Category: Creative Writing

Worth 10% of Final Grade

This assignment asks you to reflect on a current event/issue/topic in sport today and describe the event/issue/topic in the form of a written letter to someone in the past. Be creative in who you write to. It can be a famous athlete (e.g., Muhammad Ali), a grandparent, or even a younger version of yourself. You should incorporate your own personal experiences with course readings (if possible), class discussions, primary/secondary sources, and if possible, statements from the media. There should be some personal narrative in this paper. 1st person is A-OK to use! Have fun with this assignment. Write informally if needed!

Here are some questions that you can try to answer and help navigate your thinking:

• What is the event/issue/topic?
• Who is participating in the event/issue/topic?
• What is the significance?
• What is the history? What is the timeline of events?
• What major event(s) led to this issue coming about
• Why is this moment significant?
• What is the public saying about the event? What are your friends saying? Family?
• Reflect on the event/issue/topic with your own thoughts
• MOST IMPORTANTLY, TRY TO CONNECT THIS EVENT/ISSUE/TOPIC TO SOMETHING IN THE PAST THAT THE READER MAY BE ABLE TO RECOGNIZE

Formatting and submission guidelines:

• Literally, try to write this paper like a letter such as Dear Muhammad….
• Never written a letter? Youve written an email, right?
• PLEASE USE CORRECT AND PROPER GRAMMAR, SYNTAX, AND SPELLING
• Make sure to put your name on it
• The letter should be 2-4 pages double spaces (3 pages should def suffice though), size 12 font, 1-inch margins
• References should be cited in proper APA style
• Why do we need to cite sources? Because this is still an academic practice.
• You should submit your paper through Canva

Below students find how they will be marked. Please note that the instructor will mark accordingly so 4s (4/5) and 2s (2/5) may be given depending on the quality of the work.

Grading Rubric for the Letter to the Past Assignment

Introduction:

• 5 = Introduction sentence or introductory portion of the letter clearly outlines the event/topic/issue
• 3 = There is a vague attempt at an introduction, but it is confusing.
• 1 = No clear introduction or statement of event/topic/issue

Description

• 5 = Description sporting event/topic/issue and how it has changed over time (if possible)
• 3 = Description incompletely, vaguely, or unclearly addresses how it has changed over time
• 1 = Description about sporting event/topic/issue are unclear or not present.

Personal Reflection (interpretation and own opinion)

• 5 = Personal reflection of sporting event/topic/issue is clearly articulated and showcases personal narrative
• 3 = Personal reflection incompletely, vaguely, or unclearly addresses your personal thoughts on the issue
• 1 = Personal reflection about sporting event/topic/issue are unclear or not present

Connection to the past

• 5 = Connection of sporting event/topic/issue to a similar historical experience in which the person you are writing to is living in is clearly articulated (i.e., athlete activism now and the Civil Rights movement of the 1960s)…this may be difficult depending on the topic, but TRY an BE CREATIVE
• 3 = Connection of sporting event/topic/issue to a similar historical experience in which the person you are writing to is living in is incomplete, vague or unclear
• 1 = Connection of sporting event/topic/issue to a similar historical experience in which the person you are writing to is living in is not present

Conclusion:

• 5 = Conclusion clearly summarizes your thoughts regarding sporting event/topic/issue to the reader
• 2 = There is a vague attempt to conclude the letter, but it is confusing.
• 0 = No conclusion paragraph

References:

• 2= References are provided for all sources and generally conform to APA style. 2 sources (1 primary and 1 secondary) are used. Full references for scholarly articles are provided at the end of your paper and generally conform to APA style.
• 0 = No attempt was made to cite sources.

Proofreading

• 3 = Good effort at proof-reading your paper.
• 0 = Spell-check was not used. Furthermore, the grammar is so problematic that it is difficult to understand what you are trying to say.

