuable by-product’ rather than the core learning outcome of a humanities degree. Regardless of whether you agree at an undergraduate level, most would concur in the case of a student studying to be a doctor of philosophy. Though perhaps arts courses are not inevitably so productive: David Foster Wallace’s well-known commencement speech neatly articulates how teaching individuals to think also teaches them to recognise and resist certain kinds of ‘Think-Speak’ .  It’s ‘ the kind of thinking that probably does make certain of the young less ideal recruits in their armies of the employed ’, Marilynne Robinson argues.)

Should I then say, as Stover does, that the greatest insight my capstone qualification has given me has been into the particular and idiosyncratic bureaucracy of the university system? Even more specifically, that of the university where I was studying?

Rather, I see the value of my PhD in, above all else, the supervisory relationship. This unique experience, in all its complexity and intensity, is an introduction to – an induction into – how our writing and publishing industry works. I have been awarded professional and personal insight into how I can now further my development alone.

Or, rather, not alone.

In ‘ Why teaching (writing) matters: a full confession ’, Jayne Anne Phillips argues that, more important than teaching writing, an MFA is a way ‘those engaged in the practice of an art can mentor apprentice artists, and apprentice artists, in community, can mentor one another.’ Our industry has long been aware of the value of mentoring: not only have established authors throughout history advised and edited emerging ones, but the trade itself is founded upon that all-important author–editor relationship (or author–publisher, depending on who takes on this developmental role). As our profession and creative practice differs from fine arts’, so the nature of creative writing mentorships also vary – from other sectors, and within our own community.

In the case of my PhD I received: close editing of my work (as one creative to another, but, importantly, from an author who’d had extensive experience working with a seasoned editor); guidance on my writing career; advice on becoming an academic; and even reflections upon becoming a mother – and balancing (or, more actually, juggling) all these things. It may be relevant to confess here that my degree took me a long time to complete – a very long time. The absolute longest time permitted. This was clearly a factor in the life events that occurred over the course of my candidature, and probably also played a role in the relationship with my supervisor that evolved.

I might also add that, anticipating the importance of this student–supervisor relationship (having experienced similar, less successful, iterations during my time as first an honours and then a masters student), I followed my chosen professor from another university and across state lines.

Findings from a 2002 survey of creative writing mentorships concluded that ‘ in no part of Australia does there appear a lack of interest in mentoring activity ’. This is still, if not more than ever, the case. In every state there are mentorships, which are either paid for, or awarded as a prize; editorships, which may be government subsidised but are generally delivered in association with a particular press (either as manuscript development, or a contract to publish); and myriad internship opportunities. While the monetisation of mentoring provides a certain transparency, the user-pays model arguably influences the advice customer–clients receive. It also poses a financial barrier to some. But if the individual working on a prizewinning manuscript is from the commercial sector then their feedback is also unlikely to be neutral, and more likely to be market-driven – which may, of course, be exactly what the applicant–author wants and/or needs.

University supervisors, too, have their own interests and agendas, as Tara Brabazon sets out in ‘ 10 truths a PhD supervisor will never tell you ’. While she has ‘never received any satisfactory, effective or useful supervision’, I’ve been particularly fortunate in that two of my previous less-positive supervisory experiences have led to invaluable publishing and teaching opportunities. One individual in particular has proven to be as generous a guide, both personally and professionally, as any student could ask for.

Which begs the question: what do we students (have the right to) ask for?

Everything costs someone something – whether it’s cash, in kind, personal time or academic workload allocation. To connect Stover and Brabazon’s perspectives, supervisors don’t only help students navigate the university system, they must chart a path themselves that protects both their time and that of their student meetings.

In many institutions the preparatory experience for this one-on-one supervision, honours, is under threat. There are a number of reasons for this: one is the increasing popularity of a ‘3+2’ university pathway (a generalist undergraduate arts degree, followed by a postgraduate masters specialisation), as in the Melbourne Model; another is cost. Direct, individual – and generally face-to-face – attention is expensive. In this age of the ‘massification’ and corporatisation of universities, such an extravagant arrangement can be hard to defend.

The cornerstone of most creative-writing courses is workshopping, where participants receive feedback from their peers, under the guidance of experienced tutors, who offer their own opinions and manifest best practice on how to present that. Regardless of the role the Iowa Writer’s Workshop and the USA’s creative writing MFA programs have played in the ascendance of this model, all of the institutions I’ve studied or taught at in Australia have favoured group workshopping as their preferred pedagogy.

