research and creative writing

Creative Writing Research: What, How and Why

• First Online: 23 July 2023

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• Graeme Harper 2  

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Creative writing research is actively moving us further toward knowing what creative writing actually is—in terms of our human actions and our responses when doing it. It is approaching such things as completed literary works and author recognition within the activities of creative writing, not mostly as representatives of that practice, and it is paying close attention to the modes, methods and functions of the writerly imagination, the contemporary influence of individual writer environments on writers, to writerly senses of structure and form and our formation and re-formation of writing themes and subjects. We certainly understand creative writing and creative writing research best when we remain true to why creative writing happens, when and where it happens, and how it happens—and creative writing research is doing that, focusing on the actions and the material results as evidence of our actions. Creative writing research has also opened up better communication between our knowledge of creative writing and our teaching of creative writing, with the result that we are improving that teaching, not only in our universities and colleges but also in our schools.

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Mo-Ling Rebecca Leung

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Harper, G. (2023). Creative Writing Research: What, How and Why. In: Rebecca Leung, ML. (eds) Chinese Creative Writing Studies. Springer, Singapore. https://doi.org/10.1007/978-981-99-0931-5_12

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Reference books are designed to help users find factual information or gain a broad overview of a topic. Typically, they also provide citations of sources for further investigation. The list below offers some suggested research topics for writers, but it is only a starting point. Any information that helps you see the world in new ways may contribute to your writing. NOTE: Although reference books are listed in DELCAT Discovery as non-circulating, they are eligible for Library Pickup Service during the fall 2020 semester.

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Articles on Creative writing

Displaying 1 - 20 of 46 articles.

UK’s creative industries bring in more revenue than cars, oil and gas – so why is arts education facing cuts?

Adam Behr , Newcastle University

An ode to the social realism of ‘boring’ lyrics – from The Kinks to The Streets

Glenn Fosbraey , University of Winchester

How to write a love song – three tips for beginners from a songwriting expert

‘ Cli-fi ’ might not save the world, but writing it could help with your  eco-anxiety

Rachel Hennessy , The University of Melbourne ; Alex Cothren , Flinders University , and Amy T Matthews , Flinders University

I research the therapeutic qualities of writing about art – here are three steps for trying it yourself

Patrick Wright , The Open University

Creative writing can help improve one’s health: a South African study shows how

Dawn Garisch , University of Cape Town and Steve Reid , University of Cape Town

Boxing empowered me to express my trauma – now, I help other abuse survivors do the same, combining it with creative writing

Donna Lyon , The University of Melbourne

How a poet and professor promotes racial understanding with lessons from history

Quraysh Ali Lansana , Oklahoma State University

How to understand your grief through writing

Catherine Cole , Liverpool John Moores University

Write what you know: the COVID experience is a rich resource for year 12 English exams

Janet Dutton , Macquarie University

5 ways to teach the link between grammar and imagination for better creative writing

Brett Healey , Curtin University

Writing can improve mental health – here’s how

Christina Thatcher , Cardiff Metropolitan University

In an AI world we need to teach students how to work with robot writers

Lucinda McKnight , Deakin University

To succeed in an AI world, students must learn the human traits of writing

‘Lit therapy’ in the classroom: writing about trauma can be valuable, if done right

Yannick Thoraval , RMIT University

Too many adjectives, not enough ideas: how NAPLAN forces us to teach bad writing

What my students taught me about reading: old books hold new insights for the digital generation

Kate Flaherty , Australian National University

Life sentences – what creative writing by prisoners tells us about the inside

Dr Michael X. Savvas , Flinders University

Frozen in time, the casts of Indigenous Australians who performed in ‘human zoos’ are chilling

Katherine Johnson , University of Tasmania

‘I’m in another world’: writing without rules lets kids find their voice, just like professional authors

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Visiting Fellow, Centre for Cultural and Creative Research, University of Canberra, University of Canberra

Adjunct assistant professor, University of New England

Associate professor, Deakin University

Associate Professor in Media, University of Notre Dame Australia

PhD Student, School of Education, Curtin University

Executive Dean (interim) Faculty of Arts and Design, University of Canberra

Lecturer in Creative Writing, University of Southern Queensland

Senior Lecturer in Creative Writing, University of Stirling

Associate Dean of Humanities and Social Sciences, University of Winchester

Dean of Research (Creative), University of South Australia

Honorary Associate in Creative Writing, The Open University

Lecturer of English, University of Liverpool

Professor of Creative Arts, Griffith University

Honorary Professor, The University of Queensland

Associate Professor. Associate Director of the Creative Lab., Queensland University of Technology

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King's College London

Creative writing research phd.

