creative writing example pdf

Elements of Creative Writing

(3 reviews)

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

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Reviewed by Colin Rafferty, Professor, University of Mary Washington on 8/2/24

Comprehensiveness rating: 5 see less

Fantastically thorough. By using three different authors, one for each genre of creative writing, the textbook allows for a wider diversity of thought and theory on writing as a whole, while still providing a solid grounding in the basics of each genre. The included links to referred texts also builds in an automatic, OER-based anthology for students. Terms are not only defined clearly, but also their utility is explained--here's what assonance can actually do in a poem, rather than simply "it's repeated vowel sounds,"

Content Accuracy rating: 5

Calling the content "accurate" requires a suspension of the notion that art and writing aren't subjective; instead, it might be more useful to judge the content on the potential usefulness to students, in which case it' s quite accurate. Reading this, I often found myself nodding in agreement with the authors' suggestions for considering published work and discussing workshop material, and their prompts for generating creative writing feel full of potential. It's as error-free, if not more so, than most OER textbooks (which is to say: a few typos here and there) and a surprising number of trade publications. It's not unbiased, per se--after all, these are literary magazine editors writing the textbook and often explaining what it is about a given piece of writing that they find (or do not find) engaging and admirable--but unbiased isn't necessarily a quantity one looks for in creative writing textbooks.

Relevance/Longevity rating: 4

The thing about creative writing is that they keep making more of it, so eventually the anthology elements of this textbook will be less "look what's getting published these days" and more "look what was getting published back then," but the structure of the textbook should allow for substitution and replacement (that said, if UNI pulls funding for NAR, as too many universities are doing these days, then the bigger concern is about the archive vanishing). The more rhetorical elements of the textbook are solid, and should be useful to students and faculty for a long time.

Clarity rating: 5

Very clear, straightforward prose, and perhaps more importantly, there's a sense of each author that emerges in each section, demonstrating to students that writing, especially creative writing, comes from a person. As noted above, any technical jargon is not only explained, but also discussed, meaning that how and why one might use any particular literary technique are emphasized over simply rote memorization of terms.

Consistency rating: 4

It's consistent within each section, but the voice and approach change with each genre. This is a strength, not a weakness, and allows the textbook to avoid the one-size-fits-all approach of single-author creative writing textbooks. There are different "try this" exercises for each genre that strike me as calibrated to impress the facets of that particular genre on the student.

Modularity rating: 5

The three-part structure of the book allows teachers to start wherever they like, genre-wise. While the internal structure of each section does build upon and refer back to earlier chapters, that seems more like an advantage than a disadvantage. Honestly, there's probably enough flexibility built into the textbook that even the callbacks could be glossed over quickly enough in the classroom.

Organization/Structure/Flow rating: 5

Chapters within each genre section build upon each other, starting with basics and developing the complexity and different elements of that genre. The textbook's overall organization allows some flexibility in terms of starting with fiction, poetry, or nonfiction.

Interface rating: 4

Easy to navigate. I particularly like the way that links for the anthology work in the nonfiction section (clearly appearing at the side of the text in addition to within it) and would like to see that consistently applied throughout.

Grammatical Errors rating: 5

A few typos here and there, but you know what else generally has a few typos here and there? Expensive physical textbooks.

Cultural Relevance rating: 5

The anthology covers a diverse array of authors and cultural identities, and the textbook authors are not only conscious of their importance but also discuss how those identities affect decisions that the authors might have made, even on a formal level. If you find an underrepresented group missing, it should be easy enough to supplement this textbook with a poem/essay/story.

Very excited to use this in my Intro to CW classes--unlike other OERs that I've used for the field, this one feels like it could compete with the physical textbooks head-to-head. Other textbooks have felt more like a trade-off between content and cost.

Reviewed by Jeanne Cosmos, Adjunct Faculty, Massachusetts Bay Community College on 7/7/24

Direct language and concrete examples & Case Studies. read more

Direct language and concrete examples & Case Studies.

References to literature and writers- on track.

Relevance/Longevity rating: 5

On point for support to assist writers and creative process.

Direct language and easy to read.

First person to third person. Too informal in many areas of the text.

Units are readily accessible.

Process of creative writing and prompts- scaffold areas of learning for students.

Interface rating: 5

No issues found.

The book is accurate in this regard.

Cultural Relevance rating: 4

Always could be revised and better.

Yes. Textbook font is not academic and spacing - also not academic. A bit too primary. Suggest- Times New Roman 12- point font & a space plus - Some of the language and examples too informal and the tone of lst person would be more effective if - direct and not so 'chummy' as author references his personal recollections. Not effective.

Reviewed by Robert Moreira, Lecturer III, University of Texas Rio Grande Valley on 3/21/24

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama. read more

Comprehensiveness rating: 4 see less

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama.

As far as I can tell, content is accurate, error free and unbiased.

The book is relevant and up-to-date.

The text is clear and easy to understand.

Consistency rating: 5

I would agree that the text is consistent in terms of terminology and framework.

Text is modular, yes, but I would like to see the addition of a section on dramatic writing.

Topics are presented in logical, clear fashion.

Navigation is good.

No grammatical issues that I could see.

Cultural Relevance rating: 3

I'd like to see more diverse creative writing examples.

As I stated above, textbook is good except that it does not include a section on dramatic writing.

Introduction
Chapter One: One Great Way to Write a Short Story
Chapter Two: Plotting
Chapter Three: Counterpointed Plotting
Chapter Four: Show and Tell
Chapter Five: Characterization and Method Writing
Chapter Six: Character and Dialouge
Chapter Seven: Setting, Stillness, and Voice
Chapter Eight: Point of View
Chapter Nine: Learning the Unwritten Rules
Chapter One: A Poetry State of Mind
Chapter Two: The Architecture of a Poem
Chapter Three: Sound
Chapter Four: Inspiration and Risk
Chapter Five: Endings and Beginnings
Chapter Six: Figurative Language
Chapter Seven: Forms, Forms, Forms
Chapter Eight: Go to the Image
Chapter Nine: The Difficult Simplicity of Short Poems and Killing Darlings

Creative Nonfiction

Chapter One: Creative Nonfiction and the Essay
Chapter Two: Truth and Memory, Truth in Memory
Chapter Three: Research and History
Chapter Four: Writing Environments
Chapter Five: Notes on Style
Chapter Seven: Imagery and the Senses
Chapter Eight: Writing the Body
Chapter Nine: Forms

Back Matter

Contributors
North American Review Staff

Ancillary Material

University of Northern Iowa

About the Book

This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States. They’ve selected nearly all of the readings and examples (more than 60) from writing that has appeared in NAR pages over the years. Because they had a hand in publishing these pieces originally, their perspective as editors permeates this book. As such, they hope that even seasoned writers might gain insight into the aesthetics of the magazine as they analyze and discuss some reasons this work is so remarkable—and therefore teachable. This project was supported by NAR staff and funded via the UNI Textbook Equity Mini-Grant Program.

About the Contributors

J.D. Schraffenberger is a professor of English at the University of Northern Iowa. He is the author of two books of poems, Saint Joe's Passion and The Waxen Poor , and co-author with Martín Espada and Lauren Schmidt of The Necessary Poetics of Atheism . His other work has appeared in Best of Brevity , Best Creative Nonfiction , Notre Dame Review , Poetry East , Prairie Schooner , and elsewhere.