As we are taught, so we teach. ‘[ G]raduates of MFA programs often go on to teach in other MFA programs ,’ KC Trommer points out, prompting me to consider anew my own experience in this context, both in the trade and academy. I may be somewhat of an anomaly among creative writing teachers (though not among publishing lecturers) in not having undertaken such courses at an undergraduate level – I do remember enrolling in some subjects, but was always put off not by the quality of the work but by the positive response that it invariably received. I learnt my craft as a jobbing journalist, speechwriter, editor and publisher. And in every one of these paid positions I was apprenticed to a master (the word mistress will not do) – whether that was my manager, someone higher up, or an outside expert … such as an author whose manuscript I was project managing and collating changes on.

At the same time that universities are increasingly under pressure to work as a business themselves (enrolling more students – who wouldn’t have made the grade thirty or forty years ago, as Tegan Bennet Daylight details in ‘The difficulty is the point’ – in ever-increasing class sizes, taught by sessional and frequently still-studying staff), core but not-cost-effective relationships have also been squeezed in the writing and publishing industries . While publishers continue to manage the author relationship at the commissioning and contracting stage, sometimes still undertaking the initial developmental edit, structural editing – along with copyediting and proofreading – has largely been outsourced.

Publishing’s shift to a freelance workforce marries with the media industry’s transition to a ‘gig’ economy, resulting in an increase reliance on sole-trader writers and editors who have no clear career trajectory, union-protected pay scale, or recourse to in-house professional development. They neither receive the kind of mentoring that might be expected from a line manager or established editor in a traditional press (though this, of course, may not have actually happened), nor are they in a position to offer much mentoring themselves – to emerging authors, or editors. Specialist postgraduate programs have stepped into this gap (many offering internship subjects that explicitly identify industry mentors), as well as editing opportunities such as Seizure ’s Viva la Novella initiative, Varuna’s Residential Editors’ Program and the Beatrice Davis Fellowship.

Much has been made of the negative impact this shift has had, not only on editors’ and authors’ development, but also on that of their collaborative output – the books. The survey conducted by Nigel Krauth (et al) identified that ‘text mentorships, like the use of assessment services, have gained in significance because of the identifiable withdrawal of editors from publishing in recent years’. Has any good come from this change prompted by commercial necessity? Certainly many of the frequently female, part-time, working-from-home freelancers appreciate the flexibility. Could it also encourage objectivity – loyalty to a book, perhaps, over an employer; scrutiny, with experience across publishing houses; an increase in critical as well as practical skills; and familiarity with new technologies and different processes, as taught by universities like mine?

In defence of the individuals that make up our industry, everyone I know personally and professionally is still putting in the same amount of outside and overtime hours. If not more. And this effort ­– as well as the pressure that prompts it – is also, as ever, the case inside academia too.

It is upon stepping into a supervisory role myself that I have been prompted to reflect on the nature and importance of this not-always-easy relationship. Certainly, this was not what I had thought my PhD would be about when I started out. In ‘Where great writers are made: assessing America’s top graduate writing programs,’ Edward Delaney establishes that time (which he equates with money) and ‘something to react to’ are the most important aspects of great writing programs . I received both of these through my PhD, each channelled directly through one particular port-of-call: my supervisor.

To conclude – as that decade-long relationship finally has – Lynn Davidson makes a persuasive case for creative writing PhDs as having a value above and beyond university-recognised research outputs . It is not just students’ engagement in contemporary cultural production that is so essential, so worthwhile, she argues, but the opportunity the higher research degree provides to be part of ‘the big conversation’ that reaches back through time as well as forward into the future.

A conversation which starts between two people.

A conversation which, for me, must start as one between two people.

Rose Michael

Born in England, based in Melbourne, Rose Michael is a writer, editor and academic who has been published in  Griffith REVIEW, Best Australian Stories, Island, Muse, Cultural Studies Review.  Her first novel,  The Asking Game  (Transit Lounge, 2007), was a runner-up for the Allen & Unwin/Vogel award and received an Aurealis Award honourable mention. An early extract of  The Art of Navigation  was published in  Review of Australian Fiction .

Overland is a not-for-profit magazine with a proud history of supporting writers, and publishing ideas and voices often excluded from other places.

If you like this piece, or support Overland ’s work in general, please subscribe or donate .

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A very thoughtful, insightful and helpful article. Thank you.

