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Sat / act prep online guides and tips, the 12 best creative writing colleges and programs.

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Finding a dedicated creative writing program at a school you're excited about can be a real challenge, and that's even before you start worrying about getting in. Nonetheless, there are some great options. In order to help you find the best school for you, this list rounds up some of the best colleges for creative writing in the United States .

The Best Creative Writing Programs: Ranking Criteria

You should never take college rankings as absolute truth —not even the very official-seeming US News ones. Instead, use these kinds of lists as a jumping-off place for your own exploration of colleges. Pay attention not just to what the rankings are but to how the rankings are determined.

To help with that, I'll explain how I came up with this highly unscientific list of great creative writing colleges. I started by narrowing my search down to schools that offered a specific creative writing major. (If you don't see a school you were expecting, it's likely because they only have a minor.)

In ranking the schools, I considered five major criteria:

• #1: MFA Ranking —If a school has a great graduate creative writing program, it means you'll be taught by those same professors and the excellent graduate students they attract. Schools with strong MFA programs are also more likely to have solid alumni networks and internship opportunities. However, many schools with great undergrad programs do not offer MFAs, in which case I simply focused on the other four options.
• #2: General School Reputation —The vast majority of your classes won't be in creative writing, so it's important that other parts of the school, especially the English department, are great as well.
• #3: Extracurricular Opportunities —One of the key advantages of majoring in creative writing is that it can provide access to writing opportunities outside the classroom, so I took what kind of internship programs, author readings, and literary magazines the school offers into consideration.
• #4: Diversity of Class Options —I gave extra points to schools with a variety of genre options and specific, interesting classes.
• #5: Alumni/Prestige —This last criterion is a bit more subjective: is the school known for turning out good writers? Certainly it's less important than what kind of education you'll actually get, but having a brand-name degree (so to speak) can be helpful.

The Best Creative Writing Schools

Now, let's get to the good stuff: the list of schools! The exact numbering is always arguable, so look at it as a general trend from absolutely amazing to still super great, rather than fixating on why one school is ranked #3 and another is ranked #4.

#1: Northwestern University

Northwestern's undergrad creative writing program boasts acclaimed professors and an unparalleled track record of turning out successful writers (including Divergent author Veronica Roth and short-story writer Karen Russell).

Outside the classroom, you can work on the student-run literary journal, intern at a publication in nearby Chicago, or submit to the Department of English's yearly writing competition . The university is also home to a top journalism program , so if you want to try your hand at nonfiction as well, you'll have plenty of opportunities to do so.

#2: Columbia University

Like Northwestern, Columbia is home to both a world-class creative writing program and a top journalism school (plus one of the best English departments in the country), so you have a wide range of writing-related course options. Columbia also benefits from its location in New York City, which is bursting at the seams with publishing houses, literary journals, and talented authors.

#3: University of Iowa

The University of Iowa's big draw is the infrastructure of its graduate Writers' Workshop, which is often considered the best MFA program in the country.

As an English and Creative Writing major here, you'll take classes from great young writers and established professors alike, and get to choose from a wide range of topics. This major provides transferable skills important for a liberal arts major with a creative focus. You'll also have access to the university's impressive literary community, including frequent readings, writing prizes and scholarships, and the acclaimed literary journal The Iowa Review .

#4: Emory University

Emory is renowned for its dedicated undergrad creative writing program , which draws the very best visiting scholars and writers. Students here have the chance to attend intimate question-and-answer sessions with award-winning authors, study a range of genres, compete for writing awards and scholarships, and work closely with an adviser to complete an honors project.

#5: Oberlin College

A small liberal arts school in Ohio, Oberlin offers very different advantages than the schools above do. You'll have fewer opportunities to pursue writing in the surrounding city, but the quality of the teachers and the range of courses might make up for that. Moreover, it boasts just as impressive alumni, including actress and writer Lena Dunham.