Key information

The PhD in Creative Writing at King’s is a practice-led course, incorporating taught elements and aspects of professional development. It is designed to cater for talented, committed writers who are looking to complete a book-length creative work for publication and sustain a long-term career in writing.

Key Benefits

Our unique programme offers students:

• a varied, structured framework for the development of their creative work, with regular feedback from experienced author-lecturers in the department through supervision and workshops
• purposeful engagement with professionals from the publishing and performance industries throughout the course, building potential routes to publication
• valuable teaching experience in creative writing at HE-level through our Graduate Teaching Assistantship scheme
• practical experience in public engagement, through curating and chairing public literary events at King’s
• a community of fellow writers and collaborative projects

English Department

We have over 100 doctoral students from all over the world working on a wide range of projects. Together with our community of postdoctoral fellows, our early career researchers both organise and participate in our thriving seminar and conference culture.

The English department is home to award-winning novelists, poets, essayists, biographers, non-fiction authors, and literary critics, who supervise creative projects at doctoral level within their specialisms.

Works by our staff have won or been shortlisted for a number of literary accolades, including: the T.S. Eliot Prize, the Forward Prize, the Man Booker Prize, the Sunday Times Young Writer of the Year, the Costa First Novel Award, the Costa Poetry Award, the Somerset Maugham Award, the Commonwealth Book Prize, the Biographers’ Club / Slightly Foxed First Biography Prize, the U.S. National Book Critics Circle Award, the CWA Gold Dagger Award, the European Union Prize for Literature, the RSL Encore Award, the Los Angeles Times Book Award, the E.M. Forster Award from the American Academy of Letters, le Prix du Roman Fnac, le Prix du Roman Etranger, the Kiriyama Prize, the Republic of Consciousness Prize, the Royal Society of Literature’s Encore Award, and the OCM Bocas Prize for Caribbean Literature. Many of the creative writing staff are Fellows of the Royal Society of Literature.

Their most recent publications are:

Benjamin Wood

The Young Accomplice (Penguin Viking, 2022) – fiction

A Station on the Path to Somewhere Better (Scribner, 2018) – fiction

Edmund Gordon

The Invention of Angela Carter (Chatto & Windus, 2016) – creative non-fiction

Loop of Jade (Chatto & Windus, 2015) – poetry

Anthony Joseph

Sonnets for Albert (Bloomsbury Publishing, 2022) – poetry

The Frequency of Magic (Peepal Tree Press, 2019) – fiction

Lara Feigel

The Group (John Murray Press, 2020) – fiction

Free Woman: Life, Liberation and Doris Lessing (Bloomsbury, 2018) – creative non-fiction

Homing: On Pigeons, Dwellings, and Why We Return (John Murray Press, 2019) – creative non-fiction

Daughters of the Labyrinth (Corsair, 2021) – fiction

Beethoven Variations: Poems on a Life (Chatto & Windus, 2020) – poetry

Emerald (Chatto & Windus, 2018) – poetry

Andrew O'Hagan

Mayflies (Faber & Faber, 2020) – fiction

The Secret Life: Three True Stories (Faber & Faber, 2017) – creative non-fiction

*may vary according to research leave and availability.

King's Alumni

The list of King’s alumni not only features many acclaimed contemporary authors—Michael Morpurgo, Alain de Botton, Hanif Kureishi, Marina Lewycka, Susan Hill, Lawrence Norfolk, Ross Raisin, Alexander Masters, Anita Brookner, and Helen Cresswell—it also includes major figures in literature, such as Maureen Duffy, Arthur C Clarke, Thomas Hardy, Christopher Isherwood, BS Johnson, John Keats, W. Somerset Maugham, and Virginia Woolf.