Rachel Morgan is an instructor of English at the University of Northern Iowa. She is the author of the chapbook Honey & Blood , Blood & Honey . Her work is included in the anthology Fracture: Essays, Poems, and Stories on Fracking in American and has appeared in the Journal of American Medical Association , Boulevard , Prairie Schooner , and elsewhere.

Grant Tracey author of three novels in the Hayden Fuller Mysteries ; the chapbook Winsome featuring cab driver Eddie Sands; and the story collection Final Stanzas , is fiction editor of the North American Review and an English professor at the University of Northern Iowa, where he teaches film, modern drama, and creative writing. Nominated four times for a Pushcart Prize, he has published nearly fifty short stories and three previous collections. He has acted in over forty community theater productions and has published critical work on Samuel Fuller and James Cagney. He lives in Cedar Falls, Iowa.

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Creative Writing Handbook - Becoming a Complete Writer in all Genres

This book is for and about amazing you. It contains three main parts beyond this section. The next, ‘Creatives’ and ‘Control’ explores each notion separately. Part three examines the all-important G-forces: Grail and Grails. Discussions in this chapter underpin the thematic title and core pursuit of this book – aiding writers to identify and tightly define the core goal or goals that they desire to realize from their textual quests and conquests. Part four explores 17 popular writing genres and provides an original example of each. Four of these illustrations are first-time attempts by this writer to compose a script in a foreign discipline that is outside his comfort zone and areas of interest. May these modest, raw offerings embolden you to likewise experiment at becoming a complete writer. The penultimate chapter, Part five, explores six topics that may aid writers to answer the holy grail writer’s question, as defined by this author. These topics in order are: Spelling, scripts, styles, solo writing, champions (i.e., role models) and circulation. This book does not aim to teach readers how to develop most technical skills required of competent writers. Open-access and commercial literature available on these topics are mature. Engaging these topics are best served by a medley of resources such as handbooks, video presentations, college curricula and years of dedicated writing practice. Part I Publishers’ edition © Jericho 15 The concluding part of most sections and each chapter is titled ‘Further reading’. These parts offer one or two open-access resources that explore material discussed in that section/chapter in further detail. The principal pursuit of this book aims to help you to identify the core goal/s that may motivate you to be the best writer possible in your chosen fields. There is a dearth of literature that unravels this all-important journey. This book is suitable for informal educational settings and structured teaching environments. It may support writers of all skill levels who thrive from learning solo, in groups or a mixture thereof. It may also guide Creative Writing Professors who teach applied education courses at all levels – from certificate to Graduate-level coursework. Creative writing author authors authorship publication publishing self-publishing self-publication writing creativity Creative Writing 101

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27 Creative Writing Examples To Spark Your Imagination

With all the types of creative writing to choose from, it’s hard enough to focus on just one or two of your favorites.

When it comes to writing your own examples, don’t be hard on yourself if you hit a wall.

We’ve all done it.

Sometimes, all you need is a generous supply of well-crafted and inspirational creative writing examples.

Good thing you’re here!

For starters, let’s get clear on what creative writing is.

What Is Creative Writing?

How to start creative writing , 1. novels and novellas, 2. short stories and flash fiction, 3. twitter stories (140 char), 4. poetry or songs/lyrics, 5. scripts for plays, tv shows, and movies, 6. memoirs / autobiographical narratives, 7. speeches, 9. journalism / newspaper articles, 11. last wills and obituaries, 12. dating profiles and wanted ads, 13. greeting cards.

Knowing how to be a creative writer is impossible if you don’t know the purpose of creative writing and all the types of writing included.

As you’ll see from the categories listed further on, the words “creative writing” contain multitudes:

Novels, novellas, short stories, flash fiction, microfiction, and even nanofiction;
Poetry (traditional and free verse);
Screenplays (for theatrical stage performances, TV shows, and movies)
Blog posts and feature articles in newspapers and magazines
Memoirs and Testimonials
Speeches and Essays
And more—including dating profiles, obituaries, and letters to the editor.

Read on to find some helpful examples of many of these types. Make a note of the ones that interest you most.

Once you have some idea of what you want to write, how do you get started?

Allow us to suggest some ideas that have worked for many of our readers and us:

Keep a daily journal to record and play with your ideas as they come;
Set aside a specific chunk of time every day (even 5 minutes) just for writing;
Use a timer to help you stick to your daily writing habit ;
You can also set word count goals, if you find that more motivating than time limits;
Read as much as you can of the kind of content you want to write;
Publish your work (on a blog), and get feedback from others.

Now that you’ve got some ideas on how to begin let’s move on to our list of examples.

Creative Writing Examples

Read through the following examples to get ideas for your own writing. Make a note of anything that stands out for you.

Inspiring novel-writing examples can come from the first paragraph of a well-loved novel (or novella), from the description on the back cover, or from anywhere in the story.

From Circe by Madeline Miller

““Little by little I began to listen better: to the sap moving in the plants, to the blood in my veins. I learned to understand my own intention, to prune and to add, to feel where the power gathered and speak the right words to draw it to its height. That was the moment I lived for, when it all came clear at last and the spell could sing with its pure note, for me and me alone.”

From The Left Hand of Darkness by Ursula K. Le Guin:

“‘I’ll make my report as if I told a story, for I was taught as a child on my homeworld that Truth is a matter of the imagination…. ”

The shorter your story, the more vital it is for each word to earn its place. Each sentence or phrase should be be necessary to your story’s message and impact.

From “A Consumer’s Guide to Shopping with PTSD” by Katherine Robb

“‘“Do you know what she said to me at the condo meeting?” I say to the salesman. She said, “Listen, the political climate is so terrible right now I think we all have PTSD. You’re just the only one making such a big deal about it.”

“The salesman nods his jowly face and says, “That Brenda sounds like a real b***h.”’

From Interpreter of Maladies by Jhumpa Lahiri (collection of short stories)

“Something happened when the house was dark. They were able to talk to each other again.” (From ‘A Temporary Matter’)

Use the hashtag #VSS to find a generous sampling of short Twitter stories in 140 or fewer characters. Here are a few examples to get you started:

From Chris Stocks on January 3rd, 2022 :

“With the invention of efficient 3D-printable #solar panels & cheap storage batteries, the world was finally able to enjoy the benefits of limitless cheap green energy. Except in the UK. We’re still awaiting the invention of a device to harness the power of light drizzle.” #vss365 (Keyword: solar)

From TinyTalesbyRedsaid1 on January 2nd, 2022 :

“A solar lamp would safely light our shack. But Mom says it’ll lure thieves. I squint at my homework by candlelight, longing for electricity.” #vss #vss365 #solar

If you’re looking for poetry or song-writing inspiration, you’ll find plenty of free examples online—including the two listed here:

From “I’m Nobody! Who are you?” by Emily Dickinson

“I’m Nobody! Who are you?

Are you – Nobody – too?

Then there’s a pair of us!

Don’t tell! they’d advertise – you know!

“How dreary – to be – Somebody!

How public – like a Frog –

To tell one’s name – the livelong June –

To an admiring Bog!