#6: Hamilton College

Hamilton is another small college, located in upstate New York. It's known for giving students the freedom to pursue their interests and the support to help them explore topics in real depth, both inside and outside the classroom. Hamilton's creative writing program takes full advantage with small classes and lots of opportunities to intern and publish; it also has one of the best writing centers in the country.

#7: Brown University

Brown's Literary Arts program offers one of the top MFAs in the US as well as an undergraduate major . For the major, you must take four creative writing workshops and six reading-intensive courses, which span an array of departments and topics, from music and literature to Middle East studies and Egyptology.

#8: Washington University in St. Louis

Washington University has an excellent creative writing MFA program, lots of super specific class options, and a number of scholarships specifically earmarked for creative writing students. This school’s undergraduate English program also offers a concentration in creative writing that allows students to specialize in a specific genre: poetry, fiction, or creative nonfiction. If you’re interested in exploring your potential in a specific writing genre, Washington University could be a great pick for you.

#9: Massachusetts Institute of Technology

MIT might not be a school you generally associate with writing, but it actually has an excellent program that offers courses in digital media and science writing, as well as creative writing, and provides plenty of guidance on how graduates can navigate the tricky job market.

Not to mention the school is located in Cambridge, a haven for book lovers and writers of all kinds. Though it probably isn’t a good fit for students who hate science, MIT is a great place for aspiring writers who want to build writing skills that are marketable in a wide range of industries.

#10: University of Michigan

University of Michigan is one of the best state universities in the country and has a top-notch MFA program. This school’s undergrad creative writing sub-concentration requires students to submit applications for admittance to advanced creative writing courses. These applications give students crucial practice in both building a writing portfolio and articulating their interest in creative writing to an audience who will evaluate their work. If you're looking to attend a big school with a great creative writing major, this is a fantastic choice.

#11: Johns Hopkins University

Johns Hopkins is another school that's known more for engineering than it is for writing, but, like MIT, it has a dedicated writing program. As a major here, you must take not only courses in prose, poetry, and literature, but also classes on topics such as philosophy and history.

#12: Colorado College

Colorado College is a small liberal arts school known for its block plan , which allows students to focus on one class per three-and-a-half-week block. The creative writing track of the English major includes a sequence of four writing workshops and also requires students to attend every reading of the Visiting Writers Series.

Bonus School: New York University

I didn't include NYU in the main list because it doesn't have a dedicated creative writing major, but it's a great school for aspiring writers nonetheless, offering one of the most impressive creative writing faculties in the country and all the benefits of a Manhattan location.

How To Pick the Best Creative Writing School for You

Just because Northwestern is a great school for creative writing doesn't mean you should set your heart on going there. (The football fans are completely terrifying, for one thing.) So where should you go then?

Here are some questions to ask yourself when looking at creative writing programs to help you determine the best school for you:

Does It Have Courses You're Interested In?

Look at the course offerings and see whether they interest you. While you can't predict exactly what classes you'll love, you want to avoid a mismatch where what you want to study and what the program offers are completely different. For example, if you want to write sonnets but the school focuses more on teaching fiction, it probably won't be a great fit for you.

Also, don't forget to look at the English courses and creative writing workshops! In most programs, you'll be taking a lot of these, too.

What Opportunities Are There To Pursue Writing Outside of Class?

I touched on this idea in the criteria section, but it's important enough that I want to reiterate it here. Some of the best writing experience you can get is found outside the classroom, so see what kind of writing-related extracurriculars a school has before committing to it.

Great options include getting involved with the campus newspaper, working on the school's literary journal, or interning at the university press.

Who Will Be Teaching You?

Who are the professors? What kind of work have they published? Check teacher ratings on Rate My Professors (but make sure to read the actual reviews—and always take them with a grain of salt).

If you're looking at a big school, there's a good chance that a lot of your teachers will be graduate students. But that's not necessarily a bad thing: a lot of the best teachers I had in college were graduate students. Just take into consideration what kind of graduate program the school has. If there's a great creative writing MFA program, then the graduate students are likely to be better writers and more engaged teachers.