Course Detail

Our postgraduate writing students are given a supportive environment in which to enhance their technique, to explore the depths of their ideas, to sustain their creative motivation, and to prepare them for the demands of the writer’s life beyond the College.

At King's we know that writing well requires self-discipline and an ability to work productively in isolation; but we also appreciate that postgraduate writers thrive when they are part of a community of fellow authors, an environment of constructive criticism and shared endeavour.

That is why we offer our PhD students the guidance of knowledgeable and experienced practitioners. They will have frequent opportunities to interact and collaborate with peers and forge lasting connections within London’s writing industry.

Students will be expected to attend the quarterly Thesis Workshop, and also to take an active part in curating literary events at King’s, including the Poetry And… quarterly reading series. They will be invited to apply for positions teaching undergraduate creative writing modules as part of the Department’s Graduate Teaching Assistantship (GTA) scheme.

After three years (full-time) or six years (part-time), students are expected to submit either:

• a novel or short story collection
• a poetry collection
• a full-length work of creative non-fiction

In addition, they are also required to submit an essay (up to 15,000 words) that examines their practical approach to the conception, development, and revision of their project, and which explores how their creative work was informed by research (archival, book-based, or experiential).

• How to apply
• Fees or Funding

Many of our incoming students apply for AHRC funding via the London Arts and Humanities Partnership. Please see their website ( www.lahp.ac.uk ) for more detail of deadlines, application procedure and awards available. Also the ‘Student Funding’ section of the Prospectus will give you more information on other scholarships available from King’s.

UK Tuition Fees 2023/24

Full time tuition fees:

£5,820 per year (MPhil/PhD, Creative Writing)

Part time tuition fees:

£2,910 per year (MPhil/PhD, Creative Writing)

International Tuition Fees 2023/24

£22,900 per year (MPhil/PhD, Creative Writing)

£11,450 per year (MPhil/PhD, Creative Writing)

UK Tuition Fees 2024/25

£6,168 per year (MPhil/PhD, Creative Writing)

£3,084 per year (MPhil/PhD, Creative Writing)

International Tuition Fees 2024/25

£24,786 per year (MPhil/PhD, Creative Writing)

£12,393 per year (MPhil/PhD, Creative Writing)

These tuition fees may be subject to additional increases in subsequent years of study, in line with King’s terms and conditions.

• Study environment

Base campus

Strand Campus

Located on the north bank of the River Thames, the Strand Campus houses King's College London's arts and sciences faculties.

PhD in Creative Writing students are taught through one-to-one sessions with an appointed supervisor in their chosen specialism (fiction, creative non-fiction, or poetry) as well as through quarterly thesis workshops. They are also appointed a second supervisor whose role is to offer an additional perspective on the work being produced.

We place great emphasis on pastoral care and are a friendly and welcoming department in the heart of London. Our home in the Virginia Woolf Building offers many spaces for postgraduate students to work and socialise. Studying in London means students have access to a huge range of libraries from the Maughan Library at King’s to the Senate House Library at the University of London and the British Library.

Our PhD Creative Writing students are taught exclusively by practicing, published writers of international reputation. These include:

Benjamin Wood (Senior Lecturer in Creative Writing)

Supervises projects in fiction.

Edmund Gordon (Senior Lecturer in Creative Writing)

Supervises projects in fiction and creative non-fiction.

Sarah Howe (Lecturer in Poetry)

Supervises projects in poetry.

Anthony Joseph (Lecturer in Creative Writing)

Supervises projects in poetry and fiction.

Jon Day (Senior Lecturer in English)

Supervises projects in creative non-fiction and fiction

Lara Feigel (Professor of Modern Literature)

Supervises projects in creative non-fiction and fiction.

Ruth Padel (Professor Emerita of Poetry)

Andrew O’Hagan (Visiting Professor)

*Teaching staff may vary according to research leave and availability.

Our programme also incorporates the following taught components:

Thesis Workshop

A termly writing seminar for the discussion and appraisal of works-in-progress. These are taught on a rotational basis by all members of the creative writing staff, so that students get the benefit of hearing a range of voices and opinions on their work throughout the course.