Rubric

Letter to the Past

Letter to the Past

CriteriaRatingsPtsThis criterion is linked to a Learning Outcome

Introduction

5 to >3.0 pts

Full Marks

Introduction sentence or introductory portion of the letter clearly outlines the event/topic/issue

3 to >1.0 pts

Partial Marks

There is a vague attempt at an introduction, but it is confusing.

1 to >0 pts

Lowest Mark

No clear introduction or statement of event/topic/issue

5 pts

This criterion is linked to a Learning Outcome

Description

5 to >3.0 pts

Full Marks

Description sporting event/topic/issue and how it has changed over time (if possible)

3 to >1.0 pts

Partial Marks

Description incompletely, vaguely, or unclearly addresses how it has changed over time

1 to >0 pts

Lowest

Description about sporting event/topic/issue are unclear or not present.

5 pts

This criterion is linked to a Learning Outcome

Personal Reflection (interpretation and own opinion)

5 to >3.0 pts

Full Marks

Personal reflection of sporting event/topic/issue is clearly articulated and showcases personal narrative

3 to >1.0 pts

Partial marks

Personal reflection incompletely, vaguely, or unclearly addresses your personal thoughts on the issue

1 to >0 pts

Lowest Marks

Personal reflection about sporting event/topic/issue are unclear or not present

5 pts

This criterion is linked to a Learning Outcome

Connection to the past

5 to >3.0 pts

Full Marks

Connection of sporting event/topic/issue to a similar historical experience in which the person you are writing to is living in is clearly articulated (i.e., athlete activism now and the Civil Rights movement of the 1960s)…this may be difficult depending on the topic, but TRY an BE CREATIVE

3 to >1.0 pts

Partial Marks

Connection of sporting event/topic/issue to a similar historical experience in which the person you are writing to is living in is incomplete, vague or unclear

1 to >0 pts

Lowest Marks

Connection of sporting event/topic/issue to a similar historical experience in which the person you are writing to is living in is not present

5 pts

This criterion is linked to a Learning Outcome

Conclusion

5 to >3.0 pts

Full Marks

Conclusion clearly summarizes your thoughts regarding sporting event/topic/issue to the reader

3 to >1.0 pts

Partial Marks

There is a vague attempt to conclude the letter, but it is confusing.

1 to >0 pts

No Marks

No conclusion paragraph

5 pts

This criterion is linked to a Learning Outcome

References

2 to >0.0 pts

Full Marks

References are provided for all sources and generally conform to APA style. 2 sources (1 primary and 1 secondary) are used. Full references for scholarly articles are provided at the end of your paper and generally conform to APA style.

0 pts

No Marks

No attempt was made to cite sources.

2 pts

This criterion is linked to a Learning Outcome

Proofreading

3 pts

Full Marks

Good effort at proof-reading your paper.

0 pts

No Marks

Spell-check was not used. Furthermore, the grammar is so problematic that it is difficult to understand what you are trying to say.

3 pts

Total Points: 30

For your first essay you have options. In first person (in the I perspective) & in past tense, please tell the story of:

1) A rivalry youve experienced with a sibling, a friend, a parent, or some other figure in your life, OR

2) A betrayal youve suffered or inflicted, OR

3) A love relation of yours that went badly wrong.

Structure: Your story (told in paragraphs)

Your reflections (your last paragraph answer to the question: What did this experience teach me about how I should live?)

Your essay will begin where your story begins. No standard introductory paragraph!

Your story should be richly detailed out of your own unique experience. Write it as if you were telling your story to a close friend, candidly, in your own voice. Your reflections should be your own. Please avoid in your reflective final paragraph the platitudes on rivalry or betrayal or love that are easy to hand on the internet.

Two full 12-font, double-spaced pages. Your essay can be a bit longer than two pages, but not much longer without permission (which I’ll gladly give in certain cases :-)).