From “Enemy” by Imagine Dragons

“I wake up to the sounds

Of the silence that allows

For my mind to run around

With my ear up to the ground

I’m searching to behold

The stories that are told

When my back is to the world

That was smiling when I turned

Tell you you’re the greatest

But once you turn they hate us….”

If you enjoy writing dialogue and setting a scene, check out the following excerpts from two very different screenplays. Then jot down some notes for a screenplay (or scene) of your own.

From Mean Girls by Tina Fey (Based on the book, Queen Bees and Wannabes” by Rosalind Wiseman

“Karen: ‘So, if you’re from Africa, why are you white?’

“Gretchen: ‘Oh my god, Karen! You can’t just ask people why they’re white!’

“Regina: ‘Cady, could you give us some privacy for, like, one second?’

“Cady: ‘Sure.’

Cady makes eye contact with Janis and Damien as the Plastics confer.

“Regina (breaking huddle): ‘Okay, let me just say that we don’t do this a lot, so you should know that this is, like, a huge deal.’

“Gretchen: ‘We want to invite you to have lunch with us every day for the rest of the week.’

“Cady: ‘Oh, okay…’

“Gretchen: Great. So, we’ll see you tomorrow.’

“Karen: ‘On Tuesdays, we wear pink.’”

#10: From The Matrix by Larry and Andy Wachowski

“NEO: ‘That was you on my computer?’

“NEO: ‘How did you do that?’

“TRINITY: ‘Right now, all I can tell you, is that you are in danger. I brought you here to warn you.’

“NEO: ‘Of what?’

“TRINITY: ‘They’re watching you, Neo.’

“NEO: ‘Who is?’

“TRINITY: ‘Please. Just listen. I know why you’re here, Neo. I know what you’ve been doing. I know why you hardly sleep, why you live alone and why, night after night, you sit at your computer. You’re looking for him.’

“Her body is against his; her lips very close to his ear.

“TRINITY: ‘I know because I was once looking for the same thing, but when he found me he told me I wasn’t really looking for him. I was looking for an answer.’

“There is a hypnotic quality to her voice and Neo feels the words, like a drug, seeping into him.

“TRINITY: ‘It’s the question that drives us, the question that brought you here. You know the question just as I did.’

“NEO: ‘What is the Matrix?’

Sharing stories from your life can be both cathartic for you and inspiring or instructive (or at least entertaining) for your readers.

From The Year of Magical Thinking by Joan Didion

“It was in fact the ordinary nature of everything preceding the event that prevented me from truly believing it had happened, absorbing it, incorporating it, getting past it. I recognize now that there was nothing unusual in this: confronted with sudden disaster, we all focus on how unremarkable the circumstances were in which the unthinkable occurred: the clear blue sky from which the plane fell, the routine errand that ended on the shoulder with the car in flames, the swings where the children were playing as usual when the rattlesnake struck from the ivy. ‘He was on his way home from work—happy, successful, healthy—and then, gone,’ I read in the account of the psychiatric nurse whose husband was killed in a highway accident… ”

From Angela’s Ashes by Frank McCourt:

“When I look back on my childhood I wonder how I managed to survive at all. It was, of course, a miserable childhood: the happy childhood is hardly worth your while. Worse than the ordinary miserable childhood is the miserable Irish childhood, and worse yet is the miserable Irish Catholic childhood.”

From Call the Midwife: A True Story of the East End in the 1950s by Jennifer Worth:

“Nonnatus House was situated in the heart of the London Docklands… The area was densely-populated and most families had lived there for generations, often not moving more than a street or two away from their birthplace. Family life was lived at close-quarters and children were brought up by a widely-extended family of aunts, grandparents, cousins, and older siblings.

The purpose of most speeches is to inform, inspire, or persuade. Think of the last time you gave a speech of your own. How did you hook your listeners?

From “Is Technology Making Us Smarter or Dumber?” by Rob Clowes (Persuasive)

“It is possible to imagine that human nature, the human intellect, emotions and feelings are completely independent of our technologies; that we are essentially ahistorical beings with one constant human nature that has remained the same throughout history or even pre-history? Sometimes evolutionary psychologists—those who believe human nature was fixed on the Pleistocene Savannah—talk this way. I think this is demonstrably wrong…. “

From “Make Good Art” by Neil Gaiman (Keynote Address for the University of Fine Arts, 2012):

“…First of all: When you start out on a career in the arts you have no idea what you are doing.”

“This is great. People who know what they are doing know the rules, and know what is possible and impossible. You do not. And you should not. The rules on what is possible and impossible in the arts were made by people who had not tested the bounds of the possible by going beyond them. And you can.”

“If you don’t know it’s impossible it’s easier to do. And because nobody’s done it before, they haven’t made up rules to stop anyone doing that again, yet.”

25 Writing Portfolio Examples (PDF & Other Formats) + Useful Portfolio Tips

Are you struggling to create the perfect writing portfolio? Here are 25 writing portfolio examples + 7 useful tips to make it happen!

Protim Bhaumik

Director, Content Marketing

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

2. Dec 2022 , updated 8. Feb 2024

Preview image of 25 Writing Portfolio Examples (PDF & Other Formats) + Useful Portfolio Tips

Looking to create a writing portfolio? Curious how to do that without futzing with a website builder for days? We’ve been there.

We know that building a writing portfolio is hard — questions like what you should include, where you should host it, and how to effectively create something that gets you work, need answering! To that end, we've put together a list of 25 writing portfolio examples from our customer base that can inspire you as you make your own and included their tips on how they use Authory. (This is a collection of amazing writers, top journalists, and more.)

I also flagged examples that include PDFs because this type of content is notoriously clunky to upload in some website builders. Some clients and employers ask for PDFs, and building that into a portfolio website can be tricky. So, we'll cover how to do that by showing you 5 PDF writing portfolio examples and then 20 regular writing portfolio examples.

5 Writing portfolio examples in PDF format

When you want to save your writing samples, many people start by downloading a PDF that’s saved in a folder and then sometimes, maybe, once a month/year/panic attack, uploaded to a website. It’s a pain to constantly upload your writing samples, but it’s also risky. There’s always the potential your work is edited or removed before you think to save it.

With that in mind, we built Authory. We search the internet for your content and automatically add it to your website. However, we also make it easy to upload existing PDFs you might have.

Here’s how you can do it:

Here are a few examples of how it looks and advice from our customers on building a smart portfolio.

1. Sarah Sparks

Sarah is an advocate, consultant and writer.

For Sarah, Authory is “easy to use and I like how it aggregates media links before I do sometimes.”

That’s our goal. We automatically collect and back up your work so you don’t have to.

Sarah’s tip: Just make it easy to navigate - one of the reasons I like Authory. One of the easiest ways to do this is by creating collections.

For example, Sarah’s collections include “legal” “social justice” “Indigenous” and “opinion.” Collections make it easy to categorize your content and then send specific collections to editors and publications when you’re asked for writing samples. You can watch a video on creating collections here.

Sarah Sparks' PDF portfolio.

Here are a few additional PDF portfolio examples that you can review.

2. Alex Hargrave

Alex Hargrave's PDF portfolio

You’ll notice that Alex has two collection examples; education and COVID-19.

3. Kevin Johnston

Kevin Johnston's PDF portfolio.

4. Kerry Sunderland

Kerry Sunderland's PDF portfolio.

5. Urvashi Aneja

Urvashi Aneja's PDF portfolio.