The Writing Life

A suite of exclusive guest talks and masterclasses from leading authors, publishers, and editors, in which students receive guidance from people working at the top level of the writing industry and learn about the various demands of maintaining a career as a writer.

Recent speakers have included Amit Chaudhuri, Chris Power, Rebecca Watson, Mendez, Frances Leviston, Joanna Biggs, Joe Dunthorne, Francesca Wade, Kishani Widyaratna, Jacques Testard and Leo Robson.

Other elements of professional development are included in the degree:

Agents-in-Residence

Candidates in fiction or creative-nonfiction will meet and discuss their work in one-to-one sessions with invited literary agents, who are appointed to yearly residencies. These sessions offer writers a different overview of the development of their project: not solely from the standpoint of authorial technique, but with a view towards the positioning of their writing within a competitive and selective industry. Poetry candidates will meet and discuss their work with invited editors from internationally recognised poetry journals and presses.

Undergraduate Teaching

Through our Graduate Teaching Assistant (GTA) training scheme, our PhD students can apply to lead undergraduate creative writing workshops in fiction, creative non-fiction, and/or poetry, enabling them to acquire valuable HE-level teaching experience that will benefit them long after graduation.

Reading Series

Our students are required to participate in the curation of literary events at King’s. They are also responsible for curating Poetry And… , a quarterly reading in which leading poets illuminate the powerful connections between poetry and other disciplines. Students will develop skills in public engagement by chairing discussions and may also perform excerpts of their own writing.

Postgraduate Training

There is a range of induction events and training provided for students by the Centre for Doctoral Studies, the Faculty of Arts and Humanities and the English Department. A significant number of our students are AHRC-funded through the London Arts and Humanities Partnership (LAHP) which also provides doctoral training to all students. All students take the ‘Doctoral Seminar’ in their first year. This is a series of informal, staff-led seminars on research skills in which students can share and gain feedback on their own work. We run a series of ‘Skills Lunches’, which are informal lunch meetings with staff, covering specific topics, including Upgrading, Attending Conferences, Applying for Funding and Post-Doctoral Awards, etc. Topics for these sessions are generally suggested by the students themselves, so are particularly responsive to student needs. We have an Early Career Staff Mentor who runs more formal workshops of varying kinds, particularly connected to career development and the professions.

Through our Graduate Teaching Assistantship Scheme, doctoral students can apply to teach in the department (usually in their second year of study) and are trained and supported as they do so.

• Entry requirements

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Creative writing

The Creative Writing discipline supports practice-based and critical research and PhD study focused on creative writing. This research activity is associated with the discipline's Contemporary Cultures of Writing Research Group. The core activity in this type of PhD study is the creation of a book-length work of literature (or script equivalent) and an accompanying critical reflective thesis, which elucidates the research and creative strategies involved in making the work. In this way the essence of the Creative Writing PhD is research through creative practice. The final creative work emerges from and embodies the research questions, and the decisions and discoveries made while producing the work. We welcome applications from candidates suitably qualified and with appropriate writing experience and ability.

We expect well-structured proposals which set out specific research questions and clearly outline creative and critical approaches. A substantial writing sample is also required.

Entry requirements

Minimum 2:1 undergraduate degree (or equivalent) and a strong academic and creative record, usually evidenced by an MA in Creative Writing and relevant publications. If you are not a UK citizen, you may need to prove your knowledge of English . 

Potential research projects

• Fiction – novel and short stories
• Creative Nonfiction – including life writing
• Script for stage, radio or screen

Current/recent research projects

• The Longest Fight: a novel and Getting into the Ring: an investigation of archetypes of the boxing hero, the creative influences of boxing reportage, and the role of personal memories in historical fiction.
• Freethinkers, a novel, and Inventing history: how do research, imagination and memory fuse creatively in the writing of an historical novel?
• Darkness Is Never Absolute: Ekphrasis of the Formless and Near-Black Paintings.
• The Other Mothers: Exploring adoption, surrogacy and egg donation through life writing.
• The Electric: A novel and critical commentary investigating narrative disruption in sign language, cinemagoing, and trauma.
• Longing to belong: an investigation into the potential for alternative storytelling techniques.
• A Sudden Light: a practice-led exploration of the significance and potential of the contemporary timeslip novel.

