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Creative writing teaching techniques on the

development of written expression

Técnicas de enseñanza de la escritura creativa en el

desarrollo de la expresión escrita

Byron Chasi-Solórzano

Universidad Central del Ecuador, Quito 170521, Ecuador

Facultad de Filosofía Letras y Ciencias de la Educación, Carrera de Pedagogía de la Lengua

y la Literatura

bchasi@uce.edu.ec

https://orcid.org/0000-0003-4485-0157

Cristina Nuñez-Zumba

Universidad Central del Ecuador, Quito 170521, Ecuador

Facultad de Filosofía Letras y Ciencias de la Educación, Carrera de Pedagogía de la Lengua

y la Literatura

lcnunez@uce.edu.ec

https://orcid.org/0009-0003-8252-0463

María José Araujo-Chalá

Unidad Educativa “San Antonio de Padua”, Quito 170521, Ecuador

majosearaujo2000@gmail.com

https://orcid.org/0009-0001-4543-7666

(Received on: 15/10/2024; Accepted on: 30/11/2024; Final received on: 28/12/2024)

Suggested citation: Chasi-Solórzano, B., Núñez-Zumba C. y Araujo-Chalá, M. (2025). Creative

writing teaching techniques on the development of written expression. Revista Cátedra, 8

(1), pp 75-99.

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Abstract

The scarce application of creative writing teaching techniques due to multiple factors

contributes to a weak learning of written expression. Therefore, it is essential to investigate

various techniques that promote the development of written expression. The objective of

this research was to evaluate the effects of creative writing teaching techniques on the

development of written expression in General Basic Education (EGB) students. The

application of innovative teaching techniques requires that teachers commit themselves to

improve and innovate their practices. For this purpose, a quantitative approach was used,

with a quasi-experimental pre-post test design at a correlational level. The sample consisted

of 20 intentionally selected 8th grade EGB students. Classes were designed in which creative

writing teaching techniques were applied and the development of written expression was

measured using an observation sheet with 5 dimensions and 20 indicators. The main finding

is that creative writing techniques significantly improve students' written expression. It is

concluded that the intervention favored aspects such as spelling, sequence and order,

calligraphy, and stimulated narrative creativity allowing students to present innovative

ideas that promoted divergent thinking. In addition, students were able to communicate

ideas with greater clarity and coherence, using a linguistic register appropriate to the

communicative situation. The implication of these results is that the incorporation of

innovative teaching techniques contributes to a substantial improvement in written

expression.

Keywords

Creative writing, written expression, language teaching, educational innovation.

Resumen

La escasa aplicación de técnicas de enseñanza de la escritura creativa debido a múltiples

factores contribuye a un débil aprendizaje de la expresión escrita. Por ello, es fundamental

investigar diversas técnicas que favorezcan el desarrollo de la expresión escrita. El objetivo

de esta investigación fue evaluar los efectos de técnicas de enseñanza de la escritura

creativa en el desarrollo de la expresión escrita de estudiantes de Educación General Básica

(EGB). La aplicación de técnicas innovadoras en la enseñanza requiere que los docentes se

comprometan a mejorar e innovar sus prácticas. Para ello, se empleó un enfoque

cuantitativo, con diseño cuasiexperimental pre-post test de nivel correlacional. La muestra

consistió en 20 estudiantes de 8º de EGB, seleccionados de manera intencional. Se diseñaron

clases en las que se aplicaron técnicas de enseñanza de la escritura creativa y se midió el

desarrollo de la expresión escrita utilizando una ficha de observación con 5 dimensiones y

20 indicadores. El principal hallazgo es que las técnicas de escritura creativa mejoran

significativamente la expresión escrita de los estudiantes. Se concluye que la intervención

favoreció aspectos como la ortografía, la secuencia y el orden, la caligrafía, y estimuló la

creatividad narrativa permitiendo a los estudiantes presentar ideas innovadoras que

promovieron el pensamiento divergente. Además, los estudiantes lograron comunicar ideas

con mayor claridad y coherencia, utilizando un registro lingüístico adecuado a la situación

comunicativa. La implicación de estos resultados consiente que la incorporación de técnicas

de enseñanza innovadoras contribuye a mejorar sustancialmente la expresión escrita.

Palabras clave

Escritura creativa, expresión escrita, enseñanza de Lengua, Innovación Educativa.

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1. Introduction

Writing is a skill required to satisfy multiple needs in which communication, education,

work and other activities that demand the expression of ideas are involved; it also allows to

keep a record and memory of individual and collective thought. Grammatical, discursive,

communicative and cultural elements intervene in writing, and authors from different

perspectives have made an effort to explain the aspects that contribute to the execution of

this skill. Creative writing involves the human being's inventiveness to express ideas in

ways and forms that persuade the receiver of the message. However, despite the relevance

of teaching creative writing, numerous studies have identified deficiencies in students'

performance in this skill.

In such a circumstance arises the need to investigate creative writing teaching techniques

that make possible improvements in written expression; at the educational level, biological,

psychological, social, cultural and curricular factors intervene and lead to language as the

nature of the study. Eighth grade students of General Basic Education (EGB) were chosen

for this study, with whom the teaching of creative writing was applied and by means of

evaluation instruments data were collected that allowed observing the changes through

statistical analysis in written expression.

One of the main difficulties for the execution of the research was the coordination of class

times and topics of the group that participated in the quasi-experiment, coinciding with the

reading block that was considered in the Annual Curricular Plan (PCA) and the Skills Unit

Plan (PUD). The fundamental challenge was to modify the PUD so that the intervention

would produce the expected effects on students' written expression, especially breaking

with the traditional model practices exercised in the teaching of creative writing. The

traditional approach adopted in the teaching of writing in the practice of teachers, as stated

by Supisiche (2014) predominates “normative and prescriptive aspects concerned with

establishing norms and rules that determine the correct forms in use” (p. 22), as a

consequence, students perceive writing as a mechanical task devoid of meaning, which

limits their motivation and commitment to the learning process.

Numerous studies have supported the benefits of creative writing in the educational

environment, thus Orozco (2023) highlights that “in recent decades, creative writing

occupies a relevant place. [...] Writing with correctness and originality is undoubtedly an

attractive and ambitious goal” (p. 1). However, despite the growing evidence supporting the

benefits of creative writing, there is still a significant gap in the understanding of the specific

mechanisms through which it influences the development of written expression, as Calle

and Aguilera (2022) mention that “it allows students to express their emotions, construct

ideas about reality, and compose other spatial and temporal representations that will

contribute to their academic and social communicative practices” (p. 19). Furthermore,

many of the results point out that by systematically exploring the effectiveness of specific

methods, strategies, and techniques for teaching creative writing in real educational

contexts

is a way of imagining other modes of expression, set apart from its

instrumental use, through the introduction of literary reading that

evidences the use of metaphor to signify reality and abounds in rhetorical

figures that apart from endowing a text with grace, contribute to the

construction of subjectivity (Guzmán and Bermúdez, 2018, p. 14).