20 Writing portfolio examples in other formats

Besides PDF focused portfolios, we pulled examples of other portfolios and tips for how our expert customers are adapting them to make the best use of them.

Authory is a great additional branding tool

For many people, they have an Authory account to collect their work samples in addition to other branding tools.

1. Brian Clegg

Brian is a science writer with over 40 (fourty!) books in print.

Brian’s Authory site isn’t his only site. It works in addition to his other properties and supports his other online properties. When you google Brian, you’ll find all of these properties. Of note, it’s also possible to integrate an Authory portfolio into an existing online portfolio builder like Wix or SquareSpace.

But why bother? Brian uses Authory to “make my online writing easily available to my book readers and to support my book review site www.popularscience.co.uk .” And with our automatic tools, it takes little time to create this additional homebase for readers.

For Brian, Authory also collects his work, saves it, and he distributes it in a newsletter. It automates and does a lot of work quickly.

Brian Clegg's writing portfolio.

2. Brandon Hill

Brandon is a multimedia journalist covering music and culture, public policy, mental health, the labor movement and social inequality.

“Authory is a great resource for freelancer writers in more ways than you would expect. By automatically updating and feeding your work into a newsletter, it both saves the time and frustration of managing a website and makes for more reliable one to one connections with your audience than social media. Also, by creating automatic pdf back-ups of your publications, you’ll never loose a portfolio piece,” he said.

Like many people in this list, he’s thoughtful about his categories and collections.

“Include some pretty specific categories to lesson the time an employers spends looking at content that might not be relevant to them,” he said.

Brandon Hill's writing portfolio.

3. Scott Matthewman

Scott is a theater critic who is frequently writing reviews. It can be quite a pain to keep these recorded and organized.

“I review over 100 theatre shows a year for various online publications. Authory’s automated tools gives me a single URL where all those reviews can live, hassle-free,” Scott said.

You’ll notice that Scott’s profile shares collections.

“[Authory’s] been useful to promote my reviews to a wider audience on social media. At the end of last year I built a dedicated collection of my 20 favourite reviews for 2022, which was so easy to do and then link to from everywhere.”

Scott Matthewman's writing portfolio.

Use Authory and never worry your work will disappear

4. Tabitha Potts

Tabitha is a published writer with several short stories in print anthologies as well as online.

She uses Authory to share her work with “potential employers, literary agents or publishers (my creative writing, book reviews and journalism are all there).”

The big reason she recommends using Authory is to avoid the situation where your content might be lost and because much of the work is done for you automatically.

And of course it makes it easy to showcase your work.

“I share my Authory profile with every new and potential new client so they can sort and view my published work by category,” she told us.

Tabitha Potts' writing portfolio.

5. Diana Rosen

Diana is an essayist, flash fiction writer, and poet. For her, Authory is “an elaborate business card.”

Her advice is simple: When capturing published work, review thoroughly to avoid duplication or (Egads!) errors.

Diana Rosen's writing portfolio.

Create collections to share what’s relevant

When you’re sharing your work, with an editor, employer, or even just another writer, you don’t always want to share all of your work. It’s key to create and categorize your work by niche or category. You can create collections that make this very easy and share only specific pieces of content with certain people.

6. Carrie Cousins

Carrie has 15 years of experience in media, design, and content marketing and is a freelance writer and designer.

We asked her for advice for other portfolio builders.

“Think about ways to group content that showcases specific niches that you work in or want to work in. It can really help make sharing and getting new work a lot easier,” Carrie said.

That’s easy to do with Authory’s collection tools. It’s easy to categorize content, give it a label, and share just this grouping with editors.

Carrie Cousins' writing portfolio.

7. Stephanie Bernaba

Stephanie is a writer, multimedia journalist, and photographer.

This is easy to do with our collections feature. We want to make it easy for you to organize your work and send exactly what you need to editors so you can land the gig.

Stephanie had a bit of advice, too.

“Communicate your passion with your header. Make your headline impactful but succinct. Lastly, arrange your work into easily-searchable categories,” she said.

Stephanie Bernaba's writing portfolio.

8. David Worsfold

David is a journalist and author, specialising in finance and insurance

You’ll notice that his portfolio uses the collection feature, too.

“By making it easy to share my work. The collections help showcase writing on specific topics,” he said.

Of course, be thoughtful with your categories.

“Think about the audiences you want to reach and organise your work accordingly,” he mentioned.

David Worsfold's writing portfolio.

9. Kathy Parker

Kathy Parker's writing portfolio.

10. Geraldine Brook

Geraldine Brook's writing portfolio.

11. Pam Moore

Pam Moore's writing portfolio.

12. Mary Ann Gwinn

Mary Ann Gwinn's writing portfolio.

13. Simon Denyer

Simon Denyer's writing portfolio.

14. Jarrod Kimber

Jarrod Kimber's writing portfolio.

15. Carrie Back

Carrie Back's writing portfolio.

16. Crystal Housman

Crystal Housman's writing portfolio.

17. Steven Levy

Steven Levy's writing portfolio.

18. Carin Marais

Carin Marais' writing portfolio.

19. Rosanne Barrett

Rosanne Barrett's writing portfolio.

20. Dan Rosenbaum

Dan Rosenbaum's writing portfolio.

What your takeaways should be from these writing portfolio examples

What a writer portfolio is, and why you need a writing portfolio.

A writing portfolio is a collection of your best (and possibly all) writing samples put together on a website so that potential clients and employers can make a "buying" decision — in essence, all the information that they may need to engage you for your writing services.

An online writing portfolio can also do wonders for your personal branding if managed well. So, in a word, your portfolio is a single place through which you can source work.

Curating the perfect set of writing samples for your portfolio

It's important to figure out what kind of writer you are and the type of writing work you're looking for. This process will inform the writing samples that you'll highlight in your writing portfolio.

Remember, writers come in all shapes and sizes (literally!), and you could be a content writer, copywriter, novelist, author, non-fiction writer, poet, journalist, and more... the list is practically endless.

With that in mind, it's essential that you curate the content on your writing portfolio with examples that will impress upon readers your specific set (and type) of writing skills so that they can make an informed decision when hiring you.

To that end, if you feel that you don't have a good set of writing samples to upload to your portfolio, then it might be best to get writing!

To help you build out your writing portfolio, I've put together a small set of ideas/resources that I turn to for inspiration, support, and general diversion:

Subreddits like r/writingpromts, r/thedailyprompt, and r/promptoftheday are excellent for trying out amateur storytelling.
Other subreddits like r/writing, r/freelancewriters, r/keepwriting, r/writers, r/selfpublish, r/blogging, r/copywriting, r/technicalwriting, r/wordcount, r/writingmotivation, offer up a plethora of options for3 you to explore as writer.
To find work, subreddits like r/hireawriter, r/forhire, r/b2bforhire, r/writersforhire, r/jobbit, and r/writingopportunities can be a source for work if you're lucky.
What's more in your control is writing for your personal social media accounts to build up that personal brand.
You could also provide your services for free or reduced rates to friends and family who run a business — this can be for their social media accounts or even their websites.
Form a writing group with a friend — I have a weekly writing meetup with a close friend, and this can be an online meetup — my friend is half a planet away!
Write about what you know: everyone knows something and has a lot to offer, even if it's a personal experience. For example, when I am stuck, I write about content marketing and SEO — I don't publish these pieces necessarily, but they're great for getting the juices flowing. That said, I could post them in my writing portfolio.