Thank you for this, Rose Michael. I am near the end of a PhD in creative writing and concur that I have learned how to research in the true sense of the word, as well as gained a lot from the supervisory relationship. It has also enabled me to meet several other writers and researchers and artists and learn from them; to engage with others at conferences and share our work; to position myself more confidently as a writer now that I have a full length manuscript of reasonable quality. I won’t be working in academia (unless something unexpected happens) but rather taking my work out into the world, and developing other projects out there.

A very thoughtful article indeed! But a question: what should be the title of the thesis? The name of the novel or? Kindly reply…I am interested in PhD in creative writing too…. Can you suggest a thesis on creative writing in poetry? Please reply…

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Announcing the 2024 HarperCollins/UBC Best New Fiction Prize Shortlist

September 13, 2024

HarperCollins PublishersLtd, the UBC School of Creative Writing and CookeMcDermid Literary Management are pleased to announce the shortlist for the 2024 HarperCollins PublishersLtd /UBC Prize for Best New Fiction , co-sponsored by CookeMcDermid Literary Management:  

• Emily Cann for her adult novel BRANCHES
• A.W. Hopkins for his short story collection A SPLENDID INDIAN
• Nilofar Shidmehr for her adult novel FORTY DAWNS OF THE PERSIAN SPRING

The winner, chosen by CookeMcDermid and the editorial team of HarperCollins, will be offered representation by CookeMcDermid and a standard contract to publish from HarperCollins, with a negotiated advance. The shortlisted authors will each have the opportunity to engage in an editorial discussion about their work with a HarperCollins editor.  

Now in its twelfth year, the contest continues to attract submissions from UBC Creative Writing students and graduates. Paige Sisley is a literary agent at CookeMcDermid who has served on the HarperCollins PublishersLtd /UBC Prize for Best New Fiction jury since its inception. She says: “Since the beginning, this prize has been a wonderful way for us to connect with new and exciting literary voices. It was a delight for us to read this year’s submissions, and we are so impressed by the manuscripts selected for the 2024 shortlist. We believe that Cann’s, Hopkins’s and Shidmehr’s works are a strong representation of the kinds of stories readers are hungry for right now: engaged with the world around us, interrogating its horrors and the challenges we face, but also filled with human connection, heart and hope.”  

“We look forward to reading and considering the submissions each year this prize is held,” says Janice Zawerbny, Executive Editor at HarperCollins Canada. “It’s always exciting for us to read such a variety of voices, genres, stories and styles. Thank you to all the writers who submitted their work this year. We would also like to extend our congratulations to this year’s three finalists.”  

“We’re delighted to continue our partnership with HarperCollins and CookeMcDermid, and thrilled that our wonderful students and alumni continue to have this opportunity to advance their writing careers,” says Annabel Lyon, Director of the UBC School of Creative Writing.  

The winner will be announced September 27, 2024. The HarperCollins PublishersLtd /UBC Prize for Best New Fiction is awarded bi-annually. The next opportunity will be in 2026.  

JURY CITATIONS & AUTHOR BIOS FOLLOW  

BRANCHES by Emily Cann  

In the year 2098, North America is recovering from a devastating series of climate disasters and a war between the countries formerly known as Canada and the United States. New scientific and social developments—including the invention of hyper-carbon-fixing plants, the return of colonized lands to land stewards and Indigenous nations, and the mandating of e-vehicles—have enabled a world where climate optimism is finally possible. Still, the scars of these traumas have not faded, and many continue to live in fear of another environmental disaster.  

Having lost his family and home to forest fires, Charlie moved to the utopian City with hope of a new life and possibly even a family, and now works as an Environmental Compliance Officer. He meets Pinta, a botanical artist, who still struggles with her father’s mysterious disappearance years ago. What starts out as a first date for Charlie and Pinta turns into a dangerous adventure when they encounter a new specimen of fast-growing trees that attack upon the slightest provocation. Charlie enlists help from his colleague Linda, a former war-medic, and her husband, a retired chemist. Together, the foursome begins to uncover the trees’ origins, and their possible link to Pinta’s father. Are they an experiment gone wrong, an act of eco-terrorism, or something else?  

Daring, inventive, and fast paced, the novel transports us to a possible future world, where a series of surprising twists propels the story in unexpected directions, grounded by the novel’s cast of complex, fully realized characters. With its winning combination of science fiction, romance and humanity, Branches will appeal to readers of An Ocean of Minutes by Thea Lim and Camp Zero by Michelle Min Sterling.  

A SPLENDID INDIAN by A.W. Hopkins  

A SPLENDID INDIAN is a collection of ten humorous, occasionally magical, compulsively readable linked stories, spanning nearly one hundred years from the 1930s to the present day, within and around Broke Hat, a fictional reserve.  