Potential supervisors

• Dr Emily Bullock
• Dr Siobhan Campbell
• Dr Donall Mac Cathmhaoill
• Dr Fiona Doloughan
• Dr Edward Hogan
• Dr Lania Knight
• Dr Derek Neale
• Dr Heather Richardson
• Dr Samuel Sargeant
• Dr Emma Sweeney
• Dr Jane Yeh

Some of our research students are funded via the Open-Oxford-Cambridge AHRC Doctoral Training Partnership ; others are self-funded.

For detailed information about fees and funding, visit  Fees and studentships .

To see current funded studentship vacancies across all research areas, see  Current studentships .

• Creative Writing at The Open University
• Recent and current creative writing PhD students
• The Contemporary Cultures of Writing Research Group

Get in touch

If you have an enquiry specific to this research topic, please contact:

Dr Molly Ziegler / Dr Ed Hogan Email: FASS-EnglishCreativeWriting-Enquiries Phone: +44 (0)1908 652092

If you’re interested in applying for this research topic, please take a look at the application process .

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Creative Writing

General books on writing, finding books using subject headings, search the nyu libraries catalog, call numbers, books beyond nyu.

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• Citing Sources This link opens in a new window

Contact us via email , text us at 646-265-1342, or schedule an appointment .

The Libraries offer a number of general books on creative writing and writing craft. You can find these through the Libraries' catalog . Below is a small selection of books in our collection; see the rest of this page for guidance on finding more books, both within the NYU Libraries and beyond them.

Subject headings  are words and phrases which constitute a "controlled vocabulary" to categorize books by subject field.  Subject headings often indicate the contents of books in terms that their titles (or your keywords) do not use, which often may be very general.

Use general subject headings for searching a broad topic or more specific subject headings for a specific author, historical period, or animal. You will find (more) headings specific to the subject category within the left-hand facets in our online catalog.  If you want to see the subject headings for a specific title, click on the "details" link in the title record. 

Here are some examples of subject headings:

• Creative writing
• Writing & editing guides
• Fiction -- Technique
• Playwriting
• Poetry -- Authorship
• Creation (Literary, artistic, etc.)

Search for books, journals, videos, etc. in our local libraries and special collections.

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Creative Writing as a Research Method by Jon Cook: Summary and Critical Analysis

Analysis of Jon Cook’s Paper:  Creating Writing as a Research Method

Published in: Research Methods for English Studies (Gabriele Griffin)

Quick Summary of the Paper:

Jon Cook advocates that creative writing should  be  viewed  as  a legitimate research method. He questions the division between creative and critical inquiry. He asserts that reading and writing processes are integral components of scholarly practice. Cook highlights the iterative nature of writing and emphasises the significance of engagement with literary traditions. He also draws parallels between creative and traditional research methodologies, emphasising the potential for creative writing to generate unique insights and perspectives. However, implementing creative writing as a research technique may require assistance with standardisation and evaluation. Some critics argue that it could compromise scholarly stringency and objectivity. Despite these drawbacks, creative writing offers interdisciplinary exploration and innovation opportunities. By embracing creativity and imagination, scholars can expand scholarly discourse and challenge established paradigms. Cook’s proposal encourages scholars to reconsider the role of creative writing in academic research, acknowledging its potential to advance knowledge and scholarship.

Detailed & Critical Analysis of Jon Cook’s Paper:

Introduction:

Jon Cook’s essay offers a thought-provoking exploration of the intersection between creative writing and academic research, challenging conventional notions of scholarly inquiry and advocating for a reevaluation of the role of writing in the production of knowledge. Through a nuanced analysis, Cook posits creative writing as a legitimate research method, emphasising its capacity for discovery, revision, and engagement with tradition. By interrogating writing and reading processes within the context of creative and critical writing PhD programs, Cook endeavours to demonstrate the viability and practicality of integrating creative practice into academic discourse. This essay critically examines Cook’s central proposition, elucidating his argumentation and evaluating its implications for scholarly practice.

