hsc belonging creative writing

Press Enter to search

A Step-by-Step Guide to Achieving a BAND 6 in Creative Writing

Need to elevate your creative writing? Learn the foolproof formula for writing a full-mark creative response!

a year ago   •   6 min read

I think we can all agree creative writing is the hardest and most annoying part of year 12 English. I mean it is so subjective, what's right or wrong?

Well lucky for you, I've been there, a struggling high school student tired of getting bad creative marks. Let me show you how I turned my creative marks around to get a 99+ Atar and how you can too!!

1. READ READ READ!!!

If you keep receiving feedback that says your work is cliché, generic, lacks substance and misuses literary devices the only remedy is reading . There is a reason the syllabus shoves texts down our throats. It's because by understanding the different ways other writers communicate ideas we ourselves become better communicators. By reading outside of your prescribed text you will be exposed to a new set of writing tools your peers wouldn't know about. You can see the recurring writing features well-renowned authors use and most importantly, you can gain worldly inspiration for your own text. Ideally, you want to be reading short stories, discursive and persuasive because that is what the syllabus demands of you.

Some recommendations are;

• Samsa in Love by Murakami
• The Second Bakery Attack by Murakami
• There will come soft rains by Ray Bradbury
• Hills like white elephants by Ernest Hemingway
• The Lottery by Shirely Jackson

Find an author whose writing style you really like and try mimicking their language and syntax in your own work.

2. FIND YOUR PURPOSE

The marking criteria for HSC Module C creative writing to score a Band 6 requires you to:

…consider purpose and audience to carefully shape meaning.

No matter how good your motifs or metaphors are, unless you have a strong and clear message or purpose permeating your writing you will not be able to access band 6 marks.  When about to write a short story, discursive or whatever, the first thing I want you to think about is:

What is the message you want to communicate in your writing

When coming up with your purpose/idea don’t overcomplicate it. Pick something simple and personal to you. You want to keep your ideas easily adaptable to different stimuli and something relatable to both yourself and the reader. Some examples are;

• The importance of reading
• The need for belonging and human connections
• The irrational and obsessive nature of love

Think of the texts that you have studied in other modules, What are the ideas and messages being put forward there? You will notice that most of them examine fundamental aspects of human nature and enlighten audiences with a new perspective. That is what you should be doing too!

Let’s say you want to write a story about a child in an immigrant family. If that was the limit of your ‘idea’ you won’t be able to reach a band 6. What is the purpose behind it? Why do you want to explore this experience? A more in-depth idea plan would be "I want to write about a child experiencing alienation within an immigrant family to highlight the importance of culture to a sense of identity and belonging."

3. PLAN YOUR STRUCTURE

Once you have your Band 6 purpose picked out, you now have to figure out how you want to communicate your purpose.

This means picking a writing style (imaginative, persuasive, discursive), developing a main character and conflict, and then selecting the point of view that would explore this character and conflict.

Write in a way that shows an understanding of how the text creates meaning.

There is no right or wrong option here. It is all about how well you understand and can justify your writing decisions (this is important for the reflection). When creating your response you want to be aware of all the features present and how it influences the piece and its meaning.

There are two things that I would recommend to ensure you are on the right track though. For plot structure use the plot pyramid. You will notice all great movies and novels follow this sequence. Why? Because it works every time to engage and compel audiences through the story.

The second thing is to develop dynamic characters. Characters that evolve throughout your story. This doesn't have to be physical, or even a big change. It could be as simple as a haircut or even just a small change in mindset. Essentially you want to show your character to have a change in perspective because that will in turn compel your reader to have that same change. This is easily done if you have carefully thought out your character.

• What is their personal story or background?
• What are their values and beliefs?
• What is the internal conflict they struggle with?

4. WRITE WRITE WRITE

• Use a simple setting (and try to stick to only one scene/setting in your short story you won't have time to delve into more).
• Concentrate on developing one dynamic and 3-dimensional protagonist before you try and introduce other characters. (And only introduce them if they are integral to the storyline. NPC's (or surface-level side characters) do not add value and will only disengage your audience.)
• Show don't tell. For example instead of "I heard footsteps creeping behind me which made me more scared" leave room for the reader's imagination and say "I heard a crunch behind me and my heart turned to sand, rising up into my throat." Instead of "we were really close" say "his smell reminded me of my childhood treehouse."
• Play with word order and vary syntax (punctuation is super important). Many people make the mistake of just using complex sentences, which causes their pieces to feel cluttered and clunky to read. Use short sentences as well to structure tension and emotions.
• The secret of good writing is to simplify and strip every sentence to its cleanest component. Only add the adjectives and descriptions that are integral to your plot line. DON'T GET TOO CAUGHT UP IN FLOWERY LANGUAGE.

5. EDIT AND FEEDBACK

It is highly likely your first draft will not be band 6 material, but that's normal. J.K Rowling took hundreds of drafts to get to the Harry Potter we know and love. And it took me a few drafts before getting a satisfied nod from my English teacher. A Band 6 response will take a series of feedback, edits and rewrites. Show it to your teachers, your friends, and your parents and importantly ask them if they understand the message you are trying to put forward because if they don't the markers reading in a time crunch definitely won't. You don't need expert opinion to make your piece better. You are looking to improve your clarity and communication to everyone .

In addition to this I always find annotating your own writing helps balance and improve the sophistication of literary devices. You should also be reading your piece out loud to help identify syntax and grammatical errors that desperately need to be reworded.

Remember your goal is to use the power of words to communicate a profound idea to the world as engagingly and with as much clarity as possible!!

Want more personalised tips to drastically improve your English mark? A private tutor can make the biggest difference!

Written by KIS Academics Tutor for HSC English, Thao Peli Nghiem Xuan. Thao received an ATAR of 99.55 and is pursuing a Bachelor of Mechanical Engineering at the University Of New South Wales. You can view Thao's profile here and request her as a tutor.

Spread the word

The ultimate 99+ atar 30-day study guide, how to write full mark answers for hsc english short response (with examples), keep reading, how to write a band 6 module b critical study of literature essay, how to respond to short answer questions in vce english language, how to craft a band 6 mod a textual conversations essay, subscribe to our newsletter.

Stay updated with KIS Academics Blog by signing up for our newsletter.

🎉 Awesome! Now check your inbox and click the link to confirm your subscription.

Please enter a valid email address

Oops! There was an error sending the email, please try later

'Belonging': Student and Teacher Resources for the Area of Study

This 'Belonging' blog is a useful resource for both students and teachers. The regularly updated resources will assist students in the development of writing skills suitable for the three sections of Paper 1 of the NSW HSC Examination. The site will also assist teachers in the development of interesting, relevant and engaging resources for teaching the new Area of Study 'Belonging'.

Monday, September 30, 2013

Evaluation of blog and hsc area of study textbook, monday, may 20, 2013, strictly ballroom analytical response plan, sunday, may 12, 2013, the crucible: analytical response plan, belonging related text - berla hill, tuesday, may 11, 2010, great expectations: analytical response plan, great expectations: key scene analysis, wednesday, february 24, 2010, heat and dust: key scene analysis, to gain a better understanding of how language and visual techniques work together to create meaning, it is a good idea to analyse a few key scenes from the text., modelled response.

• · Visual imagery of the narrator and Olivia with midwives and the possibility of having a termination
• · Metaphor of Maji in a state of Samadhi
• · Juxtaposition of the narrator’s and Olivia’s decision regarding having a child
• · Symbolism of burka for Olivia
• · Symbolism of the Italian child marble statue
• · Metaphor of crumbling child gravestone
• · S amadhi is a metaphor for pregnancy and what is usually associated with the joy of having children.
• · The narrator recognizes her pregnancy as the source of joy and does not want it terminated.
• · The burka symbolizes a culture that is different to Olivia’s own and highlights her inability to belong and be accepted.
• · Olivia chooses not to belong in the world as a mother.
• · The crumbling child gravestone represents the implications of termination according to Dr. Saunders.
• · The narrator chooses to see pregnancy as a positive change in her life, unlike Olivia whose life ‘crumbles’ after this decision.