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The importance of the problem lies in the fact that creative writing is based on the premise

that creativity is an inherent ability in all human beings and that it can be cultivated and

developed through specific practices and exercises. Therefore, Calle and Aguilera (2022)

state that “creative writing implies the spontaneous expression of the way the student

conceives the world around him/her, with a personal component that gives originality to

what is written” (p. 4). Incorporating elements of imagination, play, and experimentation

into the writing process has the potential to awaken students' interest and motivation, thus

facilitating learning and the development of communicative skills.

According to Foucault the interrelation between language, knowledge and culture, through

words (language) and things (reality), in a given historical context and culture through

language as an instrument of understanding the world, through writing a register of ideas

is created that are usually not neutral and are subject to power structures that perpetuate

or question dominant discourses, creative writers construct and deconstruct meanings,

reinterpret reality, the narratives created use language in innovative ways and at the same

time seek to build new realities and meanings. One speaks from a writing that is part of the

world; one speaks to infinity of it and each of its signs becomes in turn writing for new

discourses; but each discourse is directed to this primordial writing whose return promises

and displaces at the same time (Foucault, 1966, p. 49).

The main idea of the research is to respond to this problematic, creative writing has

emerged as a potential way to revitalize the teaching of written expression. This process

based on the stimulation of imagination and the exploration of new forms of expression

offers an alternative way to foster the development of writing skills in a more attractive and

meaningful way for students. Ráez (2022) states that:

The classroom becomes a space where participants are interested in

learning to write as they write. The consequences for both teacher and

students are significant; it involves respecting, commenting, debating,

correcting, valuing, and enjoying both one's own writing and that of

others (p. 22).

The main objective of the study is to evaluate the effects of creative writing teaching

techniques on the development of written expression in GBS students. For this purpose, an

intervention program based on creative writing techniques and exercises was designed and

implemented to measure the development of the participants' written expression. The

findings of this study contribute to a better understanding of the effects of creative writing

on the development of written expression, while providing empirical evidence on the

effectiveness of the teaching techniques. In addition, the results obtained offer practical

implications for the design of innovative and enriching pedagogical strategies in the field of

writing instruction.

This research addresses a relevant issue in the field of education and seeks to provide

valuable insights for improving writing teaching practices. By exploring the effects of

creative writing on the development of written expression, it is hoped to contribute to the

design of more engaging and meaningful pedagogical approaches for students, thus

fostering the development of communicative skills essential for their academic and

personal success. Among the main research questions to be answered are: how do creative

writing teaching techniques enhance structural components such as spelling, sequence and

order, vocabulary, calligraphy, literary resources, how do creative writing teaching

techniques favor the development of creative types and approaches to writing, how do the

process of writing development, planning, textualization, revision contribute to the

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development of creative writing, how are the textual properties of cohesion, coherence,

adequacy benefited when creative writing teaching processes are executed, and how are the

textual properties of cohesion, coherence, adequacy benefited when creative writing

teaching processes are executed? The limits of the research are associated to the complexity

of the communicative act and especially to the development of language through the

different macro-skills, as well as to the control of other variables that intervene in the

teaching and learning process that allow to prove that the techniques were the ones that

made possible the development of written expression.

The purpose of this article is to disseminate to the academic community, specifically to

Language and Literature teachers, the results of the intervention carried out with creative

writing teaching techniques that enhance the written expression of GBS students. This

article is structured with an introduction that illustrates to the reader the phenomenon

investigated, followed by a review of the literature on creative writing, written expression

and specific teaching techniques, methods and materials, results, discussion of results,

conclusions and bibliographical references used to support the information in the article.

2. Literature review

2.1 Creative writing

Many authors address creative writing, among them Harper (2010) points out that:

When approaching creative writing, it is sometimes the case that we talk

about two things. That is, the creative writing activities and the finished

works that emerge from creative writing activities. However, most of the

time the term creative writing is used to refer to the activities that are

performed. Alternatively, the results of these activities are more often

referred to by their text-specific names, e.g., the poem, screenplay, story,

or novel that emerges from the acts and actions of creative writing (p. 2).

Creative writing acts as a means of expressing ideas in an original and stylistic way. In other

words, it is a process by which words are used to express thoughts, emotions, stories or

concepts in a unique and personal imaginative way. In this sense, and unlike technical or

academic writing, which focuses on conveying information in a clear and objective manner,

creative writing seeks to inspire, entertain or provoke feelings in the reader, its purpose is

the development and materialization of own and authentic thoughts. Harper (2015) states

that:

Creative writing is the action of writing creatively, informed by the

imagination of the human being and the creative and critical

understanding of the creative writer, influenced by personal history and

culture, guided by forms and types of knowledge that very often do not

remain within the disciplinary boundaries of colleges, universities, or

schools as they have been defined in the late modern period (p. 1).

Guilford (1968) suggests that “creative thinking encompasses a range of intellectual

abilities, including the ability to generate numerous ideas (fluency), to produce ideas of

various kinds (flexibility), to build on existing ideas (elaboration), and to produce original

ideas (originality)” (p. 62). Brokes and Marshall (2004) emphasize that “imagination and

originality are valued over standardized thinking and truthfulness as they characterize

creative writing” (p. 17). To this effect, the curriculum of the Ecuadorian educational system

addresses writing within Language and Literature. Additionally, there is an optional subject,

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which highlights that creative writing “seeks to encourage curiosity and apply experience

to inquire investigate investigate and write through interactive participation” (Ministry of

Education of Ecuador, 2016, p. 2). That is, prior knowledge and experiences are extremely

useful for the approach to creative writing and through the didactic process it generates

knowledge and creative ideas in students, in order to not only capture original ideas, but to

involve the reader and use curiosity as a fundamental strategy in the writing process.

Creative writing can explore a wide range of genres, including narrative (short stories,

novels), poetry, theater, film or television scripts, creative essays, among others. This type

of writing encourages freedom of expression and experimentation with language, allowing

the author to explore his or her imagination and unleash his or her creativity. Moreover,

from a pedagogical point of view, literature is intimately linked to creative writing, since it

is seen as an important element that enables the development of the imagination. This

allows students to develop “the capacity for analysis around situations that are raised in the

slogans and for which the example of how others did it is required” (Guzmán & Bermúdez,

2019, p. 93). In other words, this type of writing skill fosters the ability to reflect on different

situations.

Given this, it is necessary to highlight that creative writers usually employ literary

techniques such as metaphor, detailed description, dialogue, and characterization to create

fictional worlds or bring compelling characters to life. In addition, creative writing can be a

form of self-expression, therapy, or personal exploration; it allows the writer to connect

with his or her own emotions and experiences in a deep and meaningful way. Thus Escartín

(2014) addresses that therapeutic writing “is a technique that combines writing and

therapy to promote people's emotional and mental well-being” (p. 33). Therefore, it is a

powerful means of communicating ideas and feelings in an artistic and original way, and can

be enjoyed by both the writer and the reader as a way of exploring the world and the human

imagination. There are many characteristics of creative writing, among the most relevant

are: a) originality and creativity, b) use of figurative language, c) exploration of emotions

and feelings, d) narrative and unconventional structures, e) use of the imaginary and

fantasy, f) personal voice and style, g) ambiguity and multiple interpretations, h)

experimentation and literary risk, i) aesthetic awareness, j) exploration of universal and

personal themes..