What Are the Alumni Doing Now?

If you have a sense of what you want to do after you graduate, see if any alumni of the program are pursuing that type of career. The stronger the alumni network is, the more connections you'll have when it comes time to get a job.

What About the Rest of the School?

Don't pick a school for which you like the creative writing program but dread everything else about it. Most of your time will be spent doing other things, whether hanging out in the dorms, exploring off campus, or fulfilling general education requirements.

Many schools require you to apply to the creative writing major, so make doubly sure you'll be happy with your choice even if you aren't accepted to the program.

What's Next?

Are you sure a creative writing major is the right fit for you? Read our post on the pros and cons of the major to help you decide what path to take in college.

For more general advice about choosing a college, check out our complete guide to finding the right school for you. Some major factors to consider include deciding whether you're interested in a small college or a big university , an in-state or out-of-state institution , and a public or private school .

Alex is an experienced tutor and writer. Over the past five years, she has worked with almost a hundred students and written about pop culture for a wide range of publications. She graduated with honors from University of Chicago, receiving a BA in English and Anthropology, and then went on to earn an MA at NYU in Cultural Reporting and Criticism. In high school, she was a National Merit Scholar, took 12 AP tests and scored 99 percentile scores on the SAT and ACT.

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Home › Study Tips › Creative Writing Resources For Secondary School Students

Creative Writing Examples: 9 Types Of Creative Writing

• Published July 28, 2022

Table of Contents

Creative writing takes a lot of brainpower. You want to improve your creative writing skills, but you feel stuck. And nothing’s worse than feeling dry and wrung out of ideas! 

But don’t worry. When our creative writing summer school students feel they’re in a rut, they expand their horizons. Because sometimes, all you need is to try something new . 

And this article will give you a glimpse into what you need to thrive at creative writing.

Here you’ll find creative writing examples to help give you the creative boost you’re looking for. Are you dreaming of writing a novel but can’t quite get there yet? 

No worries! Maybe you’d want to try your hand writing short stories first, or maybe flash fiction. You’ll know more about these in the coming sections.

9 Scintillating Creative Writing Examples

Let’s go through the 9 examples of creative writing and some of their famous pieces penned under each type.

There is hardly a 21st-century teenager who hasn’t laid their hands on a novel or two. A novel is one of the most well-loved examples of creative writing.

It’s a fictional story in prose form found in various genres, including romance, horror, Sci-Fi, Fantasy and contemporary. Novels revolve around characters whose perspectives in life change as they grow through the story. They contain an average of 50,000 to 70,000 words. 

Here are some of the most famous novels:

• To Kill a Mockingbird by Harper Lee
• Pride and Prejudice by Jane Austen
• Harry Potter by J.K. Rowling
• The Chronicles of Narnia by C.S. Lewis
• Lord of the Rings by J.R.R. Tolkien

2. Flash Fiction

Flash Fiction is similar to a novel in that it offers plot development and characters. But unlike novels, it’s less than 1000 words. Some even contain fewer than 100 words! Legend has it that the shortest story ever told was Ernest Hemmingway’s six-word story, which goes like this, “For Sale: Baby shoes, never worn.”

Do you know that there are sub-categories of Flash Fiction? There’s the “Sudden Fiction” with a maximum of 750 words. “Microfiction” has 100 words at most. And the “six-word story” contains a single-digit word count. 

Remarkable Flash Fiction include: 

• The Long and Short of It by Michael A. Arnzen
• Chapter V Ernest Hemingway
• Gasp by Michael A. Arnzen
• Angels and Blueberries by Tara Campbell
• Curriculum by Sejal Shah

3. Short Story

What’s shorter than a novel but longer than flash fiction? Short story. It’s a brief work of fiction that contains anywhere from 1,000 to 10,000 words. Whereas a novel includes a complex plot, often with several characters interacting with each other, a short story focuses on a single significant event or mood. It also has fewer characters. 

The best short stories are memorable and evoke strong emotions. They also contain a twist or some type of unexpected resolution.