Select a year to see courses

Learn online or on-campus during the term or school holidays

OC Test Preparation

• Selective School Test Preparation
• Maths Acceleration
• English Advanced
• Maths Standard
• Maths Advanced
• Maths Extension 1
• English Standard
• Maths Extension 2

Get HSC exam ready in just a week

• UCAT Exam Preparation

Select a year to see available courses

• English Units 1/2
• Maths Methods Units 1/2
• Biology Units 1/2
• Chemistry Units 1/2
• Physics Units 1/2
• English Units 3/4
• Maths Methods Units 3/4
• Biology Unit 3/4
• Chemistry Unit 3/4
• Physics Unit 3/4
• UCAT Preparation Course
• Matrix Learning Methods
• Matrix Term Courses
• Matrix Holiday Courses
• Matrix+ Online Courses
• Campus overview
• Castle Hill
• Strathfield
• Sydney City
• Year 3 NAPLAN Guide
• OC Test Guide
• Selective Schools Guide
• NSW Primary School Rankings
• NSW High School Rankings
• NSW High Schools Guide
• ATAR & Scaling Guide
• HSC Study Planning Kit
• Student Success Secrets
• Reading List
• Year 6 English
• Year 7 & 8 English
• Year 9 English
• Year 10 English
• Year 11 English Standard
• Year 11 English Advanced
• Year 12 English Standard
• Year 12 English Advanced
• HSC English Skills
• How To Write An Essay
• How to Analyse Poetry
• English Techniques Toolkit
• Year 7 Maths
• Year 8 Maths
• Year 9 Maths
• Year 10 Maths
• Year 11 Maths Advanced
• Year 11 Maths Extension 1
• Year 12 Maths Standard 2
• Year 12 Maths Advanced
• Year 12 Maths Extension 1
• Year 12 Maths Extension 2

Science guides to help you get ahead

• Year 11 Biology
• Year 11 Chemistry
• Year 11 Physics
• Year 12 Biology
• Year 12 Chemistry
• Year 12 Physics
• Physics Practical Skills
• Periodic Table
• VIC School Rankings
• VCE English Study Guide
• Set Location
• 1300 008 008
• 1300 634 117

Welcome to Matrix Education

To ensure we are showing you the most relevant content, please select your location below.

How To Ace HSC Belonging Section 1 – Area Of Study

Stuck with AOS: Belonging? Read our guide to acing it.

Get free study tips and resources delivered to your inbox.

Join 75,893 students who already have a head start.

" * " indicates required fields

You might also like

• At Mornington by Gwen Harwood Analysis – Summary Sheet
• 2013 UNSW ATAR Cut-offs
• Junior Study Skills Seminar Presentation – 2016 Matrix Open Day
• How to Score a University Co-op Scholarship – Zoe Diamond
• How I Scored An ATAR Of 99.75 – Raymond Chan

Related courses

Year 3 english, year 3 maths, year 4 english, year 4 maths, year 5 maths.

Worried about Belonging Section 1? Let us help you out.

There are three sections in the HSC English (Standard and Advanced) Exam Paper 1.

Section I: Unseen Texts

Section II: Creative Writing

Section III: Extended Response

All three sections are worth 15 marks, and so it is ideal that you spend an equal amount of time on each. Often students struggle with Section I, as they are not able to prepare responses in the same way as they can for Section II and III.

This blog post is designed to help you understand Section I, and to prepare you for the types of questions you can expect.

How to Effectively Write about Belonging

It is important to have a clear understanding of both belonging and not belonging in your mind before you enter the exam. It is also useful to think of synonyms for belonging so that you are able to effectively discuss the concept without sounding repetitive.

Here is an example:

For the exam, you will have to read and view a number of unseen texts. You will then be required to answer a number of questions designed to test your understanding of the concept of belonging.  It is essential when answering the questions that you align your information with the criteria, and reflect on how the composer has shaped your understanding of belonging. The questions will also usually start with a verb. You can find a definition of the most common verbs on the Glossary of Key Words page.

Below are the questions from the 2013 HSC exam. Note that in this paper there is one question per text, each worth a different amount of marks, and that the last question requires you to analyse TWO of the texts.

Text one — Image

(a) Describe how a sense of disconnection is created in the image. (2 marks)

Text two — Poem

(b) Why is the ‘creased photograph’ important to the speaker and his sense of identity? (2 marks)

Text three — Memoir extract

(c) How do the writer’s memories of childhood reveal the challenges of family life? (3 marks)

Text four — Prose extract

(d) Explain how the author creates a strong sense of inclusion and exclusion in the extract. (3 marks)

Texts one, two, three and four — Image, Poem, Memoir extract and Prose extract

(e) Analyse how TWO of these texts portray the complex emotions resulting from a desire for connection. (5 marks)

Helpful Tips

When discussing textual features:

• Identify the feature
• Provide an example of the feature
• Explain the impact of the feature
• Extrapolate by discussing why the composer used the feature

The final question:

• (approximately 5 marks, 12-15 lines)
• 5 marks: –  Fluent expression, constant link to concept, clear statement –  4 techniques [2 per text] (3 brief examples)
• Refer to language features and structures.
• Compare and contrast the language features and details of the texts, clearly indicating why the text you have selected effectively represents belonging.
• For each paragraph –  Explain techniques and how they support the composer’s aim/purpose. –  Refer to explicit examples –  Link paragraph to syllabus concepts/question
• Evaluate texts in terms of: –  Textual integrity – how well language techniques work together to support the purpose of the text. –  Sophistication of ideas (presentation of multiple perspectives etc).
• Make sure there is a close parallel between technique & composer’s feelings (about belonging) or purpose or audience.
• Choose techniques and examples carefully to support your argument and always link to the concept.

Below is a list of useful techniques for analysing a visual text. Try to think about how these techniques can be used in relation to belonging.

Techniques for Analysing a Visual Text (AOS Paper 1)

Below is an example of a response to a visual text, utilising some of the techniques listed in the table above.

Example: ‘Lost’ by Frederick McCubbin, 1887

This painting presents ideas of belonging to place, specifically the Australian landscape, through feelings of vulnerability. It comes from the Gold Rush period, when interest in the local landscape was growing, as it was new and unique to European eyes. ‘Lost’ invites a visually sensory experience of this landscape in which much of the interpretation of the girl in the painting is left to the responder. One of the key techniques employed in the centring of the young girl; the blue of her dress almost blends into, as though adopting, the colour of the landscape, which has been foregrounded. Colour has also been effectively utilised, as areas of the canvas appear abstracted and flecks of colour are layered over each other. Hence ‘Lost’ encapsulates both the fascination with belonging to this new place as well as fears of being swallowed by it.

Techniques for Analysing a Written Text (AOS Paper 1)

See Also:  How to Analyse A Related Text  to learn how to analyse texts in 4 steps.

Find out more about our  English courses . Matrix classes are available for HSC English, Maths, Physics, Biology and Chemistry.

Want to Take Your English to the Next Level?

The Common Module and the new HSC is only a few months away. If you’re struggling with English now, Year 11 is your last chance to get on top of things before your marks begin to wither away.

• Book a Free Trial Lesson now , and see why more than 4500 students attend Matrix each term.

Written by Matrix Education

© Matrix Education and www.matrix.edu.au, 2023. Unauthorised use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Matrix Education and www.matrix.edu.au with appropriate and specific direction to the original content.

Year 3 English tutoring at Matrix will help your child improve their reading and writing skills.

Learning methods available

Year 3 Maths tutoring at Matrix will help your child improve their maths skills and confidence.

Year 4 English tutoring at Matrix will help your child improve their reading and writing skills.

Year 4 Maths tutoring at Matrix will help your child improve their maths skills and confidence.

Sydney's best OC prep tutoring by experienced teachers and tried, tested resources. Learn online or on-campus. Try free now.

Year 5 Maths tutoring at Matrix will help your child improve their maths skills and confidence.

Related articles

Gwen Harwood Analysis

Analysis of Gwen Harwood's poems.