Seven tips for creating the ideal writing portfolio website based on the writing portfolio examples above

The writing portfolio examples above should give you a great idea of what a writing portfolio must look like, and the various ways other writers choose to exhibit their work.

We've also gone over why you need a writing portfolio and how you can create a few writing samples in case you feel the need to.

Now, let's get down to how you should create a writing portfolio website. We'll go over the best and most efficient ways to go about creating it.

1. Make your website more organized for simpler navigation.

It's vital to organize your online writing portfolio in a way that's easy for your readers to follow. Place your top projects front and center for simple accessibility. Note: what the ideal projects are may differ from client to client. So, suppose you divide your work into carefully curated collections with different URLs. In that case, that specific URL that contains projects pertaining to that particular client can be shared with them.

2. The "correct" number of your projects for easy viewability

The conventional wisdom is that you should limit the number of projects on your online writing portfolio so that a prospective client can make a quick and easy assessment.

I think this is WRONG.

Your portfolio website HAS to have ALL your content. Why? Well, because hiring managers, clients, and employers are looking for both quality AND quantity. Yes, they aren't going to read your entire portfolio website, but they are looking for consistency and experience.

Obviously, if you wrote a terrible article long ago as a young budding freelance writer, don't include it. So, I'll change my caveat to " nearly ALL your content."

Hence, the navigation of your writing portfolio becomes super important. Remember how I spoke about dividing your work into collections? Well, that is a must if you're including a ton of content. Split it by topic, type, publication, etc., and then share the correct URL with your prospect. Let them begin their journey through your writing portfolio from a starting point that you have determined for them.

Place your contact information in an easy-to-find spot so that when a prospect is satisfied with your writing, they can contact you immediately.

3. Imagery for better conversion rates

Human beings positively respond to visual stimuli, especially faces, which means if you're able to include graphics in your writing sample, you have a better chance of converting your readers.

4. Write case studies to exhibit results

If you have the bandwidth to do so, then you should take some time to write case studies for the work that you have done. A simple format to follow for writing case studies is as follows:

Start with the results: usually exhibited in the form of "increase X by Y." So, for example, I could say I increased traffic to the blog by 11X.
Then outline the problems and challenges that the client was facing before you joined the project.
Next, explain how you solved those problems with your writing, your work, and general professionalism.
And finally, round it off by digging into the details of the results you achieved a bit more and touch upon how the client is doing now.

5. Add social proof to lend credibility to your work

Unfortunately, writing is a creative art, and there are always critics. If you can get a past client to vouch for you and your writing, then that social proof can stand you in good stead when soliciting even more work. Add all the social proof (read: testimonials) you can in your writing portfolio to bump up that conversion rate.

If you have done work for friends and family, this would be a great place to begin hunting for testimonials.

6. Present your contact info in an easily accessible place

I've mentioned this before, but it bears repeating because it's so important. The whole point of having a writer's portfolio is to get work. If people cannot contact you or can't find your contact details, that will severely affect your chances of getting new projects. Social media handles will do if you're uncomfortable with sharing your email address or phone number publicly.

7. Use a website builder for writers like Authory to create your portfolio quickly and back up your work

All of the tips here are excellent (if I say so myself!), but that said, creating a writer's portfolio is a lot of work !

So, leaving the best for last: my final piece of advice is to use a portfolio website builder so that you can cut down the time to build one.

A couple of major issues that writers face are:

Updating their writing portfolios when they write new content, especially when creating a portfolio from scratch, takes effort. So, in essence, most writing portfolios are out-of-date.
And writers also lose access to their work when websites go down, and content gets re-bylined, etc.

That's why a service like Authory is perfect for writers worldwide. With Authory, you get a self-updating portfolio plus a full auto-updating backup of ALL your content. It's super simple to set up your Authory portfolio:

Sign up for Authory for free !
Add your sources, i.e., all the places where you've published content on the web. Authory will automatically find your bylined content from these sources and import it into your Authory account.
Build a collection from the collection tab: click "+ Create collection" and follow the instructions.
Then go to the portfolio tab : go to the "Content" tab on the left menu and add the collection you just created.
And then, toggle your portfolio on from the "Portfolio" tab on the left menu, and check out your portfolio!

And now you'll have a self-updating portfolio that also automatically backs up all your content!

To see more writing portfolio examples, check out our other collection :

Content Marketers
Journalists

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

The ultimate guide to creating a successful writing portfolio.

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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.

The ruins of pillars and walls with the broken statue of a man in the center set against a bright blue sky.

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.

Creative Writing Examples | Photograph of New York City street.

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.

Want to give short story writing a go? Give our free course a go!

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How to Craft a Killer Short Story

From pacing to character development, master the elements of short fiction.

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.

Creative Writing Examples | Book cover of Convenience Store Woman

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."

A Calvin and Hobbes comic strip. A little blond boy Calvin makes multiple silly faces in school photos. In the last panel, his father says, "That's our son. *Sigh*" His mother then says, "The pictures will remind of more than we want to remember."

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.”

An open plan office seen from a bird's eye view. There are multiple strands of Edison lights hanging from the ceiling. At long light wooden tables multiple people sit working at computers, many of them wearing headphones.

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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11+ creative writing guide with 50 example topics and prompts

by Hayley | Nov 17, 2022 | Exams , Writing | 0 comments

The 11+ exam is a school entrance exam taken in the academic year that a child in the UK turns eleven.

These exams are highly competitive, with multiple students battling for each school place awarded.

The 11 plus exam isn’t ‘one thing’, it varies in its structure and composition across the country. A creative writing task is included in nearly all of the 11 plus exams, and parents are often confused about what’s being tested.

Don’t be fooled into thinking that the plot of your child’s writing task is important. It is not.

The real aim of the 11+ creative writing task is to showcase your child’s writing skills and techniques.

And that’s why preparation is so important.

This guide begins by answering all the FAQs that parents have about the 11+ creative writing task.

At the end of the article I give my best tips & strategies for preparing your child for the 11+ creative writing task , along with 50 fiction and non-fiction creative writing prompts from past papers you can use to help your child prepare. You’ll also want to check out my 11+ reading list , because great readers turn into great writers.

Do all 11+ exams include a writing task?

Not every 11+ exam includes a short story component, but many do. Usually 3 to 5 different prompts are given for the child to choose between and they are not always ‘creative’ (fiction) pieces. One or more non-fiction options might be given for children who prefer writing non-fiction to fiction.

Timings and marking vary from test to test. For example, the Kent 11+ Test gives students 10 minutes for planning followed by 30 minutes for writing. The Medway 11+ Test gives 60 minutes for writing with ‘space allowed’ on the answer booklet for planning.

Tasks vary too. In the Kent Test a handful of stimuli are given, whereas 11+ students in Essex are asked to produce two individually set paragraphs. The Consortium of Selective Schools in Essex (CCSE) includes 2 creative writing paragraphs inside a 60-minute English exam.

Throughout the UK each 11+ exam has a different set of timings and papers based around the same themes. Before launching into any exam preparation it is essential to know the content and timing of your child’s particular writing task.

However varied and different these writing tasks might seem, there is one key element that binds them.