2.1.1 Writing (spelling, sequence and order, vocabulary, calligraphy, literary resources)

Orthography are norms, conventions, rules that are followed in the writing of a language,

aspects such as accentuation, punctuation, spelling, concordance are part of this, its function

is to ensure clarity and understanding in written communication. Thus, the Royal Spanish

Academy (RAE), when addressing the term orthography, designates it as the linguistic

discipline of an applied nature that deals with describing and explaining the constituent

elements of the writing of a language and the normative conventions of its use in each case,

as well as the principles and criteria that guide both the establishment of the rules and their

modifications (RAE, 2010, p. 36).

Calligraphy allows the student to write in an aesthetic and stylized way, combining aspects

of design, precision and creativity, so calligraphy is the art or technique that seeks to achieve

a beautiful and well-formed handwriting, according to different styles. RAE (2010) states

that:

In teaching, its purpose is to teach students to write by hand, properly

tracing the letters according to their distinctive formal features. Spelling

and calligraphy are also differentiated by their purposes: the former

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imposes rules in the representation of the spoken language, without

making considerations on the beauty, clarity and correctness in the

stroke of graphic signs, aspects that are precisely the object of calligraphy

(p. 36-37).

The sequence and order is the way ideas and events are organized and structured within a

narrative, it depends on a sequence, structure, connectors, characters, and the environment.

Vocabulary allows a more precise and effective communication, enriches written and oral

expression, includes nouns, verbs, adjectives, adverbs, among others, usually if the order

and sequence are adequate, they help to write creatively, keep the reader's attention,

interest and communicate what is intended. Thus Culebra (2004) states that:

It is quite common that the vocabulary one possesses when speaking is

reduced when writing, either because one does not know the spelling or,

more commonly, because one has doubts about its meaning. In order to

expand and even to master one's own verbal vocabulary, semantic

dictionaries are useful, i.e., those in which words are listed and their

different meanings are enumerated (p. 70).

Literary resources allow giving greater expressiveness and depth, allow evoking emotions,

creating images when doing creative writing, some of the most used are: metaphor, simile,

alliteration, anaphora, hyperbole, personification, irony. The Ministry of Education of

Ecuador (2016) states that:

It is also about young people and adults composing literary texts,

adapting or combining in a free and creative way diverse literary

resources present in the texts studied. The space for creative writing

should be assumed and developed as a workshop exercise, in which they

are continuously stimulated, offering writing activities that take into

account their interests and their socio-cultural environment. It is also

necessary to start writing small texts (in poetry or prose) in which

he/she can express that which corresponds to the world of his/her

affections, feelings and dreams. The writing exercises will take as a

reference the daily interests of the learner (music, cinema, etc.) (p. 72).

2.1.2 Creativity and types

Creativity allows human beings to develop their imagination and problem-solving, it

enables the generation of new ideas from different perspectives, with specific qualities such

as effectiveness, attractiveness and usefulness. In this sense, being creative goes beyond just

thinking, since it includes the involvement of several cognitive processes such as attention,

language, perception and memory. This being said:

To “create” is to intentionally produce valuable novelties. It is not enough

that they are original, but they must have some appreciable quality:

effectiveness, beauty, grace, usefulness. What gives value to creativity is

the value of the project that is to be creatively resolved (Marina, 2013, p.

140).

The value of creativity is determined by the relevance and impact of the task being

performed. In this context, creative writing facilitates the production of texts that are not

only interesting and useful, but also convey a clear message. The way in which the content

is organized, the choice of words, the narrative structure, and the text's ability to positively

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influence, inspire, or educate are key elements in the evaluation of creativity. Therefore,

creativity not only enriches a text, but also amplifies its impact and favors deeper and more

effective communication.

Therefore, creativity, specifically in writing, originates, in addition to the author's ability to

innovate and generate valuable novelties, in the impact that these may have on the person

who reads the writing. It is important to consider that the creative writer must focus on two

indispensable elements: the first, in terms of style and structure; and second, on how his

work can be capable of generating a favorable emotional and cognitive response in his

audience. The ability to create original narratives, build characters with deep thoughts, and

create imaginative scenarios enables readers to delve into the work presented. Thus,

creativity is capable of transforming reading experiences, as the audience faces challenges

that defy their expectations and invites them to reflect on the writings read.

In relation to the above, creativity also implies inventiveness, as well as the ability to see

and generate ideas in a different way. In this regard, Valqui (2009) points out that being

creative implies “questioning assumptions, breaking boundaries, recognizing patterns,

seeing in a different way, making new connections, taking risks, and trying one's luck when

tackling a problem. In other words, what is done is creative if it is new, different, and useful”

(p. 3). From this perspective, the author suggests that creativity, as mentioned above, does

not represent only an innate ability, but a practice that can be developed through constant

effort and continuous reflection. This is because creativity can be developed as the

individual engages in cognitive processes that allow the generation of original and useful

thoughts. That is why the ability to shape language and employ different forms of expression

promotes literary innovation. In this way, creativity is a catalyst for the emergence of new

thoughts and evolutions in narrative. For this reason, creativity in writing is not limited to

the creation of authentic ideas, since it also includes the ability to transmit these ideas in a

way that promotes reflection and lasting emotional connection. Regarding the types of

creativity, Psychology has sought to order it from different perspectives, thus Maslow

(1971) classified it into primary and secondary creativity, Guilford (1967) presented his

theory on creativity and its approach, he focused on the structure of intelligence, thus

organizing them into phylogenetic, potential, kinetic and factual, for this research the

classification of DeGraff (2019) was taken, whose starting point is that not all minds work

the same when faced with a conflict, additionally, as organizations can foster creativity and

innovation, thus he proposed initial, implementation and adaptation creativity. He based

his classification on previous works on mimetic creativity (MacKinnon, 1962, 1965).

Bisociative creativity (Koestler, 1964), analogical creativity (Gardner, 1996; Sternberg,

1999), narrative creativity (Bakhtin, 1991; Bruner, 1986), and intuitive creativity (Gladwell,

2005; Jung, 1964).

A first type of creativity is that proposed by Girad (1961) in his work Desire and Imitation,

which addresses the theory of imitation (mimesis) and its influence on human desire,

literature, and culture in general. Mimetic creativity allows the development of originality

and the representation of ideas, in which the transformation, imitation, or adaptation of

texts occurs. It usually takes an idea that already exists and reformulates it to adapt it to

other specific needs. This position of thought shows that a large part of innovation arises

from the reinterpretation of previous ideas. Imitation is the basis, cultural adaptation to

new styles, intertextuality to enrich the meaning, interpretation and mixing to generate

original ideas and forms of expression.

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In this type of creativity, observation plays a preponderant role, because, from this, the

individual adapts concepts, styles or techniques to write innovative stories. Similarly, it is

essential to point out that it is not only about copying and imitating texts, but also about

interpreting, restructuring and improving ideas so that they are more effective, attractive

and useful in new scenarios. In relation to this, mimetic creativity is based on admiration

and inspiration from work carried out by others, using these examples as a basis for one's

own creations.