2014 Macquarie University ATAR Cut-offs

How I Scored An ATAR Of 99.00 – Rachael Hua

Rachael explains how she planned her HSC year to score an ATAR of 99.00.

Discovery: The Ultimate Guide to Creative Writing

Elyse Popplewell

Friday 4th, March 2016

If you’re a first time reader, then you might not be aware of my free online HSC tutoring for English (including HSC creative writing), and other subjects. Check it out! Also – I have a deal for you. If this post is crazy helpful, then you should share it with your friends on Facebook . Deal? Awesome.

HSC Creative Writing: The Guide.

HSC creative writing can be a pain for some and the time to shine for others. Getting started is the most difficult part. When you have something to work with, it is simply a matter of moulding it to perfection. When you have nothing, you have a seemingly difficult road ahead. After several ATAR Notes members expressed that they need help with HSC creative writing, I wrote this to give you some starting points. Then I edited this, and re-wrote it so that it helps you from the beginning stages until the very last days of editing. Fear no more, HSC creative writing doesn’t have to be the foe that it is in your head! Let’s get started.

Surprise: You’re the composer!

Write about what you know

In the years 2010-2015, not once has Paper 1 specified a form that you have to use. Every year in that time frame they have asked for “imaginative writing” except in 2011 when they asked for a “creative piece” of writing. Most commonly, students write in the short story form. However, students can also write speeches, opinion articles, memoirs, monologues, letters, diary entries, or hybrid medium forms. Think about how you can play to your strengths. Are you the more analytical type and less creative? Consider using that strength in the “imaginative writing” by opting to write a feature article or a speech. If you want to ask questions about your form, then please check out my free online HSC tutoring for English and other subjects.

Tense is a very powerful tool that you can use in your writing to increase intensity or create a tone of detachment, amongst other things. Writing entirely in the present tense is not as easy as it seems, it is very easy to fall into past tense. The present tense creates a sense of immediacy, a sense of urgency. If you’re writing with suspense or about action, consider the present tense.

“We stand here together, linking arms. The car screeches to a stop in front of our unified bodies. The frail man alights from the vehicle and stares into my eyes.”

The past tense is the most common in short stories. The past tense can be reflective, recounting, or perhaps just the most natural tense to write in.

“We stood together, linking arms. The car screeched to a stop in front of us. The frail man alighted from his vehicle and stared into my eyes.”

The future tense is difficult to use for short stories. However, you can really manipulate the future tense to work in your favour if you are writing a creative speech. A combination of tenses will most probably create a seamless link between cause and effect in a speech.

“We will stand together with our arms linked. The man may intimidate us all he likes, but together, when we are unified, we are stronger he will ever be.”

It is also important to point out that using a variety of tenses may work best for your creative. If you are flashing back, the easiest way to do that is to establish the tense firmly.

Giving your setting some texture

You ultimately want your creative writing to take your marker to a new place, a new world, and you want them to feel as though they understand it like they would their own kitchen. The most skilled writers can make places like Hogwarts seem like your literary home. At the Year 12 level, we aren’t all at that level. The best option is to take a setting you know and describe it in every sense – taste, smell, feel, sound and sight.

Choose a place special and known to you. Does your grandmother’s kitchen have those old school two-tone brown tiles? Did you grow up in another country, where the air felt different and the smell of tomatoes reminded you of Sundays? Does your bedroom have patterned fabric hanging from the walls and a bleached patch on the floor from when you spilled nail polish remover? Perhaps your scene is a sporting field – describe the grazed knees, the sliced oranges and the mums on the sideline nursing babies. The more unique yet well described the details are, the more tangible your setting is.

Again, it comes back to: write about what you know.

How much time has elapsed?

You want to consider whether your creative piece is focused on a small slot of ordinary time, or is it covering years in span? Are you flashing back between the past and the present? Some of the most wonderful short stories focus on the minutiae that is unique to ordinary life but is perpetually overlooked or underappreciated. By this I mean, discovering that new isn’t always better may be the product of a character cooking their grandmother’s recipe for brownies (imagine the imagery you could use!). Discovering that humans are all one and the same could come from a story based on one single shift at a grocery store, observing customers. Every day occurrences offer very special and overlooked discoveries.

You could create a creative piece that actually spans the entire life span of someone (is this the life span of someone who lived to 13 years old or someone who lived until 90 years old?). Else, you could create a story that compares the same stage of life of three different individuals in three different eras. Consider how much time you want to cover before embarking on your creative journey.

Show, don’t tell:

The best writers don’t give every little detail wrapped up and packaged, ready to go. As a writer, you need to have respect for your reader in that you believe in their ability to read between the lines at points, or their ability to read a description and visualise it appropriately.

“I was 14 at the time. I was young, vulnerable and naïve. At 14 you have such little life experience, so I didn’t know how to react.”

This is boring because the reader is being fed every detail that they could have synthesised from being told the age alone. To add to the point of the age, you could add an adjective that gives connotations to everything that was written in the sentence, such as “tender age of 14.” That’s a discretionary thing, because it’s not necessary. When you don’t have to use extra words: probably don’t. When you give less information, you intrigue the reader. There is a fine line between withholding too much and giving the reader the appropriate rope for them to pull. The best way to work out if you’re sitting comfortably on the line is to send your creative writing to someone, and have them tell you if there was a gap in the information. How many facts can you convey without telling the reader directly? Your markers are smart people, they can do the work on their end, you just have to feed them the essentials.

Here are some examples of the difference between showing and telling.

Telling: The beach was windy and the weather was hot. Showing: Hot sand bit my ankles as I stood on the shore.

Telling: His uniform was bleakly coloured with a grey lapel. He stood at attention, without any trace of a smile. Showing: The discipline of his emotions was reflected in his prim uniform.

Giving your character/persona depth

If your creative writing involves a character – whether that be a protagonist or the persona delivering your imaginative speech – you need to give them qualities beyond the page. It isn’t enough to describe their hair colour and gender. There needs to be something unique about this character that makes them feel real, alive and possibly relatable. Is it the way that they fiddle with loose threads on their cardigan? Is it the way they comb their hair through their fingers when they are stressed? Do they wear an eye patch? Do they have painted nails, but the pinky nail is always painted a different colour? Do they have an upward infliction when they are excited? Do the other characters change their tone when they are in the presence of this one character? Does this character only speak in high/low modality? Are they a pessimist? Do they wear hand-made ugly brooches?

Of course, it is a combination of many qualities that make a character live beyond the ink on the page. Hopefully my suggestions give you an idea of a quirk your character could have. Alternatively, you could have a character that is so intensely normal that they are a complete contrast to their vibrant setting?

Word Count?

Mine was 1300. I am a very fast writer in exam situations. Length does not necessarily mean quality, of course. A peer of mine wrote 900 words and got the same mark as me. For your first draft, I would aim for a minimum of 700 words. Then, when you create a gauge for how much you can write in an exam in legible handwriting, you can expand. For your half yearly, I definitely recommend against writing a 1300 word creative writing unless you are supremely confident that you can do that, at high quality, in 40 minutes (perhaps your half yearly exam isn’t a full Paper 1 – in which case you need to write to the conditions).

There is no correct word count range. You need to decide how many words you need to effectively and creatively express your ideas about discovery.

Relating to a stimulus

Since 2010, Paper 1 has delivered quotes to be used as the first sentence, general quotes to be featured anywhere in the text and visual images to be incorporated. Every year, there has been a twist on the area of study concept (belonging or discovery) in the question. In the belonging stage, BOSTES did not say “Write a creative piece about belonging. Include the stimulus ******.” Instead, they have said to write an imaginative piece about “belonging and not belonging” or to “Compose a piece of imaginative writing which explores the unexpected impact of discovery.” These little twists always come from the rubric, so there isn’t really any excuse to not be prepared for that!

If the stimulus is a quote such as “She was always so beautiful” there is lenience for tense. Using the quote directly, if required to do that, is the best option. However, if this screws up the tense you are writing in, it is okay to say “she is always so beautiful.” (Side note: This would be a really weird stimulus if it ever occurred.) Futhermore, gender can be substituted, although also undesirable. If the quote is specified to be the very first sentence of your work: there is no lenience. It must be the very first sentence.