The mark scheme.

Although we can lean on previous examples to assess how likely a short story or a non-fiction tasks will be set, it would be naïve to rely completely on the content of past papers. Contemporary 11+ exams are designed to be ‘tutor-proof’ – meaning that the exam boards like to be unpredictable.

In my online writing club for kids , we teach a different task each week (following a spiral learning structure based on 10 set tasks). One task per week is perfected as the student moves through the programme of content, and one-to-one expert feedback ensures progression. This equips our writing club members to ‘write effectively for a range of purposes’ as stated in the English schools’ teacher assessment framework.

This approach ensures that students approaching a highly competitive entrance exam will be confident of the mark scheme (and able to meet its demands) for any task set.

Will my child have a choice of prompts to write from or do they have to respond to a single prompt, without a choice?

This varies. In the Kent Test there are usually 5 options given. The purpose is to gather a writing sample from each child in case of a headteacher appeal. A range of options should allow every child to showcase what they can do.

In Essex, two prescriptive paragraphs are set as part of an hour-long English paper that includes comprehension and vocabulary work. In Essex, there is no option to choose the subject matter.

The Medway Test just offers a single prompt for a whole hour of writing. Sometimes it is a creative piece. Recently it was a marketing leaflet.

The framework for teaching writing in English schools demands that in order to ‘exceed expectations’ or better, achieve ‘greater depth’, students need to be confident writing for a multitude of different purposes.

In what circumstances is a child’s creative writing task assessed?

In Essex (east of the UK) the two prescriptive writing tasks are found inside the English exam paper. They are integral to the exam and are assessed as part of this.

In Medway (east Kent in the South East) the writing task is marked and given a raw score. This is then adjusted for age and double counted. Thus, the paper is crucial to a pass.

In the west of the county of Kent there is a different system. The Kent Test has a writing task that is only marked in appeal cases. If a child dips below the passmark their school is allowed to put together a ‘headteacher’s appeal’. At this point – before the score is communicated to the parent (and probably under cover of darkness) the writing sample is pulled out of a drawer and assessed.

I’ve been running 11+ tutor clubs for years. Usually about 1% of my students passed at headteacher’s appeal.

Since starting the writing club, however, the number of students passing at appeal has gone up considerably. In recent years it’s been more like 5% of students passing on the strength of their writing sample.

What are the examiners looking for when they’re marking a student’s creative writing?

In England, the government has set out a framework for marking creative writing. There are specific ‘pupil can’ statements to assess whether a student is ‘working towards the expected standard,’ ‘working at the expected standard’ or ‘working at greater depth’.

Members of the headteacher panel assessing the writing task are given a considerable number of samples to assess at one time. These expert teachers have a clear understanding of the framework for marking, but will not be considering or discussing every detail of the writing sample as you might expect.

Schools are provided with a report after the samples have been assessed. This is very brief indeed. Often it will simply say ‘lack of precise vocabulary’ or ‘confused paragraphing.’

So there is no mark scheme as such. They won’t be totting up your child’s score to see if they have reached a given target. They are on the panel because of their experience, and they have a short time to make an instant judgement.

Does handwriting matter?

Handwriting is assessed in primary schools. Thus it is an element of the assessment framework the panel uses as a basis for their decision.

If the exam is very soon, then don’t worry if your child is not producing immaculate, cursive handwriting. The focus should simply be on making it well-formed and legible. Every element of the assessment framework does not need to be met and legible writing will allow the panel to read the content with ease.

Improve presentation quickly by offering a smooth rollerball pen instead of a pencil. Focus on fixing individual letters and praising your child for any hint of effort. The two samples below are from the same boy a few months apart. Small changes have transformed the look and feel:

11+ handwriting sample from a student before handwriting tutoring

Sample 1: First piece of work when joining the writing club

Cursive handwriting sample of a boy preparing for the 11+ exam after handwriting tutoring.

Sample 2: This is the same boy’s improved presentation and content

How long should the short story be.

First, it is not a short story as such—it is a writing sample. Your child needs to showcase their skills but there are no extra marks for finishing (or marks deducted for a half-finished piece).

For a half hour task, you should prepare your child to produce up to 4 paragraphs of beautifully crafted work. Correct spelling and proper English grammar is just the beginning. Each paragraph should have a different purpose to showcase the breadth and depth of their ability. A longer – 60 minute – task might have 5 paragraphs but rushing is to be discouraged. Considered and interesting paragraphs are so valuable, a shorter piece would be scored more highly than a rushed and dull longer piece.

I speak from experience. A while ago now I was a marker for Key Stage 2 English SATs Papers (taken in Year 6 at 11 years old). Hundreds of scripts were deposited on my doorstep each morning by DHL. There was so much work for me to get through that I came to dread long, rambling creative pieces. Some children can write pages and pages of repetitive nothingness. Ever since then, I have looked for crafted quality and am wary of children judging their own success by the number of lines competed.

Take a look at the piece of writing below. It’s an excellent example of a well-crafted piece.

Each paragraph is short, but the writer is skilful.

He used rich and precisely chosen vocabulary, he’s broken the text into natural paragraphs, and in the second paragraph he is beginning to vary his sentence openings. There is a sense of control to the sentences – the sentence structure varies with shorter and longer examples to manage tension. It is exciting to read, with a clear awareness of his audience. Punctuation is accurate and appropriate.

Example of a high-scoring writing sample for the UK 11+ exam—notice the varied sentence structures, excellent use of figurative language, and clear paragraphing technique.

11+ creative writing example story

How important is it to revise for a creative writing task.

It is important.

Every student should go into their 11+ writing task with a clear paragraph plan secured. As each paragraph has a separate purpose – to showcase a specific skill – the plan should reflect this. Built into the plan is a means of flexing it, to alter the order of the paragraphs if the task demands it. There’s no point having a Beginning – Middle – End approach, as there’s nothing useful there to guide the student to the mark scheme.

Beyond this, my own students have created 3 – 5 stories that fit the same tight plan. However, the setting, mood and action are all completely different. This way a bank of rich vocabulary has already been explored and a technique or two of their own that fits the piece beautifully. These can be drawn upon on the day to boost confidence and give a greater sense of depth and consideration to their timed sample.

Preparation, rather than revision in its classic form, is the best approach. Over time, even weeks or months before the exam itself, contrasting stories are written, improved upon, typed up and then tweaked further as better ideas come to mind. Each of these meets the demands of the mark scheme (paragraphing, varied sentence openings, rich vocabulary choices, considered imagery, punctuation to enhance meaning, development of mood etc).

To ensure your child can write confidently at and above the level expected of them, drop them into my weekly weekly online writing club for the 11+ age group . The club marking will transform their writing, and quickly.

What is the relationship between the English paper and the creative writing task?

Writing is usually marked separately from any comprehension or grammar exercises in your child’s particular 11+ exam. Each exam board (by area/school) adapts the arrangement to suit their needs. Some have a separate writing test, others build it in as an element of their English paper (usually alongside a comprehension, punctuation and spelling exercise).

Although there is no creative writing task in the ISEB Common Pre-test, those who are not offered an immediate place at their chosen English public school are often invited back to complete a writing task at a later date. Our ISEB Common Pre-test students join the writing club in the months before the exam, first to tidy up the detail and second to extend the content.