The second type of creativity is bisociative creativity, which lies in the ability to link and

combine two different ideas, thoughts, fields or contexts. This enables the generation of new

representations that would not have arisen within a single communicative situation.

Koesther (1964) stated that creativity arises from the combination of two or more concepts,

ideas or systems of thought, which, at first, do not seem to be related, and it is also about

freeing up a large number of thoughts, even if they do not make sense or may seem crazy.

De Bono (1970) emphasized the need to break traditional logical thinking in order to

generate innovative ideas.

Bisociative creativity allows humans to achieve the ability to organize different thoughts

that are not necessarily related or that are apparently totally different. These thoughts can

originate deliberately, even if the ideas initially seem absurd or meaningless. Beyond that,

the important thing is to organize and classify these ideas to finally consolidate an attractive,

original and authentic representation. However, for this to be possible, it is essential to

generate ideas (fluency), adapt and change perspective (flexibility) and have a mental state

in which creativity arises naturally (flow).

A third type of creativity is analogical creativity, which is intrinsically related to the ability

to identify and relate two elements in an innovative way. It is based on finding similarities

to generate new ideas. In other words, analogical creativity allows connections to be created

between two specific ideas. This involves finding similarities between different premises

and using these similarities to create new and authentic ideas. For this reason, it is

considered a key element in decision-making, problem-solving, and innovation. In addition,

it encourages the development of divergent thinking, an aspect that is essential in a world

that is constantly changing. Von Oech (1983) explored that analogies and lateral thinking

unlock creativity. Additionally, Gardner (1996) mentioned that this type of creativity

improves learning, as well as the innovation of thinking that allows the development of

creative skills. A fourth type of creativity is narrative, which is related to the ability to

imagine and relate plots in a unique and attractive way. Bruner (1986) argues that narrative

is a fundamental way of constructing and understanding reality. In addition, it focuses on

the construction of stories, including elements such as the creation of characters, the

development of stories, and the use of appropriate vocabulary. Barthes (1974) suggested

that narrative creativity is not only about telling a story, but also about how that experience

feels for both the author and the reader. In other words, developing this type of creativity

allows us to take narratives, break them down, and reorganize them in different ways in

order to offer new interpretations.

Finally, intuitive creativity is linked to the ability to produce ideas and solutions

spontaneously and/or naturally. This without the need for a self-conscious analysis or a

deliberate process. That is, it necessarily requires the subject to consciously disconnect his

mind so that ideas begin to emerge instinctively and effortlessly. Gladwell (2005) stated

that “quick and intuitive decisions, based on experience and prior knowledge, can be

surprisingly accurate” (p. 14), and Jung (1964) also stated that:

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Symbols and archetypes play a crucial role in creativity, allowing

individuals to explore and express deep ideas and emotions through

images and narratives that emerge intuitively from the unconscious,

providing the medium through which the contents of the unconscious

can enter the conscious mind (p. 151).

2.1.3 Creative writing techniques

Existen múltiples técnicas de escritura que pueden ser aplicadas: error creativo, viejos

juegos, lo que pasa después, entre otras, para su aplicación se depende del conocimiento de

los docentes sobre las técnicas, los recursos disponibles, las características del grupo de

estudiantes, entre otras, para esta investigación se utilizaron las técnicas ¿qué pasaría si…?

y vamos a confundir los cuentos, a continuación, se detallan.

2.1.3.1 What if?

The technique allows the individual to explore and create different hypothetical stories by

formulating speculative questions about various situations. This enables the person who

creates or innovates to introduce modifications to the story being created, thus stimulating

creativity and promoting imagination by taking into account various qualities or variables,

which could transform the development of the narrative. In this regard, Rodari (1983)

presents an example in which he points out the fact that “what would happen if a man woke

up transformed into a filthy beetle? Franz Kafka answered this question in his

Metamorphosis” (p. 6). In this illustration, Rodari expresses how a seemingly simple

premise can open the door to deep reflections and complex narratives. In this example, the

transformation that a man underwent when he became a beetle, in addition to dealing with

supernatural physical changes, invites us to examine more complex issues such as identity,

alienation and the human condition. This type of speculative question acts as a catalyst for

the creation of literary writing, allowing writers to explore the consequences of unusual

situations and develop plots that challenge reader expectations.

2.1.3.2 Let's confuse the stories

The technique is related to the fact of combining and interweaving elements of various

traditional tales, stories or tales. In this case, for example, “the story will be presented to

them from a completely new point of view. The children will no longer be playing with Little

Red Riding Hood, but with themselves, feeling the challenge of facing freedom, without fear,

assuming risky responsibilities” (Rodari, 1983, p. 16). By doing this, children stop

interacting only as readers of traditional tales and begin to see themselves within the story.

This experience teaches them to face challenges such as the freedom to make decisions

within the story, as well as to assume risks and responsibilities, promoting autonomy and

confidence in their own narrative abilities.

In this sense, the subject who writes could unite elements of Little Red Riding Hood with

The Three Little Pigs, in order to create a story where, in this case, Little Red Riding Hood is

the one who defends the pigs from the big bad wolf and stays to live with them. This

technique not only encourages the creation of innovative and original narratives, but also

enables young writers to explore their communication skills with the structure of stories,

helping to understand the malleability of stories and imagination in the process of literary

creation.

2.1.4 Approaches to writing

The teaching of writing has traditionally been approached from different perspectives, each

with particular objectives and methods. According to Insa, these approaches not only differ

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in terms of the strategies applied, but also in how the writing process is conceived and the

role of the learner within it. Therefore, the methodology and its application have many

possibilities and means by which writing focuses on different topics. Traditional writing

aims to improve the formal quality of the written text through the use and correct

application of spelling, grammar (morpho-syntactical) and vocabulary expansion rules

(Insa, 2002, p. 1). The main objective is for students to acquire normative linguistic

competence that allows them to write accurately and correctly. Therefore, in this approach,

writing is seen as a linear process, where it is first planned, then drafted and, finally,

corrected. It should be noted that with the passage of time and advances in contemporary

educational models, writing approaches have become more systematic and complex,

allowing for a deep analysis of the topics to be exemplified and the development of the

individual creativity of each writer.

The procedural approach to writing according to Acurio considers this act as a dynamic

process that involves several essential stages: planning, writing, revising and editing. Unlike

the traditional approach, where the immediate correction of the final product is prioritized,

the procedural approach emphasizes continuous reflection throughout the writing process

(Acurio, 2020). In fact, in this approach, the final product is not the only objective, the entire

textual production process is valued. This approach according to Vine-Jara allows students

to discover their own mistakes and work on them autonomously, thus developing greater

awareness of their own performance. Furthermore, the procedural approach not only

improves writing skills from a normative point of view, but also has a significant impact on

the organization and coherence of the discourse, resulting in a clearer and more structured

text (Vine-Jara, 2020, p. 477). Therefore, encouraging conscious and reflective writing

becomes a crucial element to improve the quality of the text and facilitate students' self-

regulation in the writing process.