As for a visual image, the level of incorporation changes. Depending on the image, you could reference the colours, the facial expressions, the swirly pattern or the salient image. Unfortunately, several stimuli from past papers are “awaiting copyright” online and aren’t available. However, there are a few, and when you have an imaginative piece you should try relate them to these stimuli as preparation.

The techniques:

Don’t forget to include some techniques in there. You study texts all year and you know what makes a text stand out. You know how a metaphor works, so use it. Be creative. Use a motif that flows through your story. If you’re writing a speech, use imperatives to call your reader to action. Use beautiful imagery that intrigues a reader. Use amazing alliteration (see what I did there). Avoid clichés like the plague (again…see what I did) unless you are effectively appropriating it. In HSC creative writing, you need to show that you have studied magnificent wordsmiths, and in turn, you can emulate their manipulation of form and language.

Some quirky prompts:

Click here if you want 50 quirky writing prompts – look for the spoiler in the post!

How do I incorporate Discovery?

If you click here you will be taken to an AOS rubric break down I have done with some particular prompts for HSC creative writing.

Part two: Editing and Beyond!

This next part is useful for your HSC creative writing when you have some words on the page waiting for improvement.

Once you’ve got a creative piece – or at least a plot – you can start working on how you will present this work in the most effective manner. You need to be equipped with knowledge and skill to refine your work on a technical level, in order to enhance the discovery that you will be heavily marked on. By synthesising the works of various genius writers and the experiences of HSC writers, I’ve compiled a list of checks and balances, tips and tricks, spells and potions, that will help you create the best piece of HSC creative writing that you can.

Why should you critique your writing and when?

What seems to be a brilliant piece of HSC creative writing when you’re cramming for exams may not continue to be so brilliant when you’re looking at it again after a solid sleep and in the day light. No doubt what you wrote will have merit, perhaps it will be perfect, but the chances lean towards it having room for improvement. You can have teachers look at your writing, peers, family, and even me here at ATAR Notes. Everyone can give their input and often, an outsider’s opinion is preciously valuable. However, at the end of the day this is your writing and essentially an artistic body that you created from nothing. That’s special. It is something to be proud of, and when you find and edit the faults in your own work, you enhance your writing but also gain skills in editing.

Your work should be critiqued periodically from the first draft until the HSC exams. After each hand-in of your work to your teacher you should receive feedback to take on board. You have your entire year 12 course to work on a killer creative writing piece. What is important is that you are willing to shave away the crusty edges of the cake so that you can present it in the most effective and smooth icing you have to offer. If you are sitting on a creative at about 8/15 marks right now (as of the 29/02/2016), you only have to gain one more mark per month in order to sit on a 15/15 creative. This means that you shouldn’t put your creative to bed for weeks without a second thought. This is the kind of work that benefits from small spontaneous bursts of editing, reading and adjusting. Fresh eyes do wonders to writer’s block, I promise. You will also find that adapting your creative writing to different stimuli is also very effective in highlighting strengths and flaws in the work. This is another call for editing! Sometimes you will need to make big changes, entirely re-arranging the plot, removing characters, changing the tense, etc. Sometimes you will need to make smaller changes like finely grooming the grammar and spelling. It is worth it when you have an HSC creative writing piece that works for you, and is effective in various situations that an exam could give you.

The way punctuation affects things:

I’ll just leave this right here…

Consistency of tense:

Are your sentences a little intense?

It is very exhausting for a responder to read complex and compound sentences one after the other, each full of verbose and unnecessary adjectives. It is such a blessed relief when you reach a simple sentence that you just want to sit and mellow in the beauty of its simplicity. Of course, this is a technique that you can use to your advantage. You won’t need the enormous unnecessary sentences though, I promise. “Jesus wept.” This is the shortest verse in the Bible (found John 11:35) and is probably one of the most potent examples of the power of simplicity. The sentence only involves a proper noun and a past-tense verb. It stands alone to be very powerful. It also stands as a formidable force in among other sentences. Sentence variation is extremely important in engaging a reader through flow.

Of course, writing completely in simple sentences is tedious for you and the reader. Variation is the key in HSC creative writing. This is most crucial in your introduction because there is opportunity to lose your marker before you have even shown what you’re made of! Reading your work out loud is one of the most effective ways to realise which sentences aren’t flowing. If you are running out of breath before you finish a sentence – you need to cut back. Have a look here and read this out loud:

The grand opening:

Writer’s Digest suggested in their online article “5 Wrong Ways to Start a Story” that there are in fact, ways to lose your reader and textual credibility before you even warm up. It is fairly disappointing to a reader to be thrown into drastic action, only to be pulled into consciousness and be told that the text’s persona was in a dream. My HSC English teacher cringed at the thought of us starting or resolving our stories with a dream that defeats everything that happened thus far. It is the ending you throw on when you don’t know how to end it, and it is the beginning you use to fake that you are a thrilling action writer. Exactly what you don’t want to do in HSC creative writing.

Hopefully neither of these apply to you – so when Johnny wakes up to realise “it was all just a dream” you better start hitting the backspace.Students often turn to writing about their own experiences. This is great! However, do not open your story with the alarm clock buzzing, even if that is the most familiar daily occurrence. Writer’s Digest agrees. They say, “the only thing worse than a story opening with a ringing alarm clock is when the character reaches over to turn it off and then exclaims, “I’m late.””So, what constitutes a good opening? If you are transporting a reader to a different landscape or time period than what they are probably used to, you want to give them the passport in the very introduction otherwise the plane to the discovery will leave without them. This is your chance to grab the marker and keep them keen for every coming word. Of course, to invite a reader to an unfamiliar place you need to give them some descriptions. This is the trap of death! Describing the location in every way is tedious and boring. You want to respect the reader and their imagination. Give them a rope, they’ll pull.However, if your story is set in a familiar world, you may need to take a different approach. These are some of my favourite first lines from books (some I have read, some I haven’t). I’m sure you can appreciate why each one is so intriguing.

“Call me Ishmael.” -Herman Melville, Moby Dick.

This works because it is simple, stark, demanding. Most of all, it is intriguing.

“It was a bright cold day in April, and the clocks were striking thirteen.” – George Orwell, 1984.

Usually, bright and sunny go together. Here, bright and cold are paired. What is even more unique? The clocks tick beyond 12. What? Why? How? You will find out if you read on! See how that works?

“It was a pleasure to burn.” Ray Bradbury, Farenheit 451.

This is grimacing, simple, intriguing.

“I write this sitting in the kitchen sink.” -Dodie Smith, I Capture the Castle.

Already I’m wondering why the bloody hell is this person in a kitchen sink? How did they get there? Are they squashed? This kind of unique sentence stands out.

“In case you hadn’t noticed, you have a mental dialogue going on inside your head that never stops. It just keeps going and going. Have you ever wondered why it talks in there? How does it decide what to say and when to say it?” – Michael A Singer, The Untethered Soul: The Journal Beyond Yourself.

This works because it appeals to the reader and makes them question a truth about themselves that they may have never considered before.

“Mr and Mrs Dursley, of number four Pivet Drive, were proud to say that they were perfectly normal, thank you very much.” JK Rowling, Harry Potter and the Philosopher’s Stone.

Who was questioning that they weren’t perfectly normal? Why are they so defensive and dismissive? I already feel a reaction to the pompous nature of the pair!

Resolving the story well!

There are so many ways to end stories. SO many. What stories have ended in a very efficient way for you? Which stories left you wanting more? Which stories let you down?

Because you are asked to write about discovery in HSC creative writing, you want the ending to be wholesome. This means, you need your marker to know that the ending justifies the discovery. You can’t leave your marker confused about whether or not the discovery had yet occurred because this may jeopardise your marks. If your discovery is an epiphany for the reader, you may want to finish with a stark, stand alone sentence that truly has a resonating effect. If your story is organised in a way that the discovery is transformative of a persona’s opinions, make sure that the ending clearly justifies the transformation that occurred. You could find it most effective to end your story with your main character musing over the happenings of the story.