Each story in this remarkable collection works to build a growing cast of unique characters in a fully inhabited world: a boy and his best friend, a talking, poetry-reciting Rez dog, who keep an eye out for “Indian Killers” (“No One Dies in Broke Hat Creek”); a boy desperate for a girlfriend but lacking charm, and a cursed fish with all of the answers (“A Splendid Indian”); a man who routinely finds a pile of mysterious bones on his back steps (“Tuesday’s Bones”); a rooster who attempts to rally his chicken coop and the crows in a revolt against “the thick legged things” and their beheadings (“Blue Native”); a lesbian couple who pick up a rodeo cowboy on their way to an Elvis impersonation competition (“Indian Cowboy”); and many more.  

Full of comical dialogue and thought-provoking set ups, the collection forms a universe of liminality, touching on themes of loneliness, death, and otherness against the backdrop of absurdity and community, perfect for readers of Monkey Beach by Eden Robinson, Bliss Montage by Ling Ma, and Mouth by Puloma Ghosh.  

FORTY DAWNS OF THE PERSIAN SPRING by Nilofar Shidmehr

For fans of Reading Lolita in Tehran and Marjane Satrapi, FORTY DAWNS OF THE PERSIAN SPRING centers around Raahela Ghaaderi’s forty-day journey to Iran amidst the tumultuous events of the Green Revolution, also known as the Persian Spring. The forty days represent the requisite time for healing, transformation, and spiritual growth in Islamic cultures.  

It is 2009 and Raahela, an Iranian expat and former political prisoner at Tehran’s infamous Evin Prison, makes the sudden and daring decision to forego her impending wedding and fly from Canada to Iran to immerse herself in the fervor of the revolutionary movement. She believes that this risky undertaking may absolve her guilt for abandoning a teenage inmate who tragically ended her life in Evin Prison two decades earlier. To evade detection, Raahela seeks refuge first with her ex-husband, then friend and later mother, navigating both a treacherous landscape and complicated past relationships as she faces a series of turbulent political events that mirror her inner turmoil. Finally, she visits with a young revolutionary who has suffered arrest, torture, and release. In a gesture of solidarity and hope, she shares her own story of loss and resilience, offering solace and planting the seeds of a new rebellion—what will eventually become Iran’s 2022 Woman, Life, Freedom uprising.  

This brave, relevant and empowering novel transports readers into the heart of a totalitarian, sexist, and brutal regime and the volatile streets of Tehran, where clashes between revolutionaries and the police threaten to ignite the country. The story showcases a divided society where trust is scarce but crucial for survival, and speaks to the importance of personal relationships—of love, care and empathy—to sustain the human spirit. By fighting for freedom and democracy, Raahela tends to her own unhealed wounds. In striving for her country’s salvation, she is able to achieve her own.  

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Creative writing.

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Rose State offers writing courses designed to provide the student with opportunities for self-expression and criticism. These courses encourage students to produce writing that might eventually lead to its publication or presentation through public readings.

Creative Writing: ENGL 2033

Creative Writing is a course designed to acquaint the student with various modes of creative expression in poetry and short fiction and those devices and techniques necessary to the development of creative writing skills. The course will provide closely supervised applied study of such elements of poetry as imagery, metaphorical language, rhyme, meter, and symbolism, and such elements of fiction as plot, characterization, description, dialogue, and theme. Prerequisite: ENGL 1113.

Students enrolling this course should expect to learn how to do the following:

• Understand the concepts of literature, particularly the elements of poetry, fiction, and drama
• Understand and analyze contemporary and classic writers’ craft and style in each genre
• Generate original manuscripts in literary genres which include poetry, fiction, and drama
• Purposefully collaborate with the professor and peers
• Revise manuscripts based upon the critical evaluations received in writing workshops

Students' grades in the course will generally be determined by the following:

• 40% In 20-25 pages, the student will compose three original works in multiple genres, for example, a series of poems, short fiction, and short drama to be collected as a portfolio that includes revisions of each work. The student will be introduced to markets for creative writing and will be encouraged to submit some work for publication.
• 15% The student will choose one original work from his or her course work such as a series of poems or short fiction or short drama to be substantially revised . The finished manuscript will be submitted on the RSC electronic platform in a forum in which it may be viewed by a larger audience than just the course professor (for example, the course discussion board).
• 5% The student will write a 3-5 page paper in MLA format discussing a contemporary writer. The paper will contain some biographical information, but the main focus will be an analysis of one major work and the writer’s significance to his or her genre. Two to three outside sources are required.
• 5% During the class's scheduled final exam period, the student will present the final portfolio. The student will read excerpts from the works contained in the portfolio.
• 25 % The remaining credit for the course grade will include other work relevant to the
• course expected outcomes as the individual professor determines to be most effective.