Regarding the creative approach, the same author indicates that its main objective is to

stimulate imagination and originality in the production of texts. Unlike more normative

approaches, this approach considers writing as a means of self-expression and

experimentation. That is, it seeks to have students explore new forms of expression,

allowing innovation and the breaking of pre-established conventions (Vine-Jara, 2020, p.

480). In this sense, Acurio points out that various pedagogical techniques are used, such as

the use of images, free writing, or the development of metaphors, which function as triggers

for the creation of original ideas. As a consequence, creative writing goes far beyond

traditional disciplinary norms (Acurio, 2020, p. 43). It not only focuses on the correct

application of grammatical rules, but also draws on the writer's personal experience,

allowing students to develop their own authentic voice in their texts. In this way, the

creative approach not only contributes to improving the quality of writing, but also

strengthens the student's ability to express themselves in a unique and meaningful way.

The Vine-Jara sociocultural approach recognizes that writing is not an isolated act, but is

deeply influenced by the social and cultural context in which the student develops. From

this perspective, writing is not only an individual skill, but a social act that is nourished by

interaction with others. Students learn to write not only from their own experiences, but

also through collaboration with their peers and teachers. In this context, the sociocultural

approach underlines the importance of the educational environment and shared

experiences in the classroom for the development of writing skills (Vine-Jara, 2020, p. 483).

In addition, this approach, according to Sucerquia, allows students to better understand the

reader's expectations, as it teaches them to adjust their writing to respond to the demands

of different social and cultural contexts. The advantage will be that the student will be able

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to carry out the activities from places other than the classroom and will be able to repeat

the activities as many times as he deems necessary, thus allowing him to be autonomous at

his own pace of learning and to learn from his own mistakes (Sucerquia, 2016, pp. 86-87).).

2.1.5 Writing process

Arroyo (2021) mentions that “reading and writing strategies in the creative writing process

are essential to guide the development of students’ skills, and thus overcome learning

problems.” (p. 4-5). Far from being a mechanical act, this process requires meticulous

planning, creativity, and constant review, which transforms writing into an exercise in

critical reflection. Understanding and mastering each of these stages not only optimizes the

final result, but also improves the writer’s ability to communicate clearly and effectively.

Planning is the fundamental pillar of the writing process, as it establishes the foundations

on which the text will be built. In this initial stage, the writer must carefully select the topic

to be addressed. In addition, the topic must be broad enough to allow for thorough

development, but also specific enough to avoid the dispersion of ideas.

Once the topic has been selected, the next step in planning is to define the communicative

intention of the text. Here, the writer must determine whether his or her goal is to inform,

persuade, explain, describe, narrate, or entertain. Alvarado and Galbán (2012) define that

“getting students to use oral and written expression as a means to transmit their thoughts

with simplicity, clarity and accuracy, as well as actively developing their participation in

readings, narrations and interpretations of graphic signs” (p. 12).

The next step is the execution of the first draft. This phase is crucial, it is where abstract

ideas, which have been previously organized, begin to take shape in a concrete text. The

execution of the first draft is characterized by creative freedom; the writer expresses his

thoughts in a fluid manner, without stopping to correct errors or worry about formal

perfection. The main objective of this stage is simply to put the ideas on paper, “the first

process that will be used will be the textual interpretation of the draft to create a mental

representation of it” (Cassany, 1999, p.3). The first draft is, by nature, imperfect and will be

riddled with errors, inconsistencies and areas that will require improvement. This is where

creativity explores different approaches and perspectives without the constraints of editing.

The revision step is where the writer stops to evaluate the content generated in the first

draft. This stage is critical, as it allows the text to be fine-tuned, improving both its clarity

and cohesion. Here work begins on argumentative consistency, ensuring that the text flows

logically and that each of the ideas is properly connected to the others. The second draft is

the result of this revision and represents a more refined version of the initial text. A

conscious effort is made to correct syntactical, spelling and stylistic errors that may have

gone unnoticed in the first draft. The revision also includes a reflection on the target

audience and communicative intention, ensuring that the tone and style of the text are

aligned with the reader's expectations and needs. The second draft, while more polished

than the first, is still a work in progress, as it will likely still require further adjustments

before reaching its final version.

Once the second draft is completed, a thorough correction of syntactical, spelling, and

stylistic errors is carried out. This phase is essential to guarantee the clarity and

professionalism of the text, since a document full of grammatical errors or stylistic

inconsistencies can lose credibility with the reader (Arroyo, 2021, p. 9). Syntactical errors

involve the structure of sentences, ensuring that they are grammatically correct and

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unambiguous. Spelling is an equally important aspect, since spelling errors not only affect

the presentation of the text, but can also change the meaning of a sentence, “a grammatical

error is considered to be any violation of the principles and restrictions that govern the four

levels of linguistic analysis: word level, morphological level, syntactical level, semantic

level” (Villena et al., 2002, p. 7). In this phase, the aim is to eliminate unnecessary

repetitions, improve word choice, and ensure that the text maintains a consistent tone

throughout the entire work.

The final version of the text is the result of multiple revisions and corrections. At this point,

the writer has refined the content, eliminating errors and ensuring that the text meets all

the objectives proposed in the planning phase. Sánchez (2009) on corrections says that “the

results show that response times and errors were greater when they had to identify words

that were inconsistent with the qualities of the fonts used in those words” (p. 157). Castedo

(2003) adds that “certain corrections, whose material indications allow them to be

considered immediate, must be treated as corrections on the fly, to the extent that they are

an integral part of the writing process that advances the text” (p. 17). At this stage, the text

is expected to meet the highest standards of formal correctness and suitability for the

audience, and to be able to transmit the message effectively and creatively, thus fulfilling

the writer's communicative and academic purposes.

2.1.6 Textual properties

When the writer needs to get the reader to interpret the meaning and structure of the text,

he/she must comply with certain textual properties, including: cohesion, coherence,

adequacy, clarity, intertextuality. In the case of this research, the first three were addressed.

Casado (1993) specifies that “Coherence is understood as the connection of the parts into a

whole. This property implies that unity and cohesion consists of the set of all those linguistic

functions that indicate relationships between the elements of a text” (p. 17).

According to Níkleva (2012), “adequacy is one of the textual properties and refers to the

adaptation of the text to the discursive context, to the communicative situation” (p. 324).

Compliance with the rules related to the receiver, the topic and the situation, Coseriu (1992)

distinguishes three types of adequacy: with respect to the represented object (topic), with

respect to the recipient and with respect to the situation (p. 203-204). Within the

methodological guidelines when planning the purpose, the reason and the writing topic,

according to the Ministry of Education of Ecuador (2016)

These ideas will go through a rereading, selection, ordering,

hierarchization, fusion, correction, structuring, restructuring and linking,

during the writing and revision of the texts. In these two sub-processes,

the teacher and the student will make use of all the linguistic knowledge

they possess to express with coherence, cohesion and adequacy what

they want to say (p. 95).).

That is to say, the educational system at the curricular level prescribes that these textual

properties must be developed in students of the Ecuadorian educational system.