Why do this? This work promotes the Course Learning Outcomes concerning essay writing and use of standard American English. Your essay will give me something to work with in my effort to help you improve your writing. Further, this work will prime you up for our third & fourth week classes & also connect vitally to content presented at later points in our course.

In La Vita Nuova, Amanda takes her charge, Nathaniel, out around Boston, and the two get into a series of adventures. Write a series of short vignettes (1-3 paragraphs each for a total of 3-4 pages) of two characters traversing a city or place known to you and getting into adventures there. How, in these vignettes, can you draw out some sort of deeper truth or poignancy? I have already written something, but it coming out as AI generated. I need you to fix it so that it doesn’t flag AI detected. PLEASE use good grammar and make sure that the story makes sense…nothing should be left out. It should be very well written. 1. Subway Platform, Morning The F train sign flickers between 3 min and Delay. Theo rocks on his heels, backpack slipping off one shoulder. He kicks the yellow edge with the toe of his sneaker, careful not to cross it. Dont do that, I say. He grins without turning. Im not over it. Thats not the point. He steps back anyway, scuffing his sole against the concrete like he wants proof hes still here. The platform smells like hot dust and yesterday. A man down the platform keeps clearing his throat in the same rhythm, like a metronome thats losing patience. Theo watches the tunnel. If I fall, he says, casual, youd grab me, right? I dont answer fast enough. The train arrives loud enough to erase the pause. 2. Bodega Errand Theo wants a blue Gatorade. The fridge hums too loudly, vibrating the bottles so they knock against each other. He stands there longer than necessary, staring like the colors might rearrange themselves. You said blue, I say. He nods. I know. The bodega cat sleeps on the bread rack, tail hanging between loaves. Theo reaches out, then pulls his hand back. He bites, the cashier says without looking up. Theo smiles at that. He grabs the blue Gatorade, then swaps it for red at the last second. At the counter, he slides exact change forward, coin by coin, lining them up. Outside, he twists the cap but doesnt drink. He just holds the bottle against his wrist. Its warm, he says. You can still drink it. He shrugs. Later. 3. Washington Square Park A chess player slams his piece down hard enough that Theo jumps. The board rattles. The crowd around them doesnt react; theyve already decided how this ends. Theo crouches to retie his shoe even though it isnt untied. His fingers fumble the lace, then stop. Why do they yell? he asks. Some people think volume helps, I say. He watches a man pace near the fountain, phone pressed to his ear, saying the same sentence again and again with small variations. Theos knee bounces. He presses it flat with his palm. You ever notice, he says, how everyone here looks like theyre waiting for someone? Someone or something, I say. Theo nods like that fits. He stands and doesnt retie the shoe. 4. Public Bathroom, Union Square The hand dryer roars. Theo flinches and laughs at the same time. Water beads on the sink, refusing to drain. I hate that sound, he says, rubbing his hands on his jeans instead of using the dryer. A kid at the next sink pumps soap like its a competition. His mother snaps his name, sharp. Theos shoulders tense, then drop. You good? I ask. He nods too fast. Yeah. Outside, he asks if we can sit for a minute. We sit on the low stone wall. Theo presses his palms against the cold rock like hes checking its temperature. Dont tell her I got overwhelmed, he says. I wont. He looks at me, measuring. Promise? I promise. 5. Bus Ride Crosstown The bus jerks forward before Theos fully seated. He grabs the pole and laughs, breathless. Did you see that? he says. I did. A woman with grocery bags sighs loudly, shifts her weight like shes bracing for weather. Theo offers his seat. She waves him off without looking at him. He stands anyway, gripping the pole with both hands. The bus smells like oranges and wet coats. Each stop is announced too softly, the speaker crackling. Theo leans closer. I dont like not knowing where we are. Were moving west, I say. He nods, then checks his phone even though theres no signal. He keeps checking until the bus stops and the doors hiss open. 6. Museum Steps We dont go inside. Theo sits on the steps and watches people climb past us, shoes scraping stone. They look tired, he says. Most people are. He traces a crack in the step with his finger. I could sit here all day. Youd get hungry. I could eat pretzels, he says. The soft ones. A siren wails nearby, then fades. Theo doesnt look up. He leans his shoulder into my arm like its accidental. Do you ever think, he says slowly, that if you stay still long enough, things stop happening? I dont answer. A pigeon hops closer, bold. Theo shoos it away with a flick of his hand, then looks sorry about it. 7. Crossing Broadway The light changes faster than expected. Theo freezes mid-crosswalk. Go, I say, sharper than I mean to. He goes. On the other side, he laughs again, too loud. Sorry, he says. I forgot to look. You didnt forget, I say. You hesitated. He scuffs his sneaker against the curb. Same thing. No, I say. Its not. He considers this, chewing the inside of his cheek. Okay. 8. Late Afternoon Diner The vinyl booth sticks to the backs of our legs when we slide in. Theo orders fries and a milkshake, vanilla. He drums his fingers on the table while we wait. When the food comes, he eats exactly seven fries, then stops. He dips one in ketchup, then wipes it off on a napkin like it was a mistake. Not hungry? I ask. He shrugs. I dont want to feel full. The milkshake sweats onto the table. Theo draws circles in the condensation with his finger. The circles overlap, smear. Did we do enough today? he asks. Whats enough? He thinks. Enough so it counts. I watch him push the fries around. It counted, I say. He nods, but he doesnt look convinced. 9. Walking Back, Evening The city cools as the sun drops. Store lights flick on one by one. Theo walks closer now, our arms brushing. Tomorrow, he says, we can do it again, right? Well see. He kicks a bottle cap along the sidewalk, keeping it in front of him. When it skitters into a grate, he stops. Oh, he says. He crouches, peers down into the dark. The sound of traffic rushes under us, steady, endless. Everything falls eventually, he says, not looking up. I wait. He stands, dusts his hands on his jeans. Can we take the long way? he asks. I nod. We turn the corner and keep walking, the city opening and closing around us, block by block, like its testing how much we can carry without naming it.