Check out these famous short stories:

• The Lottery by Shirley Jackson
• The Cask of Amontillado by Edgar Allan Poe
• The Gift of the Magi by O. Henry
• The Sniper by Liam OFlaherty
• A Good Man is Hard to Find by Flannery O’Connor

4. Personal Essay

In a personal essay, you write about your personal experience. What lesson did the experience teach you? And how does it relate to the overarching theme of the essay? Themes can be about anything! From philosophical questions, political realizations, historical discussions, you name it.

Since writing a personal essay involves talking about actual personal events, it’s often called “autobiographical nonfiction.” Its tone is informal and conversational.

Have you observed that applications at universities and companies usually involve submitting personal essays? That’s because having the capability to write clear essays displays your communication and critical thinking skills.

Some of the most famous personal essays include:

• Self-Reliance by Ralph Waldo Emerson
• Once More To The Lake by E.B. White
• What I Think and Feel at 25 by F. Scott Fitzgerald
• Ticket to the Fair by David Foster Wallace

Memoirs and personal essays are autobiographical. But while you use your experiences in a personal essay to share your thoughts about a given theme, a memoir focuses on your life story. What past events do you want to share? And how has your life changed?

In a word, a memoir is all about self-exploration. 

Here are among the most famous memoirs:

• I Know Why the Caged Bird Sings by Maya Angelou
• West with the Night by Beryl Markham
• Personal Memoirs of Ulysses S. Grant by Ulysses Grant
• Night By Elie Wiesel
• A Long Way Gone By Ishmael Beah

6. Poetry 

Poetry is one of the oldest examples and types of creative writing . Did you know that the oldest poem in the world is the Epic of Gilgamesh, which is known to be 4,000 years old? Poetry is a type of literature that uses aesthetic and rhythmic qualities of language—such as sound, imagery, and metaphor—to evoke meaning. 

There are 5 types of rhythmic feet common in poetry: trochee, anapest, dactyl, iamb, and anapest.

The most beloved poems include:

• No Man Is An Island by John Donne
• Still I Rise by Maya Angelou
• Ode to a Nightingale by John Keats
• If You Forget Me by Pablo Neruda
• Fire And Ice by Robert Frost

7. Script (Screenplay)

A script is a type of creative writing (a.k.a. screenwriting) that contains instructions for movies. Instructions indicate the characters’ movements, expressions, and dialogues. In essence, the writer is giving a visual representation of the story.

When a novel says , “Lucy aches for the love she lost,” a script must show . What is the actress of Lucy doing? How can she portray that she is aching for her lost love? All these must be included in screenwriting.

The following are some of the most brilliant scripts:

• Citizen Kane by Herman J. Mankiewicz and Orson Welles
• The Godfather by Mario Puzo and Francis Ford Coppola
• Pulp Fiction by Quentin Tarantino
• The Silence of the Lambs by Ted Tally
• Taxi Driver by Paul Schrader

8. Play (Stageplay) 

If screenplay is for movies, stageplay is for live theatre. Here’s another distinction. A screenplay tells a story through pictures and dialogues, whereas a stageplay relies on the actors’ performances to bring the story to life.

That’s why dialogue is THE centre of live performance. A play doesn’t have the benefit of using camera angles and special effects to “show, don’t tell.”

Some of the most renowned plays are:

• Hamlet by William Shakespeare
• The Crucible by Arthur Miller
• A Streetcar Named Desire by Tennessee Williams
• Romeo and Juliet by William Shakespeare
• The Importance of Being Earnest by Oscar Wilde

What was the best speech you heard that moved you to action? Speeches are among the most powerful examples of creative writing. It’s meant to stir the audience and persuade them to think and feel as you do about a particular topic.

When you write a speech, you intend to present it orally. So not only do you have to consider the words you choose and the phrasing. But you also have to think about how you’ll deliver it.

Will the sentences flow smoothly onto each other so as to roll off the tongue? Do the words give you the confidence and conviction you need to express your thoughts and beliefs?