Central Proposition:

At the crux of Cook’s argument lies the assertion that creative writing constitutes a valid and rigorous form of research. He challenges the prevailing dichotomy between creative and critical modes of inquiry, contending that creative writing offers unique opportunities for generating new insights and advancing knowledge. Cook posits,  “The thought that a course of reading is necessary to a writer’s attainment is not new” (Cook) . This statement underscores the interconnectedness of reading and writing, highlighting the role of literary study in informing creative practice. Cook’s central proposition asserts that creative writing is not merely an expressive endeavour but a systematic process of exploration and discovery. He contends,  “The first draft raises a ‘research question’ for the writer” (Cook) . Here, Cook elucidates the iterative nature of the writing process, wherein initial drafts serve as catalysts for further inquiry and refinement. By reconceptualising creative writing as a research mode, Cook challenges traditional disciplinary boundaries and advocates for a more inclusive and expansive understanding of scholarly practice.

Creative Writing as a Research Method:

Cook articulates his argument by delineating the parallels between creative writing and traditional research methodologies. He argues that the iterative writing process mirrors the principles of research inquiry, wherein ideas are tested, refined, and developed over time. Cook argues,  “Each draft will produce a set of discoveries whose implications need to be tested, rejected, or refined in a subsequent draft” (Cook) . This statement underscores the cyclical nature of the writing process, highlighting its capacity for generating new insights and perspectives. Moreover, Cook emphasises the importance of reading as an essential component of the creative writing process, drawing parallels between literary study and historical research. He posits,  “Reading provides writing with historical sense – that, at least, is the basic slogan advanced here” (Cook) . By engaging with literary traditions and predecessors, creative writers synthesise past influences with contemporary insights, enriching their work with diverse perspectives and references.

Viability and Practicality:

While Cook’s proposition regarding creative writing as a research method is compelling, questions arise regarding its viability and practicality within academic contexts. The subjective nature of creative writing and its reliance on individual creativity may challenge standardisation and reproducibility. Additionally, integrating critical commentary alongside creative work in PhD programs may require careful consideration of evaluative criteria and assessment methods. Cook acknowledges these challenges, stating,  “The completion of a thesis requires more than one draft” (Cook) . This acknowledgement underscores the iterative nature of the writing process and the importance of revision and refinement in scholarly inquiry. While questions remain regarding implementing and assessing creative writing as a research method, Cook’s exploration opens new avenues for dialogue and innovation within academic disciplines. Ultimately, his proposition invites scholars to reconsider how knowledge  is produced  and communicated, embracing the creative potential of writing as a means of discovery.

Limitations of Cook’s Proposal:  

Although Cook’s proposal has advantages, some limitations do demand consideration. Firstly, the subjective nature of creative writing can make it challenging to standardise evaluation criteria and ensure reproducibility. Unlike traditional research methodologies, creative writing often relies on individual creativity and expression, making it difficult to establish universal benchmarks for assessment. Additionally, integrating critical commentary alongside creative work in academic programs may require careful calibration to ensure balance and coherence. Critics may argue that Cook’s proposal risks diluting the rigour and objectivity of traditional research practices, thus undermining academic credibility and scholarly standards.

Counterargument:  

Some quarters have opposed Cook’s proposal, failing to acknowledge the inherent value of creative writing as a versatile and engaging mode of inquiry and expression. Creative writing offers a unique approach to exploring complex themes and concepts across various disciplines. By prioritising creativity and imagination, creative writing encourages scholars to approach research questions from diverse perspectives and experiment with innovative methodologies.

Creative writing’s capacity to generate new knowledge and challenge established paradigms should not be underestimated or overlooked. Moreover, integrating critical commentary alongside creative work enhances reflexivity and critical engagement, enriching the scholarly discourse with nuanced insights and interpretations. Critics should pay more attention to the potential of creative writing to contribute to interdisciplinary dialogue and academic innovation rather than dismissing it without fully considering its value.