In the pressure of an exam, it is tempting to cut short on your conclusion to save time. However, you MUST remember that the last taste of your story that your marker has comes from the final words. They simply cannot be compromised!

George Orwell’s wise words:

Looking for a bit of extra help?

We also have a free HSC creative writing marking thread here!

Don’t be shy, post your questions. If you have a question on HSC creative writing or anything else, it is guaranteed that so many other students do too. So when you post it on here, not only does another student benefit from the reply, but they also feel comforted that they weren’t the only one with the question!

Featured Articles

Your Common Study Questions Answered!

Need some advice on how to study? Confused on the best ways to approach certain topics? Here are your common study questions answered. Is it better to handwrite or type notes? B...

What does it actually mean to “study smart”?

When I was in high school, I was often told to “study smart, not hard”. It’s a common high school trope and, to be completely frank, I didn’t know what it m...

The benefit of asking questions in high school

For whatever reason, asking questions through class can actually be pretty tough. Maybe you feel embarrassed about not knowing the answer. Maybe you haven’t yet developed rap...

How to study in high school - the 'dos' and 'don'ts'

As we know, different students study in different ways, and that’s totally fine. This article isn’t prescriptive - we’re not telling you what must be done - but w...

Sponsored by the Victorian Government - Department of Education

Looking for a career where you can make a difference?

With scholarships, incentives, supports and more, there's never been a better time to become a teacher.

Sample HSC English Essay-Belonging

Do you find it difficult to write essays about belonging.

Firstly, read our post on How to write band six essays !

Then, read the following band six response for further guidance,  or   Download it as a word document

This sample HSC English essay received a mark of 14 out of 15. It is not perfect, but makes some good points and illustrates the structure you should aspire to have in your essays. It refers to the prescribed text As You Like It by William Shakespeare.[separator top=”40″ style=”shadow”]

“Relationships are essential to finding a true sense of belonging”

Discuss with reference to your prescribed text and related text/s

Due to the complex and abstract nature of the concept of belonging, a true sense of belonging can be found in different circumstances for different people. As each individual has their own desires, needs and values, they find their place in the world and a genuine sense of belonging in various avenues. Many individuals find the strongest sense of belonging through relationships, due to the fact that by nature these connections fulfill the human need for social interaction and enrich the lives of the persons involved. Conversely, relationships which do not fit the conventional model of this kind of connection and thus result in negative outcomes for individuals can ultimately lead to a true sense of not belonging and its related notions of isolation and disaffection. Instead, these individuals may attain the same sense that they truly belong outside relationships, though their connections to other ideas such as place and culture, or within themselves. Shakespeare’s As You Like It and Khyenstse Norbu’s Travellers and Magicians are two texts in which an exploration of belonging and its different meanings for individuals ultimately leads to a deeper understanding of the complexity of the concept of belonging and thus that individuals can find a true sense of belonging in a great range of places, not limited to relationships.

Relationships by nature embody ideas of a connection on a psychological level between two people which can fulfill other fundamental human needs such as the need for social interaction, and thus can result in the individuals involved attaining a true sense of belonging. When individuals find meaning and purpose in connections with other people, as they often do in relationships, the need to belong is fulfilled in the greatest sense as the individuals life is enriched by the positive outcomes for their self esteem, security and stability. This idea can be seen in the relationship between Adam and Orlando set up by Shakespeare in As You Like It. Adam promises that he will “follow thee to the last gasp with truth and loyalty” when Orlando decides to go to the forest. By changing the rhyme scheme for Adam’s declaration of commitment to Orlando, Shakespeare effectively emphasizes the lack of superficiality that exists in this relationship as opposed to other relationships he sets up in the play. In their relationship, Orlando finds purpose and stability in his life, knowing he has another person who will always look out for him, just as Adam finds purpose knowing he will always be in the company of Orlando, seen where he states “Fortune cannot recompense me better than to die well and not my master’s debtor.” Through this, Shakespeare communicates that in relationships which are built on trust, loyalty or other solid connections between people, individuals can find meaning, stability, purpose and thus a true sense that they belong. In Travellers and Magicians Norbu inquires into similar ideas which support the value of relationships in the search for a true sense of belonging. In the relationship between Tashi and Deki, Norbu communicates the idea of their deeper connection on all levels through quickly alternating close ups between the expressive eyes of Deki and Tashi, which create the idea that their souls and desires are connecting as their eyes remain fixed on one another. The couple is also often presented on equal terms embracing each other, caring and showing affection through mid shots. Their connection leads Tashi to exclaim “If I never left this place, and died right here with you, I would not die unhappy.” Norbu thus effectively supports the idea that meaning and purpose can be found in real connections with others, and that consequently individuals can find the strongest sense of belonging in relationships such as these. Through this relationship, he also inquires further into the reasons why relationships can lead to a individual feeling that they truly belong. By suggesting that the positive outcomes which the human psyche correlates with attaining a sense of belonging, such as understanding, stability and care manifest themselves in relationships, Norbu advocates and supports the almost inextricable link between belonging and relationships.

Whilst there may be an almost inextricable link between belonging and relationships, not all relationships ultimately lead to individuals finding a genuine sense of belonging which manifests itself in positive outcomes for their lives. Some relationships can be driven by the quest to maintain control, have power and maintain authority over others or by the decisively one sided benefits to one of the individuals involved. In these relationships, it is more likely that individuals find themselves not belonging, isolated and disaffected rather than finding a true sense of belonging. This idea is expanded on by Norbu in Travellers and Magicians. The relationship between Deki and Agay is characterized by Agay’s domination of his young and beautiful wife. This is emphasized through low shots which place the vertically challenged Agay in a position of power over Deki and his statement to Tashi that he makes her live in the isolated hut with him because “We may grow old, but our jealousy stays young.” Deki is thus presented by Norbu as isolated in her relationship; she does not feel the strong connection with Agay that conventional notions of being in the marriage relationship would suggest. Thus through the negative consequences for Deki of being in a relationship with Tashi, and her strong sense of isolation and the feeling she does not truly belong, Norbu communicates the idea that relationships are not always central for individuals trying to find a true sense of belonging. Shakespeare through the representation of a relationship in which love is unrequited similarly challenges the connection between relationships and a true sense of belonging. Whilst Phoebe ends up marrying Silvius, there is a lot of ambiguity in whether she truly loves him and thus has attained a genuine sense of belonging in this relationship. When they marry, all Phoebe comments is “I will not eat my word now thou art mine Thy faith and my fancy to thee doth combine.” A rhyming couplet draws emphasis to this section of the play, where it is not resolved whether Phoebe truly commits her whole self into this relationship, and thus whether Silvius will experience the positive outcomes of the relationship he has desired throughout the play. In this ambiguity, Shakespeare supports the notion that individuals do not always find the greatest sense that they belong in relationships, especially relationships which are unequal and result in negative outcomes for individuals.

Individuals can find a true sense of belonging outside the confines of a relationship in connections to ideas such as culture, place or even within themselves. As each individual is intrinsically different, so are the ways in which they fulfill the fundamental human need to belong. Norbu presents the ideas that individuals can find contentment and fulfill the need to belong through connection to traditional culture and village life. In the first scene, a series of quickly changing mid shots show the activities of daily life in their rural setting. The villagers all wear traditional Gho’s and shrieks of joy emphasized through an echo when practicing archery suggest they are content with these repetitive activities. Essentially, they conform to the expectations of their traditional culture and life and find a true sense of belonging and fulfillment in this connection. Norbu thus demonstrates in this connection that a true sense of belonging and its positive outcomes can be found outside relationships. Duke Senior in As You Like It, can similarly be described as finding a genuine sense of belonging and contentment with his place and environment, the Forest of Arden. He asks Amiens and the audience “Are not these woods More free from peril than the envious court?” In the use of the words “free from peril,” Shakespeare suggests that in this place Duke Senior feels comfortable, content and untroubled and thus has developed a true sense of belonging with this place. The character of Jacques also finds an inner contentment within his meaningless existence.. At the end of the play, Jacques states “I am for other than for dancing measures” and retires to Duke Senior’s “abandoned cave.” He deliberately chooses not to belong in relationships with his comrades, instead he finds his own sense of contentment within himself, and thus Shakespeare demonstrates that a true sense of belonging can be found within an individual.