What if my child has a specific learning difficulty (dyslexia, ADD/ADHD, ASD)?

Most exam boards pride themselves on their inclusivity. They will expect you to have a formal report from a qualified professional at the point of registration for the test. This needs to be in place and the recommendations will be considered by a panel. If your child needs extra arrangements on the day they may be offered (it isn’t always the case). More importantly, if they drop below a pass on one or more papers you will have a strong case for appeal.

Children with a specific learning difficulty often struggle with low confidence in their work and low self-esteem. The preparations set out above, and a kids writing club membership will allow them to go into the exam feeling positive and empowered. If they don’t achieve a pass at first, the writing sample will add weight to their appeal.

Tips and strategies for writing a high-scoring creative writing paper

Read widely for pleasure. Read aloud to your child if they are reluctant.
Create a strong paragraph plan where each paragraph has a distinct purpose.
Using the list of example questions below, discuss how each could be written in the form of your paragraph plan.
Write 3-5 stories with contrasting settings and action – each one must follow your paragraph plan. Try to include examples of literary devices and figurative language (metaphor, simile) but avoid clichés.
Tidy up your presentation. Write with a good rollerball pen on A4 lined paper with a printed margin. Cross out with a single horizontal line and banish doodling or scribbles.
Join the writing club for a 20-minute Zoom task per week with no finishing off or homework. An expert English teacher will mark the work personally on video every Friday and your child’s writing will be quickly transformed.

Pressed for time? Here’s a paragraph plan to follow.

At Griffin Teaching we have an online writing club for students preparing for the 11 plus creative writing task . We’ve seen first-hand what a difference just one or two months of weekly practice can make.

That said, we know that a lot of people reading this page are up against a hard deadline with an 11+ exam date fast approaching.

If that’s you (or your child), what you need is a paragraph plan.

Here’s one tried-and-true paragraph plan that we teach in our clubs. Use this as you work your way through some of the example prompts below.

11+ creative writing paragraph plan

Paragraph 1—description.

Imagine standing in the location and describe what is above the main character, what is below their feet, what is to their left and right, and what is in the distance. Try to integrate frontend adverbials into this paragraph (frontend adverbials are words or phrases used at the beginning of a sentence to describe what follows—e.g. When the fog lifted, he saw… )

Paragraph 2—Conversation

Create two characters who have different roles (e.g. site manager and student, dog walker and lost man) and write a short dialogue between them. Use what we call the “sandwich layout,” where the first person says something and you describe what they are doing while they are saying it. Add in further descriptions (perhaps of the person’s clothing or expression) before starting a new line where the second character gives a simple answer and you provide details about what the second character is doing as they speak.

Paragraph 3—Change the mood

Write three to four sentences that change the mood of the writing sample from light to gloomy or foreboding. You could write about a change in the weather or a change in the lighting of the scene. Another approach is to mention how a character reacts to the change in mood, for example by pulling their coat collar up to their ears.

Paragraph 4—Shock your reader

A classic approach is to have your character die unexpectedly in the final sentence. Or maybe the ceiling falls?

11+ creative writing questions from real papers—fictional prompts

The day the storm came
The day the weather changed
The snowstorm
The rainy day
A sunny day out
A foggy (or misty) day
A day trip to remember
The first day
The day everything changed
The mountain
The hillside
The old house
The balloon
The old man
The accident
The unfamiliar sound
A weekend away
Moving house
A family celebration
An event you remember from when you were young
An animal attack
The school playground at night
The lift pinged and the door opened. I could not believe what was inside…
“Run!” he shouted as he thundered across the sand…
It was getting late as I dug in my pocket for the key to the door. “Hurry up!” she shouted from inside.
I know our back garden very well, but I was surprised how different it looked at midnight…
The red button on the wall has a sign on it saying, ‘DO NOT TOUCH.’ My little sister leant forward and hit it hard with her hand. What happened next?
Digging down into the soft earth, the spade hit something metal…
Write a story which features the stopping of time.
Write a story which features an unusual method of transport.
The cry in the woods
Write a story which features an escape

11+ creative writing questions from real papers—non-fiction prompts

Write a thank you letter for a present you didn’t want.
You are about to interview someone for a job. Write a list of questions you would like to ask the applicant.
Write a letter to complain about the uniform at your school.
Write a leaflet to advertise your home town.
Write a thank you letter for a holiday you didn’t enjoy.
Write a letter of complaint to the vet after an unfortunate incident in the waiting room.
Write a set of instructions explaining how to make toast.
Describe the room you are in.
Describe a person who is important to you.
Describe your pet or an animal you know well.

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Uploaded by Woodystunes on February 13, 2011

KS2 Descriptive Writing - Thunderstorm! PDF

Subject: English

Age range: 7-11

Resource type: Worksheet/Activity

Last updated

24 August 2024

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Great descriptive/creative writing example paragraph - describing a thunderstorm.

Can be used to introduce a descriptive writing activity for pupils.

Also included are notes re: which features to include to make writing more expressive.

Key features include: examples of creative language choices/vocabulary in order to create mood/atmosphere/setting.

Illustrates expaned noun phrases/adverbials/varied sentence structures.

Suitable for KS2.

Further descriptive paragraphs can be found at following:

Erupting Volcano: https://www.tes.com/teaching-resource/resource-12960494 (word doc)

https://www.tes.com/teaching-resource/resource-12984370 (powerpoint)

Abandoned House in Forest:

https://www.tes.com/teaching-resource/resource-12960501 (word doc) https://www.tes.com/teaching-resource/resource-12978017 (powerpoint)

Dragon hunting: KS2 Descriptive Writing Paragraph Model – Dragon! https://www.tes.com/teaching-resource/resource-12959414

Same dragon paragraph as a Powerpoint: https://www.tes.com/teaching-resource/resource-12959437

Also, a resource with ideas of how to make descriptive/creative writing more exciting using figurative language: https://www.tes.com/teaching-resource/resource-12986538

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Silent Speech in Phaswane Mpe’s HIV/AIDS Writing

ORIGINAL PAPER
Published: 31 August 2024

Cite this article

Sheila Giffen 1

South African writer Phaswane Mpe (1970—2004) is often canonized and memorialized as a brave truth-teller who broke the silence on HIV/AIDS in the context of government silence and denial. And yet Mpe’s writings—including poetry, short stories, a novel, and scholarly criticism—contemplate illness as a problem for truth and representation in works that linger in silence and ambiguity. This article analyses the tension between silence and speech in Mpe’s creative writing in response to HIV/AIDS. Using Mpe’s works as an illustrative example, I trouble the desire to read illness narratives as forms of truth-telling and silence-breaking. The desire for the transparency of speech in a global archive of illness narratives also informs a colonial politics of representation that instrumentalizes literature as ethnographic evidence. Mpe’s writing on HIV/AIDS refuses a demand for authenticity by holding the embodied experience of disease at a slight remove from the reader in order to register the forms of spiritual and epistemological crisis that epidemic and social loss produce. My contention is that the political stakes of this writing lie not in Mpe’s ability to render a public health crisis with verisimilitude, but in the capacity for writing to provide solace and sublimity faced with death. Through an analysis of Mpe’s fiction and poetry, this article proposes a methodology for reading the politics of illness narratives across globalized space which attends to the world-building potential of creative expression as a radical practice that resists incorporative models of aesthetic intelligibility.