Conclusion:

In conclusion, Jon Cook’s essay offers a compelling argument for reimagining creative writing as a form of research. By interrogating writing and reading processes, Cook challenges traditional boundaries between creative and critical inquiry, advocating for a more inclusive and expansive understanding of scholarly practice. While questions remain regarding the viability and practicality of integrating creative writing into academic discourse, Cook’s exploration underscores the potential value of incorporating diverse modes of expression and interpretation into scholarly inquiry. Ultimately, his proposition invites scholars to reconsider how knowledge  is produced  and communicated, embracing the creative potential of writing as a means of discovery.

Written by Alok for the English Literature Education Platform

Read related articles from this category:

Structuralism Theory in English Literature Details of the Structuralist Approach & Key Theorists

Langue and Parole in Structuralism with Examples – Alok Mishra

Best Books to Study Literary Theory and Criticism – List by Alok Mishra

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Creative Writing

Ocean vuong, with townsend center.

Presented by the Townsend Center for the Humanities in partnership with BAMPFA , co-sponsored by ARC.

Ocean Vuong , poet, MacArthur Fellow, and author of the celebrated novel On Earth We're Briefly Gorgeous, is the 2023-24...

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Cody Achin is half Native American. Half Anglo and half O’odham. Currently residing within his ancestral and childhood home within the Salt River Pima-Maricopa Indian Community Reservation in Arizona. Achin recently graduated from Arizona State University in Spring 2023 with a Bachelor’s in English with a focus on Poetry. Achin’s poetry is tied heavily to his cultural background and his native language. By infusing words/phrases within his native language in his poetry, Achin is looking to create an introspective look into how he walks in two worlds. One in traditionalism...

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Reclamation Poetry Gathering

A trans-Indigenous conversation, with juxtapositions that decenter European thought and begin to translate an oceanic-to-desert-to-river-to-forest poetic imaginary

Reclamation gathered 19 fellows chosen to participate in the 2023 Poetry & the Senses program for a weekend of readings, conversations, and workshops. Three readings, hosted at...

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Maura Adela Cruz

Maura Adela Cruz (she/her) is an undergraduate student at the University of California, Berkeley pursuing a degree in English with a minor in Creative Writing. She was raised in California’s Central Valley to an Indigenous farmworker community and is of Zapotec and Mixtec descent. Maura’s poetry focuses on Zapotec language revitalization while also examining the circumstances imposed by settler-colonial nation-states like the U.S. and Mexico. Her poetic work seeks to document and preserve the cultural histories and worldviews embedded within her Indigenous Zapotec ...

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Måsi Santos

Måsi Santos (she/her) is an Indigenous Pacific Islander (Chamoru) from the Mariana Islands in Micronesia, specifically Luta and Guåhan. She received a bachelor’s degree in English Literature and a master’s degree in English (Linguistics emphasis) from the Unibetsedåt Guåhan, and is a PhD student in the Berkeley Linguistics Department. As a speaker of her Indigenous language (Chamoru), she is a staunch advocate for reclamation and revitalization of Indigenous languages in her homelands and worldwide.

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Pa Vue (she / her / nws) works to reclaim Hmong language, culture, and knowledge. She writes to explore the connection between literacy, language, and creativity. Her writing draws from paj huam , a traditional Hmong spoken poetry, and Hmoob kev hu plig , Hmong soul calling practices. Visit her on Instagram

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Jesús Nazario

Jesús Nazario/ Nahua, Alto Balsas (he/they) is a Nahua scholar from Northwest Houston, Texas with ancestral roots in a Nahua town in Guerrero, Mexico. Jesús received a Master’s of Arts in Latin American Studies from the University of Texas at Austin, and most recently a Master’s of Arts in Ethnic Studies from UC Berkeley. Currently, Jehj is a Foreign Language and Area Studies (FLAS) Fellow, Office of Graduate Diversity Community and Diversity Fellow, and Graduate Student Fellow for the Berkeley Food Institute. As someone who learned their Indigenous language, Nahuatl,...

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Latinx Poetry Now: A Reading and Conversation with J. Michael Martinez + aracelis girmay

Join the Arts Research Center for our first Poetry & the Senses reading of fall 2023, featuring the incredible poets and multimedia artists J. Michael Martin and aracelis girmay. Following their readings, they will be in conversation with Prof John Alba Cutler (English).