The complexity of the concept of belonging often means that individuals find belonging in different places to other individuals. Whilst many individuals can attain a true sense of belonging in relationships, due to the nature of these connections and the positive outcomes they have for individuals, there are some relationships in which individuals experience the opposite from truly belonging. Furthermore, there are many circumstances outside the confines of relationships in which individuals can attain a genuine sense of belonging, including culture, place and within themselves. Analysis of a range of texts including As You Like It and Travellers and Magicians inquire into these ideas and foster an appreciation for the need to consider different circumstances and individuals before making assumptions about the multifaceted concept of belonging. Ultimately, relationships are often the connections in which individuals find the truest sense that they belong, but the fulfillment of the fundamental need to belong is not strictly limited to the confines of a relationship.

Similar Posts

Success – whatever it takes.

The skills that you develop in order to do well in the HSC are not limited to just your school life. Successful people are not the ones that hang around waiting for opportunities to arise. They work hard and they are willing to put in the time and the effort needed to do well. Sometimes…

Writing Band Six Essays-Body Paragraphs

Now you know how to introduce your essay, and the fact that paragraphs are important, its time to learn what to actually put into each paragraph. Every year, the most common criticism from the marking centre is that students do not integrate their responses. Their complaint is that instead of structuring their essays by ideas,…

Discovery Paper 1 Essay Questions

So you have been asked to write an essay. Easy! You are supposed to be getting ready for an exam or a speech and then go to the NESA… formerly and infamously known as the dreaded BOSTES website. Teachers and ex-students alike have told you that in order to do well in the first half…

Modules/Electives

This is where HSC ESL, Standard and Advanced English diverge. Each of these courses has their own modules, otherwise known as units of study, and electives within these modules. Each student will study ONE elective from each module, with the modules conveniently named A, B and C to avoid confusion. Just like the area of…

Assessments during the HSC Year

Each school will conduct assessments differently; however there are some prescriptions from the syllabus which regulate how students can be assessed. For both standard and advanced English, listening, speaking, and viewing/representing assessments will account for 15% each of your total assessment. This means you may have a listening task, a speaking task and a viewing…

Creative Writing Discovery – Part 1

The Creative Writing section of the HSC Paper 1 exam offers students the chance to display their understanding of Discovery by using their imagination to construct a short fictional piece. As enjoyable as this is, similar words of caution made about the comprehension section apply a propos of creative writing, for pitfalls abound in preparing for this part of…

introduction is way to long

Where did they lose the 1 mark from?

nice! Learn to use the word ‘thus’ properly though haha

Duly noted dfghjk, thanks.

not vey good structure. need to have more quotes, and evidence of how relationships strengthen or limit belonging. intro and conclusion were too long, i don’t know how this got 14. i would give it a 10, it lacks depth and tends to retell the story.

offchop mate

Leave a Reply Cancel reply

Oxford University Press's Academic Insights for the Thinking World

The question of belonging

The Novel: A Survival Skill

• By Tim Parks
• July 30 th 2015

“Don’t discuss the writer’s life. Never speculate about his intentions.”

Such were the imperatives when writing literary criticism at school and university. The text was an absolute object to be dissected for what it was, with no reference to where it came from. This conferred on the critic the dignity of the scientist. It’s surprising they didn’t ask us to wear white coats.

Meantime, the individual reader was never mentioned. The fact that people disagreed about literary works, or reacted differently to them, need be of no concern. Critics consider the object, not the consequences.

Does this make sense? Did it ever? To emancipate the literary text from the realities of its production and consumption, to talk about what is essentially an act of communication without reflecting on the partners in the exchange?

One problem was the crudeness of the biographical approach as actually practiced by some outside academe, but above all as stigmatized by the professors. “ Biographical fallacy ” the University of Houston website warns its students: “the belief that one can explicate the meaning of a work of literature by asserting that it is really about events in its author’s life. Biographical critics retreat from the work of literature into the author’s biography to try to find events … which appear similar to features of the work, and then claim the work “represents those events…,” an over-simplified guess about Neo-formalist ‘mimesis.'”

The biographical critic is a phobic simpleton. Who would dream of engaging in such an enterprise?

When we read a novel, or better still many novels by the same author, we can’t help but be aware of an authorial presence, a particular cast of mind that, for all their differences, these books share and that readers enter into relation with as they read. This is why literary biographies are so much more popular than literary criticism. Readers want to know more about the mind they have been in touch with. For years I have been looking for a way to give some system and intellectual respectability to a criticism that remains aware of both the author’s life and individual reader responses, an approach that embraces the whole process of writing and reading from conception to consumption.

The place to start, perhaps, is with the reflection that the way an author writes will be in relation to patterns of behaviour in his or her life, will indeed be part of that behaviour, part of the way the writer positions him or herself in the world. The writing and publication of a poem or novel is itself an event in the life, not separate from it, an event that can shift the relationships that constitute the author’s world.

But enough of abstract preliminaries. Let me try to give you Chekhov in a nut, or blog-shell. Excluded from his family between 16 and 19, Chekov got back into the centre of it by writing stories. And pushed out the father who had been the cause of the trouble. Fleeing debts, his authoritarian father had taken the family to Moscow leaving his third child (of six) to sort out his messy affairs in the provincial port of Taganrog. Three years later, Chekhov rejoined his siblings in a damp basement flat and, as it were, wrote them out of there.

Between ages 20 and 28, he published 528 stories using the income to buy his family a big house in the country. He was now head of the household. All his life would be spent with his mother and younger brothers and sister; all his writing would be about belonging and exclusion, freedom and imprisonment. In a relationship, a family, a group, his characters fear exclusion from it, or yearn to be free of it. Free, they find solitude a prison.

In the country Chekov felt bored and headed for Moscow. Company was so desirable. In Moscow he felt overwhelmed and headed straight back to the country. Company was so vulgar. Then he invited friends to the country. Then he built himself a small house near the big house so he could be free of his friends. In his stories the turning point occurs where the desired relationship or desired freedom is perceived as equally imprisoning as the previous state. Or worse.

Chekhov had started writing as a stopgap while he studied to be a doctor. Then he oscillated between the two professions. Medicine put him in touch with life, but life was overwhelming. Chekhov could find no stable position with regard to belonging, groups relationships. The writing simultaneously dramatizes this instability and brings its author a form of safe belonging: his work is hugely popular, but he remains separate from his admirers.

Chekhov says he wants “to be free, nothing else.” But he also wants to be married. He fears marriage: “every intimacy, which at first so agreeably diversifies life … inevitably grows into a regular problem of extreme intri­cacy.” So he flirts, has affairs. The short story is a flirtation, a brief relationship. The longer a Chekhov story, the more melancholy it becomes. He tries novels but can’t finish them. They are a prison. Now he starts writing plays, which give him a closer contact with actors and public. On the brink of marrying in 1889, Chekhov cuts loose and flees to the penal colony of Sakhalin Island where for three months he interviews 160 prisoners a day, preparing a file card for each and taking notes on forced labour, child prostitution, and floggings. All his life he never stopped recalling that his father beat him. We can think of his 600 plus stories as file cards of prisoners or those who risk imprisonment, in love, in work, in parenthood, in politics. Essentially, writing had become a survival skill, a form of freedom and solitude that nevertheless put him in a gratifying relation with others.

Needless to say, a reader’s reaction will largely depend on where he or she stands in relation to the question of belonging.

Featured image: Books education school literature by Hermann. CC0 Public Domain via Pixabay .

Born in Manchester in 1954, Tim Parks studied at Cambridge and Harvard before moving permanently to Italy in 1981. Author of four bestselling books on Italy, and fifteen novels, including the Booker short-listed  Europa , and most recently  Painting Death , he has translated works by Moravia, Calvino, Calasso, Machiavelli, and Leopardi. While running a degree course in translation at IULM University, Milan, he writes regularly for the LRB and the NYRB. His non-fiction works include,  Translating Style , a literary approach to translation problems,  Teach Us to Sit Still , a reflection on chronic pain and meditation, and Where I’m Reading From , a provocative view of publishing in an era of globalization. Tim Parks is the author of The Novel: A Survival Skill.