Poetry Writing: ENGL 2063

In this class, students will participate in various kinds of poetry writing activities, be introduced to internationally known contemporary poets, and critique one another’s work via the workshop process. Students will also learn manuscript format, become familiar with publishing markets, be introduced to prosody, prepare a writing portfolio, and participate in a public student poetry reading.

Students enrolling in this course should expect to learn how to do the following:

• Understand the concepts of poetry, such as imagery, connotation, denotation, symbolism, alliteration, figurative language, metrical pattern, persona, and other important devices
• Understand and analyze contemporary and classic writers’ craft and style in poetry
• Generate original poems in manuscript format
• Revise poems based upon the critical evaluations received in writing workshops
• 40% In 15-20 pages, the student will compose 10-15 original poems to be collected as a portfolio that includes revisions of each work. The student will be introduced to markets for poetry and will be encouraged to submit some work for publication.
• 15% The student will choose a short series of poems to be substantially revised. The finished manuscript will be submitted on the RSC electronic platform in a forum in which it may be viewed by a larger audience than just the course professor (for example, the course discussion board).
• 15% The student will write a 3-5 page paper in MLA format discussing a contemporary poet. The paper will contain some biographical information, but the main focus will be an analysis of one major work and the poet’s significance to his or her genre. Two to three outside sources are required.
• 25% The remaining credit for the course grade will include other work relevant to the

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• Undergraduate Colleges /

Creative Writing Minor

Requirements .

Creative writing courses are those  with the attribute code CVW .

Literature electives are any course of three or more credits with the  ENGL subject code or ENGL attribute code , with the following exceptions:  ENGL 1102 Composition II ,  ENGL 2000 Texts and Contexts ,  ENGL 3003 Introduction to Professional Writing , and courses with the  CVW , PPWF or PPWD attributes.

Requirements for English Majors

In order to minor in creative writing, students majoring in English must take four creative writing courses total ( courses with the CVW attribute ). They must also take two literature courses beyond those already required for the major (literature courses are any course of three or more credits with the ENGL subject code or ENGL attribute code , with the following exceptions:  ENGL 1102 Composition II ,  ENGL 2000 Texts and Contexts ,  ENGL 3003 Introduction to Professional Writing , and courses with the CVW , PPWF or PPWD attributes). Because two of the four creative writing courses can double count as electives for the major, however, majors only need to complete four additional courses beyond those already required for the major. In other words, students completing the English major plus creative writing minor will end up taking fourteen courses total, including four creative writing courses:

Additional Information

Courses in which a student receives a grade of D or F will not count toward the minor.

Up to one cognate course taken in other departments or programs deemed relevant to the minor may be counted with permission of the associate chair.

Up to one course taken while studying abroad deemed relevant to the minor may be counted. 

For students who transfer from another school to Fordham, the department will consider counting up to one course taken prior to arrival at Fordham toward the minor.

Credits earned for internships do not count for credit toward the minor. Internship credits do count for general credits toward graduation. In order to receive academic credit for an internship, you must have completed 60 academic credits, have a minimum 3.0 GPA, and register for a tutorial with a faculty member who agrees to serve as your academic adviser. Depending on the amount of academic work involved in the tutorial, your faculty mentor will suggest that you register for a one- or two-credit tutorial. Internships are graded on a Pass/Fail basis. 

Advanced Placement credits in English Literature and in English Language count toward a student’s total number of credits in the college but not within the minor. A score of 4 or 5 in AP English Literature will count toward college elective credits. 

Students may count no more than one course from the following to their Creative Writing Minor:  FITV 2511 Screenwriting I , JOUR 3723 Interviews and Profiles , JOUR 3727 Writing for Magazines , THEA 3700 Playwriting .

Courses taken on a Pass/Fail basis cannot be counted towards Creative Writing minor requirements.

Only one course can double count between the Creative Writing minor and another minor.

Availability

The minor in creative writing is available at Fordham College at Rose Hill, Fordham College at Lincoln Center, and Fordham's School of Professional and Continuing Studies at Rose Hill, Lincoln Center, and Westchester.

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