2.1.7 Assessment of writing and creative expression

Assessing learning is a complex process, and it is not surprising that many creative writing

teachers find assessment practices problematic. They view creative writing assessment

from two different perspectives: one is suspicious of assessment practices that do not value

or characterize the distinctive ways in which creative writers learn, think, write, read, and

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respond; the other is very aware that creative writing “lives on the border between art and

academics” (Kerridge in Harper and Kerridge, 2004, p. 4).

Assessing written expression should consider the student’s ability to communicate ideas

clearly and effectively. In response to this need, different types of techniques and

instruments can be created, such as checklists, rubrics, and observation lists. The latter has

the quality of recording and analyzing the process while the activity is being carried out,

and therefore, the student’s performance, skills, and attitudes when expressing ideas in

writing. There is no single way to assess written language. Rodríguez and Álvarez (2021)

concluded about their assessment of written expression that “the development of this test

to assess writing, applicable and valid in such a heterogeneous context, is a task that

requires continuous review in which unique answers cannot be expected” (p. 15).

In the field of Language and Literature, when assessing creative expression, the following

can be used: analytical essays, critical comments, oral presentations, rubrics, checklists,

rating scales, among others. These activities are carried out in multiple and varied ways, but

the important thing is that all of them allow writing to be used as a learning and assessment

tool (Castelló, Monereo, & Gómez, 2009, p. 44).

Regarding the techniques and instruments to be used to carry out the assessment of written

language, “existing scales or some developed by the assessing teacher, observation of

mutilated texts, discovery of errors, free writing, analysis of materials produced by students,

etc.” can be used (Castillo and Cabrerizo, 2010, p. 268). This analysis of the materials

produced by students through creative writing teaching techniques allows us to visualize

how learners are developing each of the aspects proposed in the research.

2.2 Written expression

Through written expression, human beings can express ideas in a materialized form.

However, it is important to note that this ability, unlike oral language, requires a high

intellectual capacity to express thoughts in a clear, coherent and cohesive manner. This is

because writing absolutely requires the ability to organize ideas to put them on paper, since

it is generally easier to express concepts in oral language. In light of this, Cassany (2009)

points out that it is “linked to the ability to develop abstract, objective, logical and rational

thinking” (p. 33). This statement corroborates the fact that written expression goes beyond

the concrete and tangible, since it involves the cognitive understanding of complex concepts

in order to, finally, materialize them in an appropriate manner.

Writing is a tool for mediating information, but also for organizing and creating thought. In

the words of Sánchez and Flores (2021), “rewriting a story through the use of synonyms

allows children to develop skills in written expression in a creative and dynamic way” (p.

11). It points out two specific skills, the analysis and synthesis of data, and the ability to

organize the idea in its sequence and relationship. Being a conscious process, writing

requires complete reflection on what you want to convey, so it is an activity that transcends

the mere reproduction of thoughts, in which metacognitive control comes into play for the

effective selection and structuring of content. This ability to transform abstract ideas into

coherent text requires mental flexibility that can only be achieved through continuous

practice. Unlike oral language, where visual and non-verbal elements can support the

message, writing requires that words alone be able to convey all the complexity of the

author's thought, which makes it a constant challenge of expression and understanding.

Through writing, human beings not only transmit information, but also materialize ideas,

allowing them to acquire a tangible and lasting form over time, “generating writings from

internal representations, developed through reflection” (Cassany, 1999, p. 2). In this sense,

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the ability to express ideas in a clear, coherent and cohesive manner represents a significant

intellectual challenge. Despite sharing the same origin in language, written expression

differs considerably from oral language. While verbal communication tends to be

spontaneous and sometimes assisted by the non-verbal context (such as gestures and facial

expressions), writing requires a conscious effort to structure thought in a logical and

orderly manner (Moreno et al., 2022, pp. 1-2). This implies that the writer must anticipate

the possible interpretations of his reader, ensuring that the message is understandable even

without the support of contextual elements. According to Cassany (2009), “this skill is

closely linked to the ability to develop abstract, objective, logical and rational thinking” (p.

33). This approach underlines the fact that writing not only serves to communicate concrete

ideas, but also allows the expression of abstract, complex and multidimensional concepts.

In terms of cognitive processes, writing involves a set of skills that go beyond the simple

production of words. That is, writing does not only consist of transferring thoughts to paper,

but in organizing those thoughts in a structured way so that they are understandable and

effective. This organization is achieved through textual coherence and cohesion, two

fundamental principles to ensure that the text maintains a logical sequence and that ideas

flow smoothly between paragraphs and sections (Moreno et al., 2022, p. 5). Coherence

implies that the parts of the text are logically related to each other, while cohesion refers to

the linguistic mechanisms that connect those parts, such as the appropriate use of

conjunctions, pronouns, and references. In primary educational contexts, the potential of

writing is often underestimated “in various educational spaces, the absence of cognitive and

metacognitive processes is confirmed, writing as a means of communication continues to

be unknown” (Alvarado, 2024, p. 26). Creative writing, for example, offers greater freedom

to experiment with language and explore ideas in a more personal and artistic way.

One of the central elements of written expression is its intrinsic relationship with critical

thinking. Through the act of writing, the individual is forced to organize and evaluate his or

her ideas in a systematic way, “planning implies generating prior schemes, establishing the

goals of the text and its organization” (Moreno et al., 2022, p. 1). Writing is a planning tool

and a learning mechanism that promotes critical reflection and the development of new

ideas. Therefore, creative writing is a challenge because, above all, it demands originality,

imagination, and emotional charge. The texts that belong to creative writing demand from

their authors “the talent to tell a story” through words whose brushstrokes evoke

sensations, images, and feelings in the reader (Sánchez and Flores, 2021, p. 20). This type of

writing not only seeks clarity in the narrative, but also emotional connection; Hence, the

writer must be able to transport his audience to new worlds while raising dangerous

internal questions and offering thought-provoking interpretations.

Among the factors that influence the quality of written expression, several cognitive and

contextual aspects stand out. Mastery of language is a key factor. A writer must have a wide

vocabulary, as well as a deep knowledge of grammatical and syntactical rules in order to

construct sentences that are grammatically correct and stylistically appropriate. “It involves

organizing ideas, constructing texts with logical coherence, adapting the style according to

the recipient, the subject matter and the type of writing” (Pizzo, 2013, p. 30).

On the other hand, the social and cultural context also has a considerable influence on the

way in which written expression develops. Writers not only reflect their own ideas, but also

the expectations, norms and conventions of the environment in which they are immersed.

Thus, writing becomes a space where both individual and collective influences converge,

enriching the process and the final product.

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3. 3. Methods and materials.