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Acknowledgements

Thank you to the editors of the special issue, Marta Puxan Oliva and Jorge Locane, for the opportunity to develop this work. Thanks also to Geraldine Frieslaar and Nonhlanhla Mgedesi at the South Africa History Archive and Lynne Grant at the Amazwi South African Museum of Literature for allowing me to consult archival materials that informed this research. And finally, I want to extend my sincere gratitude to Jeff Noh, Carmen Mathes, Steven Maye, Maddie Reddon and Judith Scholes for their feedback on this essay.

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1 Michael Green reads Mpe’s fiction alongside work by K. Sello Duiker and Zakes Mda and suggests these writers form “the kernel of a new canon for the new nation” ( 2008 , 334). Jane Poyner similarly groups Mpe within an emergent “post-apartheid canon” ( 2008 , 106) of novelists and writers who “turn their gaze inwards to the private sphere, to reflection and self-questioning” ( 2008 , 103) in contrast to the overtly political writings of the apartheid era.

2 As Mandisa Mbali summarizes, “Early into Mbeki’s presidency, in 2000, it became obvious that he and some key ministers had adopted denialist views that were referred to in the media as ‘dissident/unorthodox’ views on AIDS” ( 2004 , 105).

3 In his discussion of the controversies surrounding Mbeki’s AIDS policies, Neville Hoad points out that “In 2002, Health Minister Manto Tshabalala-Msimang refused to disburse 72 million dollars for antiretrovirals to KwaZulu/Natal province from the Global Fund” ( 2007 , 91).

4 As Kylie Thomas observes “The policies of the apartheid state have significantly affected the course and magnitude of the epidemic in South Africa, and their effects have not been undone in the post-apartheid present. The epidemic in South Africa and even in southern Africa more broadly can be linked to what might be termed ‘apartheid fallout’ and in some instances forms of deprivation and oppression experienced under apartheid have been compounded in the wake of the implementation of neoliberal policies after 1994” ( 2014 , 152).

5 In an interview with Siphiwo Mahala, Mpe describes where he grew up and how this setting inspired the fictionalized village in the novel: “I stay in a chieftaincy called Ga-Molepo. I’m in one of many villages, it’s actually a huge chieftaincy. Probably one of the biggest in Limpopo and the village I come from is called Ga-Mogano. And Tiragalong of my novel is an imagined village which I based partly in this place and partly in another village [where I lived] with my aunt” (Mzamane 2005 , 47).

6 The term “rainbow nation” was first coined by Archbishop Desmond Tutu, and then adopted by President Nelson Mandela to describe a spirit of multicultural peace and unity in the newly democratic nation-state. In his inaugural speech as President on 10 May 1994, Mandela asserted: “We enter into a covenant that we shall build the society in which all South Africans, both black and white, will be able to walk tall, without any fear in their hearts, assured of their inalienable right to human dignity—a rainbow nation at peace with itself and the world” (Mandela 1994 ).

7 The constraints against the diseased woman writing in Sepedi extend from a legacy of apartheid-era education and publishing. As Phaswane Mpe and Monica Seeber argue, the Bantu Education Act (enacted in 1953) “created a space for the proliferation of African language publishing while simultaneously drastically reducing the scope of its themes and messages” ( 2000 , 19). The apartheid government supported African language publication for education purposes only and reinforced Afrikaner Christian moralism.

8 The epigraph to Welcome to Our Hillbrow cites W.E.B. DuBois saying, “Reader be assured this narrative is no fiction”. This quotation is best known for being the opening line of Harriet Jacobs’ Incidents in the Life of a Slave Girl (1861). Jacobs’ preface begins: “Reader, be assured this narrative is no fiction. I am aware that some of my adventures may seem incredible; but they are, nevertheless, strictly true. I have not exaggerated the wrongs inflicted by Slavery; on the contrary, my descriptions fall far short of the facts.” Jacobs’ opening address to the reader anticipates being met with disbelief and a sentiment that what she’s written could not possibly be true. What horrors are beyond our capacity to imagine or narrate? How do the legacies of racial capital, colonialism, and enslavement pose a challenge to the bounds of representation? By citing African American writers who theorize racial abjection and the violence of white supremacy, Mpe evokes a diasporic imaginary linking histories of racial violence across continents.

9 In his essay “Fighting the Victim Label,” AIDS activist Max Navarre describes the abhorrent representation of people with AIDS in mainstream American press: “In the media, everyone’s a victim: of fire, of cancer, of mugging, of rape, of AIDS. In the world of reportage, no one is doing well. Victims sell newspapers. Does anyone consider the impact of this cult of the victim? Does anyone realize the power of the message ‘You are helpless, there is no hope for you’? As a person with AIDS, I can attest to the sense of diminishment at seeing and hearing myself constantly referred to as an AIDS victim, an AIDS sufferer, an AIDS case—as anything but what I am, a person with AIDS. I am a person with a condition. I am not that condition” ( 1988 , 143).

10 For a discussion of how the “Castro Hlongwane” document circulated within the ANC and informed AIDS denialist policies, see Posel ( 2005 ) and Mbali ( 2004 ).

11 In the remarks Thabo Mbeki made at the International AIDS Conference in Durban in July 2000, he emphasized the role that poverty plays in the spread of AIDS but did not specifically renounce AIDS dissident positions as many activists and public health workers hoped he would. Edwin Cameron notes that the “president left immediately after his [own] speech” and therefore “did not hear Nkosi’s brave and moving plea for humane and inclusive action to deal with the epidemic and to mitigate its effects on those with HIV and AIDS” ( 2005 , 108). A few months later at an address at the University of Fort Hare, Mbeki appeared to take aim more directly at the protestors who were campaigning for access to life-saving ARVs by saying: “And thus does it happen that others who consider themselves to be our leaders take to the streets carrying their placards, to demand that because we are germ carriers, and human beings of a lower order that cannot subject its passions to reason, we must perforce adopt strange opinions, to save a depraved and diseased people from perishing from self-inflicted disease” (Mbeki 2001 ).

12 Analyzing AIDS discourse in South Africa, Mandisa Mbali points out that “government AIDS denialism is a response to a history of racist understandings of African sexuality as inherently pathological in AIDS science” ( 2004 , 104). In his reading of race, medicine, and the colonial archive in Mbeki’s speeches, Neville Hoad observes that criticisms of Mbeki’s remarks seldom take into account the long history of colonial exploitation he engages: “The politics of cultural representation are equally problematic in a neoliberal world where imperial legacies are very much alive and the accusations of murderous incompetence leveled at the first democratically elected government of South Africa may bear the taint of colonial racism, as the A.N.C. government has been quick to point out” ( 2007 , 92). For Didier Fassin, the public discourse surrounding AIDS denial can lead to reductive binaries between rational science and irrational denial: “the intellectual landscape of the AIDS epidemic has been reduced to simple terms: on one side, medicine and science, people of goodwill and good sense, efficacy and truth; on the other, a president and a few dissidents, corrupt politicians and quack scientists, incompetence and error” ( 2007 , 76).

13 Written in March 2003, the short story was originally published in New Africa Books’ Urban ’03: Collected New African Short Stories, edited by Dave Chislett. The story was later posthumously published in the collection Brooding Clouds (2008).

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