Please create 3 poems. Topic of choice .

Please write 2 stories.

1 regular short story, any topic any character.

1 micro/short fiction story

6 pages each, no cover page or anything else needed just the stories.

These are two seperate creative writing assignments in the form of short paragraphs.

Assignment 1 Instructions:

The Edge of the Shoal is a bold example of how setting can be an antagonizing force in fiction. The natural surroundings water and weather which seemed so benign in the storys opening, have conspired against the protagonist, who now finds himself injured and adrift. Jones leaves no doubt as to the seriousness of the mans predicament: he feels a confusion, a kind of throb in his head. There is a complete horizon. A horizon everywhere around and no point of it seems closer than another (Jones, 2017).

Although this is a contemporary story, the dramatic situation is about as old as storytelling itself: its an individual against the elements.

Now, you have the opportunity to write a scene in which a character feels trapped by their surroundings with no immediate prospect of escape. For example, the setting might be: a boarding school, a package holiday complex, or a hated job which is a financial necessity. Show the characters emotions through the descriptions of the place, not by naming the feelings. 250-word minimum. (It doesnt matter to me what you write about as long as it meets the requirements.) I have attached The Edge of the Shoal below.

Assignment 2 Background:

7.1 Relationships and plot

It is always important, in fiction, to know whose story youre telling. Particularly in a short story, youll want to be very sure of who your main character is. Thats what gives short fiction its focus. But, once you know that, perhaps theres another way to think about character and plot. One might argue that successful stories are actually driven by relationships, whether good or bad.

Think of your favourite stories, novels, films and TV shows, and youre sure to find sibling rivalries, fathers and daughters, love affairs, teachers and pupils, detectives and sidekicks (and criminals), office colleagues, teammates and rivals. Even the explorer, stranded alone on the mountainside, is desperate to get home to their loved ones.