This study is framed in the quantitative approach, with a quasi-experimental correlational

design, a single-group design with a Pretest (O1) to measure the creative expression

variable, application of the intervention with six hours of classes (X) manipulating the

creative writing variable, and finally, application of a Posttest (O2) to measure the

dependent variable again, that is, O1 X O2 The sample was non-probabilistic of an

intentional type, in which 20 students from the 8th grade of EGB from the "Pensionado

Universitario" Educational Unit of the city of Quito participated, for the 2022-2023 school

year. An intervention was designed in which four classes were prepared in which the

creative writing variable was manipulated, activities and resources were generated, a

diagnostic evaluation (Pretest) was applied consisting of three questions, 1) an image is

shown and you are asked to write the emotions it conveys and why?, 2) a short legend is

described and you are asked what would happen if?, imagine the situation and write it, 3)

read a text fragment with words in bold that are requested to be replaced with a contrary

meaning and build a new ending to the story, a summative evaluation (Postest) four

representative images of the story are shown, you were asked to choose the one you like

the most and answer the four questions in writing 1) What feelings do you think the

character(s) felt? Why? 2) If you chose image number one, explain why Naoko stole her

father's Kimono? 3) If you chose image two, three or four, write: What is the relationship

between the characters and explain where they know each other? 4) Imagine that you are

one of the characters. How would you feel if you were going through the situation of The

Butterfly Lovers? To evaluate the activities, an observation sheet was designed with which

the Pretest and Posttest were evaluated. In it, 5 dimensions and 20 indicators were

considered: Structural components of writing (5 indicators), types of creativity (5

indicators), writing approaches (4 indicators), writing process (3 indicators), textual

properties (3 indicators). The indicators were scored from zero to one point, in total a

maximum of 20 points could be obtained, which were transformed to the scale of 10 in force

in the EGB evaluation system of Ecuador. The instrument was validated by an expert in the

area of Language and Literature and a research methodologist.

The changes in the variable were measured through the average of grades. The results

obtained were subjected to both descriptive and inferential statistical analysis, through

which the statistical significance of the observed changes was determined.

4. Results

Rang

Mínimum

Máximum

Mean

Deviation

Variance

Pretest

6.05

2.63

8.63

5.65

1.44

2.08

Postest

3.91

5.80

9.80

8.42

.98

.96

Table 1. Pretest and Posttest Descriptive Statistics

The mean of the pretest x Pre=5.64 and the mean of the posttest x Post=8.42 were obtained.

According to the qualitative scale provided by the MinEduc of Ecuador we have:

Pretest

Postest

Qualitative scale of grades

Frecuencia

Porcentaje

Frecuencia

Porcentaje

Does not achieve the required learning

Is close to achieving the required learning

75%

15%

Achieves the required learning

20%

55%

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Masters the required learning

30%

Total

100

Table 2. Pretest and Posttest Frequency and Percentages

Descriptively, it can be observed that in the case of the Pretest, a majority of 75% begin the

intervention with grades on the qualitative scale of being close to achieving the required

learning, and that subsequently 55% Achieve the required learning and 30% Master the

required learning. This is illustrated below in Figure 1.

Figure 1. Percentage of ratings on qualitative scale

The blue bars show the results of the Pretest on the lower scales and with a negative slope,

on the other hand the tomato-colored bars represent the results of the Posttest as a result

of the intervention, clearly the students moved to the two higher qualitative scales, even

though there are no students on the lower scale, there is a positive slope that implies

improvements in the average grades. Figure 2 details the measurements in the dimensions

used in the application of creative writing teaching techniques:

Figure 2. Application of creative writing techniques

According to the results obtained, there are improvements in all components, except the

functions indicator, which shows that the intervention had a positive effect on the

development of written expression. Table 3 presents the descriptive data of the dimensions

and indicators investigated below.

0,54

0,51

0,68

0,36

0,74

0,81

0,79

0,89

0,83

0,92

0,00

0,20

0,40

0,60

0,80

1,00

Componentes

estructurales

Tipos de la

creatividad

Enfoques de la

escritura

Procesos de

escritura

Propiedades

textuales

Aplicación de técnicas de Escritura creativa

Pretest Postest

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Dimension

Indicator

Pretest

Postest

1) Structural components of

writing

1) Spelling

0.33

0.74

2) Sequence and order

0.76

0.97

3) Vocabulary

0.93

0.98

4) Calligraphy

0.71

0.91

5) Literary resources

0.00

0.47

2) Types of creativity

6) Mimetic

0.85

0.94

7) Bisociative

0.45

0.74

8) Analogical

0.18

0.53

9) Narrative

0.60

0.95

10) Intuitive

0.45

0.78

3) Writing approach

11) Grammatical

0.61

0.85

12) Functional

1.00

0.98

13) Procedural

0.19

0.78

14) Content

0.94

0.96

4) Writing process

15) Planning

0.90

0.96

16) Textualization

0.01

0.79

17) Revision

0.17

0.73

5) Textual properties

18) Cohesion

0.63

0.90

19) Coherence

0.71

0.90

20) Adequacy

0.90

0.98

Table 3. Descriptive statistics Pretest and Posttest Dimensions and Indicators

It can be seen that at the level of indicators, most of these have improved, however, some

have similar levels, such as: vocabulary, mimetic creativity, writing function approach,

planning process and cohesion. On the other hand, those that received the most benefit were

the inclusion of literary resources, narrative creativity, the procedural writing approach and

the textual properties of coherence and adequacy. This allows us to affirm that the

application of creative writing teaching techniques contributes to the written expression of

the students who participated in the research.

It is therefore necessary to check if the differences between the means of the Pretest and

Posttest are statistically significant, and then proceed to verify if the data are normal or not

normal.

Normality test

Shapiro-Wilk

Pretest

.981

.941

Postest

.908

.058

Cuadro 1. Prueba de normalidad de Pretest y Postest

According to the results obtained, the significance of the Pretest variable ppre=0.941 and

Posttest ppost=0.058 are greater than alpha 0.05, which allows us to affirm that it is a

normal distribution. With this behavior of the data, the Pearson correlation coefficient can

be calculated:

Correlations

Pretest

Postest

Pretest

Pearson´s correlation

.491

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Sig. (bilateral)

.028

Postest

Pearson´s correlation

.491

Sig. (bilateral)

.028

*. The correlation is significant at the 0.05 level.

(bilateral).

Table 5. Pretest and Posttest Correlation

A statistically significant moderate and directly proportional linear association (rPre

Post=0.491, p<0.05) was found between the Pretest score and the Posttest. According to

Cohen (1988) to interpret Pearson's coefficient.

It has the range 0.30 ≤ | | rPre Post |< 0.50, so according to Table 5 we have:

0.30 ≤ | .491|< 0.50 so it is interpreted as a moderate correlation.

Next, the research hypotheses are:

H0: There are no statistically significant differences between Pretest and Posttest.

H1: There are statistically significant differences between Pretest and Posttest.

To test the hypotheses the t-test for related samples is used and as a decision criterion we

have:

If p<0.05 to reject H0 and accept H1.

If p>0.05 we reject H1 and accept H0.

Paired samples test

Matched differences

Sig.

(bilateral)

Media

Desv.

Deviation

Avg.

error

95% confidence interval of the

difference

Inferior

Superior

Par

Pretest -

Postest

2.76700

1.28565

.28748

-3.36870

-2.16530

-9.625

.000

Table 6. T-test for related samples Pretest and Posttest

The p=.000 < 0.05 was obtained, so the Null Hypothesis H0 is rejected and the alternative

Hypothesis H1 is accepted, that is, the measures between Pretest and Posttest are

statistically significant, so it is concluded that the intervention with creative writing

significantly improves the written expression of 8th grade students of the Pensionado

Universitario “Nelson León Vizcarra” Educational Unit.”.