J. Michael Martinez is a multimedia artist and the author of three collections of poetry, including Heredities, which received the Walt...

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Writing Workshop Maōri Poet Robert Sullivan

Robert Sullivan (Ngāpuhi and Kāi Tahu) has won awards for his poetry, editing, and writing for children, including the 2022 Lauris Edmond Memorial Award for a distinguished contribution to New Zealand poetry, Distinguished Visiting Writer at the University of Hawai’i, the Montana New Zealand Book Award for co-editing Whetu Moana: Contemporary Polynesian Poems in English, the Māori Literature Award for co-editing Puna Wai Kōrero: An Anthology of Māori Poetry...

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Laurie Macfee

Laurie Macfee (she/her) is a poet, artist, art administrator, and educator. She joined the Arts Research Center in 2018 and was named Associate Director in 2021; she manages all programs and day-to-day operations of the center. She was a cohort leader and facilator of ARC's Poetry & Senses program (2020-2024), including designing the Flash Reading Series and visiting writer program. Macfee has over 15 years of arts administration experience––she managed the Writing Program as well as grants at Vermont Studio Center; served as Curator of Education and Museum ...

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YH: The Tutorial Service would be an excellent way to get another set of eyes on your application. Other people can spot missteps in logic or structure or grammar far more easily than we can (especially if we’re tired or in a rush). Don’t forget, 7 hours per term! In addition, I urge all students to consider taking a writing or oral communication course during their studies so that they can benefit from structured teaching, regular feedback, and a supportive environment to continue honing their skills and craft.

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If you are interested in utilizing this service, there are multiple upcoming resources including:

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- Their writing support for applicants to the prestigious Vanier and Banting awards in the summer. https://www.mcgill.ca/graphos/groups/fwg More details to come!

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Liberty University’s Bachelor of Science (BS) in Creative Writing – Journalism is an exciting and dynamic degree program that can help prepare you for a career in the media industry. With a focus on writing for social media, news and print, and multimedia storytelling, this journalism major can help equip you with the skills and knowledge you need to excel in a variety of fields.

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Common Writing Assignments

Welcome to the Purdue OWL

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These OWL resources will help you understand and complete specific types of writing assignments, such as annotated bibliographies, book reports, and research papers. This section also includes resources on writing academic proposals for conference presentations, journal articles, and books.

Understanding Writing Assignments

This resource describes some steps you can take to better understand the requirements of your writing assignments. This resource works for either in-class, teacher-led discussion or for personal use.

Argument Papers

This resource outlines the generally accepted structure for introductions, body paragraphs, and conclusions in an academic argument paper. Keep in mind that this resource contains guidelines and not strict rules about organization. Your structure needs to be flexible enough to meet the requirements of your purpose and audience.

Research Papers

This handout provides detailed information about how to write research papers including discussing research papers as a genre, choosing topics, and finding sources.

Exploratory Papers

This resource will help you with exploratory/inquiry essay assignments.

Annotated Bibliographies

This handout provides information about annotated bibliographies in MLA, APA, and CMS.

Book Report

This resource discusses book reports and how to write them.

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While most OWL resources recommend a longer writing process (start early, revise often, conduct thorough research, etc.), sometimes you just have to write quickly in test situations. However, these exam essays can be no less important pieces of writing than research papers because they can influence final grades for courses, and/or they can mean the difference between getting into an academic program (GED, SAT, GRE). To that end, this resource will help you prepare and write essays for exams.

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Academic Proposals

This resource will help undergraduate, graduate, and professional scholars write proposals for academic conferences, articles, and books.

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2024 Program for Humanities in Medicine Health Professions Creative Medical Writing and Art Contest: “Care Taker” by Terri Motraghi

Yale university’s 2024 program for humanities in medicine (phm) health professions creative medical writing and art contest awarded first prize in poetry to terri motraghi, a clinical research nurse and online msn candidate in the psychiatric mental health nurse practitioner specialty. to read more about yale school of nursing (ysn)’s other prize winners in this contest, please visit ysn news ., by terri motraghi, to read more about yale school of nursing (ysn)’s other prize winners in this contest,  please visit ysn news ..