• Arts & Humanities

Our Privacy Policy sets out how Oxford University Press handles your personal information, and your rights to object to your personal information being used for marketing to you or being processed as part of our business activities.

We will only use your personal information to register you for OUPblog articles.

Or subscribe to articles in the subject area by email or RSS

Related posts:

No related posts.

Recent Comments

This brings me back to the days when this was referred to as the “Intentional Fallacy,” more or less popularized by Wimsatt and Beardsley in an article in 1954. While concentrating only on poetry they presented five propositions summarized and abstracted so as to be axiomatic to them. The first one is that “a poem does not come into existence by accident”…”yet to insist the designing intellect as a CAUSE of a poem is not to grant the design or intention as a STANDARD by which the critic is to judge the worth of a poet’s performance.” Coupled with Reuben Brower’s concept of the “Speaking Voice,” one can understand their conclusion that ” critical inquiries cannot be settled by consulting the oracle.” Thank you for the article.

Comments are closed.

Virtual Tour

Experience University of Idaho with a virtual tour. Explore now

• Discover a Career
• Find a Major
• Experience U of I Life

More Resources

• Admitted Students
• International Students

Take Action

• Find Financial Aid
• View Deadlines
• Find Your Rep

Helping to ensure U of I is a safe and engaging place for students to learn and be successful. Read about Title IX.

Get Involved

• Clubs & Volunteer Opportunities
• Recreation and Wellbeing
• Student Government
• Student Sustainability Cooperative
• Academic Assistance
• Safety & Security
• Career Services
• Health & Wellness Services
• Register for Classes
• Dates & Deadlines
• Financial Aid
• Sustainable Solutions
• U of I Library

• Upcoming Events

Review the events calendar.

Stay Connected

• Vandal Family Newsletter
• Here We Have Idaho Magazine
• Living on Campus
• Campus Safety
• About Moscow

The largest Vandal Family reunion of the year. Check dates.

Benefits and Services

• Vandal Voyagers Program
• Vandal License Plate
• Submit Class Notes
• Make a Gift
• View Events
• Alumni Chapters
• University Magazine
• Alumni Newsletter

SlateConnect

U of I's web-based retention and advising tool provides an efficient way to guide and support students on their road to graduation. Login to SlateConnect.

Common Tools

• Administrative Procedures Manual (APM)
• Class Schedule
• OIT Tech Support
• Academic Dates & Deadlines
• U of I Retirees Association
• Faculty Senate
• Staff Council

Department of English

M.f.a. creative writing.

English Department

Physical Address: 200 Brink Hall

Mailing Address: English Department University of Idaho 875 Perimeter Drive MS 1102 Moscow, Idaho 83844-1102

Phone: 208-885-6156

Email: [email protected]

Web: English

Thank you for your interest in the Creative Writing MFA Program at University of Idaho: the premier fully funded, three-year MFA program in the Northwest. Situated in the panhandle of Northern Idaho in the foothills of Moscow Mountain, we offer the time and support to train in the traditions, techniques, and practice of nonfiction, poetry, and fiction. Each student graduates as the author of a manuscript of publishable quality after undertaking a rigorous process of thesis preparation and a public defense. Spring in Moscow has come to mean cherry blossoms, snowmelt in Paradise Creek, and the head-turning accomplishments of our thesis-year students. Ours is a faculty of active, working writers who relish teaching and mentorship. We invite you in the following pages to learn about us, our curriculum, our community, and the town of Moscow. If the prospect of giving yourself three years with us to develop as a writer, teacher, and editor is appealing, we look forward to reading your application.

Pure Poetry

A Decade Working in a Smelter Is Topic of Alumnus Zach Eddy’s Poems

Ancestral Recognition

The region surrounding the University of Idaho is the ancestral land of both the Coeur d’Alene and Nez Perce peoples, and its campus in Moscow sits on unceded lands guaranteed to the Nez Perce people in the 1855 Treaty with the Nez Perce. As a land grant university, the University of Idaho also benefits from endowment lands that are the ancestral homes to many of the West’s Native peoples. The Department of English and Creative Writing Program acknowledge this history and share in the communal effort to ensure that the complexities and atrocities of the past remain in our discourse and are never lost to time. We invite you to think of the traditional “land acknowledgment” statement through our MFA alum CMarie Fuhrman’s words .

Degree Requirements

Three years to write.

Regardless of where you are in your artistic career, there is nothing more precious than time. A three-year program gives you time to generate, refine, and edit a body of original work. Typically, students have a light third year, which allows for dedicated time to complete and revise the Creative Thesis. (48 manuscript pages for those working in poetry, 100 pages for those working in prose.)

Our degree requirements are designed to reflect the real-world interests of a writer. Students are encouraged to focus their studies in ways that best reflect their artistic obsessions as well as their lines of intellectual and critical inquiry. In effect, students may be as genre-focused or as multi-genre as they please. Students must remain in-residence during their degrees. Typically, one class earns you 3 credits. The MFA requires a total of 54 earned credits in the following categories.

12 Credits : Graduate-level Workshop courses in Fiction, Poetry, and/or Nonfiction. 9 Credits: Techniques and Traditions courses in Fiction, Poetry, and/or Nonfiction 3 Credits : Internships: Fugue, Confluence Lab, and/or Pedagogy 9 Credits: Literature courses 12 Credits: Elective courses 10 Credits: Thesis

Flexible Degree Path

Students are admitted to our program in one of three genres, Poetry, Fiction, or Nonfiction. By design, our degree path offers ample opportunity to take Workshop, Techniques, Traditions, and Literature courses in any genre. Our faculty work and publish in multiple genres and value the slipperiness of categorization. We encourage students to write in as broad or focused a manner as they see fit. We are not at all interested in making writers “stay in their lanes,” and we encourage students to shape their degree paths in accordance with their passions. 

What You Study

During your degree, you will take Workshop, Techniques, Traditions, and Literature courses.

Our workshop classes are small by design (typically twelve students or fewer) and taught by core and visiting MFA faculty. No two workshop experiences look alike, but what they share are faculty members committed to the artistic and intellectual passions of their workshop participants.

Techniques studios are developed and taught by core and visiting MFA faculty. These popular courses are dedicated to the granular aspects of writing, from deep study of the poetic image to the cultivation of independent inquiry in nonfiction to the raptures of research in fiction. Such courses are heavy on generative writing and experimentation, offering students a dedicated space to hone their craft in a way that is complementary to their primary work.

Traditions seminars are developed and taught by core and visiting MFA faculty. These generative writing courses bring student writing into conversation with a specific trajectory or “tradition” of literature, from life writing to outlaw literature to the history of the short story, from prosody to postwar surrealism to genre-fluidity and beyond. These seminars offer students a dynamic space to position their work within the vast and varied trajectories of literature.

Literature courses are taught by core Literature and MFA faculty. Our department boasts field-leading scholars, interdisciplinary writers and thinkers, and theory-driven practitioners who value the intersection of scholarly study, research, humanism, and creative writing.

Award-Winning Faculty

We teach our classes first and foremost as practitioners of the art. Full stop. Though our styles and interests lie at divergent points on the literary landscape, our common pursuit is to foster the artistic and intellectual growth of our students, regardless of how or why they write. We value individual talent and challenge all students to write deep into their unique passions, identities, histories, aesthetics, and intellects. We view writing not as a marketplace endeavor but as an act of human subjectivity. We’ve authored or edited several books across the genres.

Learn more about Our People .