When you consider a relationship of any kind, youll find that it has a natural structure a beginning, middle, and end. How many great stories, across all genres, begin with a first meeting between two people? How many end with their parting? In between these meetings and partings, the relationship will have its ups and downs, what Claudia H. Johnson calls a pattern of connection and disconnection (2020, p. 3). This is true even if the relationship is between two sworn enemies.

Many of us, when we reflect on our lives, will find them defined by important relationships: with our parents and carers, friends and partners, and even with strangers who have altered our life for better or worse. You might even find patterns in those relationships. Are you the sort of person who always takes the lead in relationships at home and work, dragging colleagues and family in your wake? Are you constantly drawn to adrenaline-fuelled adventurers, despite your own risk-averse personality? When dramatised in action and dialogue, these tendencies can be the basis for profound fiction.

One of the hardest and most necessary things to do in fiction is to get your characters into the same room. Its much more comfortable to have your protagonist sitting alone, staring out of the window, thinking about the past, without all the chaos and conflict and dialogue brought about by a second character. But this denies your character the opportunity to come alive, change or grow through interaction with others.

Activity 4 Writing: character and relationship

Assignment 2 Instructions:

Imagine two good friends. You may base them partly on people you know, if you like.

In no more than 200 words, summarise their friendship from when they first met to the end of the relationship, whatever that may be. Write this summary without planning it out, and from the point of view of only one of the friends.

Now write an argument between those two friends. As much as possible, try to write completely in dialogue and action. Tell readers what the characters are doing and saying. Write 150-200 words.

Creative Response #3: “A Rose for Emily”

Length: 500 words (approximately two pages double spaced – multi paragraphs, please! Indent the beginning of each paragraph)

Format: Times New Roman 12, one inch margins, double-spaced (Use this font)

Due February 8 2026

Upload: MS Word Attachment or PDF ONLY

Choose either A or B (but not both)

A. In “A Rose for Emily,” William Faulkner accomplishes a difficult writing task. He tells the story of Miss Emily Grierson from a unique perspective: the first-person plural (“we”). By doing so, he tells us about the strange events in her life from the collective viewpoints of the townspeople rather than from that of one person. He lets us know about individual townspeople’s views of the events in her life through dialogue at various points throughout the story.

In this writing assignment, you will approach the story from the perspective of one character with special insight into Miss Emily’s life – Tobe, her African-American servant. Using your imagination while staying true to Faulkner’s plot, in at least 500 words, write a journal/diary entry from the first person singular point of view of Tobe, Miss Emily’s servant. Choose one or two events from the story as the incident which you are focusing on. The incident(s) should be one which Tobe would have witnessed or have close knowledge of, such as Miss Emily’s refusal to bury her father, or the murder and subsequent living with her suitor’s body. Incorporate two instances of dialogue into your account, such as a conversation Tobe might have had with Miss Emily, her father, or any other character mentioned in the story. Please note: Use your imagination but stay true to Faulkner’s plot.

OR

B. You are the current mayor of Jefferson, Mississippi and are asked to deliver the eulogy at Miss Emily Grierson’s funeral in at least 500 words. “Friends we are gathered here today to mourn the death of our longtime citizen, Miss Emily Grierson.” In your response, you can also describe what is happening during and after the delivery of the eulogy. How are the townsfolk responding to or reacting to your comments – in agreement, etc?

• What you would say, as a representative of the town, about the role that Miss Emily has played in the town’s history?
• What aspects of Miss Emily’s life would you focus on?
• How do you think she would best like to be remembered?
• How do you think the town remembers her?
• What are some events in her life that you would like to focus on – the china painting lessons to the young children, etc.?

Please note: Use your imagination but stay true to Faulkner’s plot. Don’t create a totally different story.

DON’T FORGET: Come up with five open-ended questions about “A Rose For Emily” and post them to Discussion Board #1