5. Discussion

The application of creative writing teaching techniques contributes to the development of

written expression, improving all the components; the substantial improvement of literary

resources, narrative creativity, the processual writing approach, textualization and revision,

and coherence and adequacy within the textual properties are noteworthy.

These results support the idea that the adoption of authentic strategies to symbolically

recreate subjective reality, as was done in the present research, can enhance the

development of skills that foster the precise and metaphorical use of language. In the same

line, Cassany's (2009) approaches to writing as a cognitive skill are highly relevant, as they

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argue that writing is closely linked to the ability to exercise abstract, logical and rational

thinking. The findings of the study support this perspective by demonstrating that the

writing process requires a cognitive ability that allows the formulation of correct, logical,

legible, creative and expressive sentences. In fact, everything indicates that the informants

of the intervention enhanced cognitive ability, since an improvement in the adequate

application of the scriptural components: spelling, sequence and order, vocabulary,

calligraphy and literary resources is observed.

What is mentioned by Bruner (1986) on narrative creativity, and Degraff (2019) on how to

deconstruct and reformulate stories in different ways is ratified. Thus in the intervention

initially, participants were shown to employ mimetic creativity. However, as the

intervention progressed, a noticeable shift toward narrative creativity was evident. This

change suggests an advance in the creative thinking of the informants, moving from

imitating to creating in an original and narrative way. Thus, it strengthens the notion that

fostering creativity is not an isolated event, but a continuous process that can be guided by

pedagogical approaches that include creative writing teaching techniques.

In relation to the approaches to writing, the decrease in the function approach is striking,

but the process approach improves, in line with what is prescribed by the Ecuadorian

Ministry of Education, in its 2016 Language and Literature curriculum, established a

definition that fits perfectly, since it considers writing as an intellectual, deep and

metacognitive act that transcends the application of grammatical rules. In this context,

writing becomes an essential tool for communication, driven by the intention to share ideas,

knowledge of the recipient, and the ability to structure content effectively. That said, it is

enriching to note how despite the traditional preeminence of standards and prescriptions

in the teaching of writing, the student body is still largely driven by the need to express and

communicate ideas. Thus, a shift in perspective in the understanding of writing is evident,

away from a purely normative approach to a more communicative and expressive

appreciation. This transformation fits with the educational definition that recognizes

writing as an intellectual act. Taken together, the above findings call for a reevaluation of

the teaching of writing, highlighting the importance of cultivating strong communicative

skills for adequate written communication.

The results obtained also converge with the ideas put forward by Cassany (1998), who

maintains that writing a text implies a meticulous and sometimes exhaustive process.

Cassany emphasizes that writing is not simply putting words on paper, but an intellectual

ability that demands knowledge and skills to achieve effective communication. In this sense,

the operations of contextualization, planning, textualization, revision and rereading emerge

as fundamental components to ensure that a text fulfills its communicative purpose

adequately.

The textual properties of coherence and adequacy improved significantly, which leads us to

think that these experiences are essential to transform creative writing into a functional

strategy that contributes to the development of writing skills. The improvement in the

application of textual properties implies that writers are able to structure their texts in a

more logical and fluid manner. In relation to the above, Cassany (1999) points out that

textual properties are specific criteria that a text must meet in order to be considered

optimal in its communicative process. This implies that, in addition to creativity and

individual expression, writing must be coherent in its structure, cohesive in its fluency, and

appropriate for the intended audience.

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Among the theoretical and practical implications of this research are the need to investigate

more teaching techniques for creative writing, and with the positive results, to disseminate

them and provide teachers in the area of Language and Literature with the skills to apply

and contribute to the improvement of students' learning of written expression, as well as to

understand that in language didactics it is essential to propose proposals that respond to

the challenge of educational innovation and that adapt naturally to new pedagogical

concepts in the classrooms of the future. In this perspective, it becomes indispensable to

explore new practices that help to change the reality of the results in the area of Language

and Literature (Ortiz, 2022, p. 60).).

6. Conclusions

These data indicate that the application of creative writing teaching techniques improves

students' written expression, as well as structural components such as: types of creativity,

especially narrative, the process and grammatical writing approach, writing processes and

textual properties. In relation to the structural components, spelling and literary resources

improved, very favorable advances were recorded in sequence and order, as well as in

calligraphy. Vocabulary improvement was minimal.

In the writing processes, planning is the phase that students master the most when applying

the teaching techniques: Let's confuse the stories, and What if? the phases of textualization

and revision were improved when expressing ideas in writing. The textual properties that

improved significantly were coherence and adequacy, while cohesion had the same level

before and after the intervention, i.e., writing skills improved.

It is necessary to propose new research projects in which interdisciplinarity is reflected in

aspects of the use of artificial intelligence, writing to support mental health, the contribution

of other subjects to the development of creative writing skills for written expression.

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Authors

BYRON CHASI-SOLÓRZANO obtained his doctorate in Educational Research at the

University of Alicante (Spain) in 2024, a master's degree in Higher Education at the Central

University of Ecuador (Ecuador) in 2011. His bachelor's degree is in Educational Sciences,

mention in Computer Science from the Universidad Central del Ecuador (Ecuador) in 2008.

He currently teaches Educational Technology, Learning Assessment and Research

Methodology at the Faculty of Philosophy, Letters and Education Sciences, and is also

coordinator of the degree unit of the Pedagogy of Language and Literature Career at the

Central University of Ecuador.

CRISTINA NUÑEZ-ZUMBA obtained a master's degree in University Teaching and

Educational Administration from Universidad Indoamérica (Ecuador) in 2008. She obtained

her bachelor's degree in Education Sciences, mention in Kindergarten from the Universidad

Politécnica Salesiana Ecuador (Ecuador) in 2006.

She currently teaches Professional Development and Profile, Educational and Community

Projects in the Pedagogy of Language and Literature Program at the Faculty of Philosophy

of the Universidad Central del Ecuador (Ecuador). She has collaborated in projects of

creation and edition of didactic books with Editorial Don Bosco, EDIMERINO Editores.

MARÍA JOSÉ ARAUJO-CHALA obtained her degree in Language and Literature Pedagogy at

the Universidad Central del Ecuador (Ecuador) in 2024.

She currently teaches Language and Literature at Unidad Educativa San Antonio de Padua

and is also coordinator of the subject Development of Thought at the same institution.

Recognition for her support in the writing of undergraduate projects at the San Patricio de

la Providencia Educational Unit (Ecuador) in 2020.

Statement of Authorship-CRediT

BYRON CHASI-SOLÓRZANO: conceptualization, methodology, data curation, formal

analysis, validation, writing-revising and editing.

CRISTINA NUÑEZ-ZUMBA: conceptualization, writing-revising and editing, formal

analysis.

MARÍA JOSÉ ARAUJO-CHALA: conceptualization, methodology, writing-drafting, original.