Thesis Defense

The MFA experience culminates with each student writing and defending a creative thesis. For prose writers, theses are 100 pages of creative work; for poets, 48 pages. Though theses often take the form of an excerpt from a book-in-progress, students have flexibility when it comes to determining the shape, form, and content of their creative projects. In their final year, each student works on envisioning and revising their thesis with three committee members, a Major Professor (core MFA faculty) and two additional Readers (core UI faculty). All students offer a public thesis defense. These events are attended by MFA students, faculty, community members, and other invitees. During a thesis defense, a candidate reads from their work for thirty minutes, answers artistic and critical questions from their Major Professor and two Readers for forty-five minutes, and then answer audience questions for thirty minutes. Though formally structured and rigorous, the thesis defense is ultimately a celebration of each student’s individual talent.

The Symposium Reading Series is a longstanding student-run initiative that offers every second-year MFA candidate an opportunity to read their works-in-progress in front of peers, colleagues, and community members. This reading and Q & A event prepares students for the third-year public thesis defense. These off-campus events are fun and casual, exemplifying our community centered culture and what matters most: the work we’re all here to do.

Teaching Assistantships

All students admitted to the MFA program are fully funded through Teaching Assistantships. All Assistantships come with a full tuition waiver and a stipend, which for the current academic year is roughly $15,000. Over the course of three years, MFA students teach a mix of composition courses, sections of Introduction to Creative Writing (ENGL 290), and additional writing courses, as departmental needs arise. Students may also apply to work in the Writing Center as positions become available. When you join the MFA program at Idaho, you receive teacher training prior to the beginning of your first semester. We value the role MFA students serve within the department and consider each graduate student as a working artist and colleague. Current teaching loads for Teaching Assistants are two courses per semester. Some members of the Fugue editorial staff receive course reductions to offset the demands of editorial work. We also award a variety of competitive and need-based scholarships to help offset general living costs. In addition, we offer three outstanding graduate student fellowships: The Hemingway Fellowship, Centrum Fellowship, and Writing in the Wild Fellowship. Finally, our Graduate and Professional Student Association offers extra-departmental funding in the form of research and travel grants to qualifying students throughout the academic year.

Distinguished Visiting Writers Series

Each year, we bring a Distinguished Visiting Writer to campus. DVWs interface with our writing community through public readings, on-stage craft conversations hosted by core MFA faculty, and small seminars geared toward MFA candidates. Recent DVWs include Maggie Nelson, Roger Reeves, Luis Alberto Urrea, Brian Evenson, Kate Zambreno, Dorianne Laux, Teju Cole, Tyehimba Jess, Claire Vaye Watkins, Naomi Shihab Nye, David Shields, Rebecca Solnit, Gabrielle Calvocoressi, Susan Orlean, Natasha Tretheway, Jo Ann Beard, William Logan, Aisha Sabatini Sloan, Gabino Iglesias, and Marcus Jackson, among several others.

Fugue Journal

Established in 1990 at the University of Idaho, Fugue publishes poetry, fiction, essays, hybrid work, and visual art from established and emerging writers and artists. Fugue is managed and edited entirely by University of Idaho graduate students, with help from graduate and undergraduate readers. We take pride in the work we print, the writers we publish, and the presentation of both print and digital content. We hold an annual contest in both prose and poetry, judged by two nationally recognized writers. Past judges include Pam Houston, Dorianne Laux, Rodney Jones, Mark Doty, Rick Moody, Ellen Bryant Voigt, Jo Ann Beard, Rebecca McClanahan, Patricia Hampl, Traci Brimhall, Edan Lepucki, Tony Hoagland, Chen Chen, Aisha Sabatini Sloan, sam sax, and Leni Zumas. The journal boasts a remarkable list of past contributors, including Steve Almond, Charles Baxter, Stephen Dobyns, Denise Duhamel, Stephen Dunn, B.H. Fairchild, Nick Flynn, Terrance Hayes, Campbell McGrath, W.S. Merwin, Sharon Olds, Jim Shepard, RT Smith, Virgil Suarez, Melanie Rae Thon, Natasha Trethewey, Philip Levine, Anthony Varallo, Robert Wrigley, and Dean Young, among many others.

Academy of American Poets University Prize

The Creative Writing Program is proud to partner with the Academy of American Poets to offer an annual Academy of American Poets University Prize to a student at the University of Idaho. The prize results in a small honorarium through the Academy as well as publication of the winning poem on the Academy website. The Prize was established in 2009 with a generous grant from Karen Trujillo and Don Burnett. Many of our nation’s most esteemed and celebrated poets won their first recognition through an Academy of American Poets Prize, including Diane Ackerman, Toi Derricotte, Mark Doty, Tess Gallagher, Louise Glück, Jorie Graham, Kimiko Hahn, Joy Harjo, Robert Hass, Li-Young Lee, Gregory Orr, Sylvia Plath, Mark Strand, and Charles Wright.

Fellowships

Centrum fellowships.

Those selected as Centrum Fellows attend the summer Port Townsend Writers’ Conference free of charge. Housed in Fort Worden (which is also home to Copper Canyon Press), Centrum is a nonprofit dedicated to fostering several artistic programs throughout the year. With a focus on rigorous attention to craft, the Writers’ Conference offers five full days of morning intensives, afternoon workshops, and craft lectures to eighty participants from across the nation. The cost of the conference, which includes tuition, lodging, and meals, is covered by the scholarship. These annual scholarship are open to all MFA candidates in all genres.

Hemingway Fellowships

This fellowship offers an MFA Fiction student full course releases in their final year. The selection of the Hemingway Fellow is based solely on the quality of an applicant’s writing. Each year, applicants have their work judged blind by a noted author who remains anonymous until the selection process has been completed. Through the process of blind selection, the Hemingway Fellowship Fund fulfills its mission of giving the Fellow the time they need to complete a substantial draft of a manuscript.

Writing in the Wild

This annual fellowship gives two MFA students the opportunity to work in Idaho’s iconic wilderness areas. The fellowship fully supports one week at either the McCall Outdoor Science School (MOSS), which borders Payette Lake and Ponderosa State Park, or the Taylor Wilderness Research Station, which lies in the heart of the Frank Church River of No Return Wilderness Area. Both campuses offer year-round housing. These writing retreats allow students to concentrate solely on their writing. Because both locations often house researchers, writers will also have the opportunity to interface with foresters, geologists, biologists, and interdisciplinary scholars.

Program History

Idaho admitted its first class of seven MFA students in 1994 with a faculty of four: Mary Clearman Blew, Tina Foriyes, Ron McFarland (founder of Fugue), and Lance Olsen. From the beginning, the program was conceived as a three-year sequence of workshops and techniques classes. Along with offering concentrations in writing fiction and poetry, Idaho was one of the first in the nation to offer a full concentration in creative nonfiction. Also from its inception, Idaho not only allowed but encouraged its students to enroll in workshops outside their primary genres. Idaho has become one of the nation’s most respected three-year MFA programs, attracting both field-leading faculty and students. In addition to the founders of this program, notable distinguished faculty have included Kim Barnes, Robert Wrigley, Daniel Orozco, Joy Passanante, Tobias Wray, Brian Blanchfield, and Scott Slovic, whose collective vision, rigor, grit, and care have paved the way for future generations committed to the art of writing.

The Palouse

Situated in the foothills of Moscow Mountain amid the rolling terrain of the Palouse (the ancient silt beds unique to the region), our location in the vibrant community of Moscow, Idaho, boasts a lively and artistic local culture. Complete with independent bookstores, coffee shops, art galleries, restaurants and breweries, (not to mention a historic art house cinema, organic foods co-op, and renowned seasonal farmer’s market), Moscow is a friendly and affordable place to live. Outside of town, we’re lucky to have many opportunities for hiking, skiing, rafting, biking, camping, and general exploring—from nearby Idler’s Rest and Kamiak Butte to renowned destinations like Glacier National Park, the Snake River, the Frank Church River of No Return Wilderness Area, and Nelson, BC. As for more urban getaways, Spokane, Washington, is only a ninety-minute drive, and our regional airline, Alaska, makes daily flights to and from Seattle that run just under an hour.

For upcoming events and program news, please visit our calendar .

For more information about the MFA program, please contact us at:  [email protected]

Department of English University of Idaho 875 Perimeter Drive MS 1102 Moscow, ID 83844-1102 208-885-6156