Here are some of the most stirring speeches in history:

• I Have A Dream by Martin Luther King Jr.
• The Gettysburg Address by Abraham Lincoln
• First Inaugural Address by Franklin D. Roosevelt
• I Choose To Live by Sabine Herold
• Address to the Nation on the Challenger by Ronald Reagan

What Are The Elements of Creative Writing?

You’re now familiar with the various examples of creative writing. Notice how creative writing examples fall under different categories. Can you guess what they are? That’s right! Poetry and Prose .

The Prose section can be broken down further into Prose Fiction and Prose Nonfiction.

Where do the Elements of Creative Writing come in? For Prose fiction . If there’s one word that can describe all forms of prose fiction, it’s STORY. So what are the Elements of a Story (Creative Writing?)

The character is a being (person, animal, thing) through which the reader experiences the story. They speak, act, and interact with the environment and other characters.

• Elizabeth Bennet in Pride & Prejudice
• Simba in Lion King
• Woody in Toy Story

The two most essential types of characters are the Protagonist and Antagonist. Who is the Protagonist? They’re the main character, and the story revolves around them. Elizabeth, Simba, and Woody are the protagonists in their stories. 

And who is the Antagonist? The one who causes conflict for the protagonist.

The setting answers the question, “when and where does the story set place?” It’s the story’s time and location. Providing context that helps the reader visualise the events in clearer detail. 

What is the Plot? It’s the sequence of events in the story. If you break it down, the plot looks like this:

Exposition – you can also call this the introduction. Where you first catch a glimpse of the characters and setting. In the Lion King (Part 1), this is where Simba is introduced to all the animals on top of Pride Rock as the future King. 

Rising Action – the story gets complicated. The tension builds, and you see the conflict arise. It’s a time of crisis for the main characters. So what’s the Rising Action for Lion King? It would be when Simba’s uncle Scar murders his father and tells him to “Run away and NEVER return.” 

Climax – you’re at the edge of your seat as the story reaches its crescendo. The most defining (and intense) moment arrives when the protagonist faces the conflict (enemy/challenge) head-on. Simba finally goes back to Pride Rock to confront his wicked uncle Scar. And an epic fight begins. Simba even almost falls off a cliff! *gasp

Falling Action – here you catch your breath as the story starts to calm down. The characters unwind and work towards their respective conclusions. Simba didn’t fall off the cliff. Instead, he won the fight. And he roars atop Pride Rock to reclaim his rightful place as King. The lionesses proclaim their joyful acceptance by roaring back. 

Resolution – remaining conflict concludes, and the story ends. In Lion King, Pride Land is once again lush and peaceful. And Simba looks on with pride as he introduces his daughter Kiara on top of Pride Rock.

You can think of the theme as the main idea. What meaning is the writer trying to express in the story? The other elements, such as setting, plot, and characters, work together to convey the theme.

Point of View

Through what lens or “eye” does the narrating voice tell the story? There are three points of view common in writing stories:

First Person

In the first person point of view, the narrating voice is the main character. Much of the lines talk of “I” and “me.” Everything you know about the other characters, places, and dialogues in the story comes from the main character’s perspective. 

Third Person 

From the third person point of view, the narrating voice is separate from the main character. Meaning the narrator uses “he/she/they” when following the main character in the story. There are generally two types of third-person points of view. 

Limited. In a third-person limited point of view, the narrator only knows about the main character’s inner world – their thoughts and feelings. But they have no idea about the thoughts and feelings of other characters. 

Omniscient. What does “omniscient” mean? All-knowing. So in the Third Person Omniscient point of view, the narrator knows about the feelings and thoughts of all the characters. Not just that of the main character. 

In a story that uses a third-person omniscient point of view, the all-knowing narrator sometimes follows the story from multiple characters’ perspectives. 

There you have it! By now, you’ve learned about creative writing examples, plus creative elements should you want to write a story. Browse our creative writing tips if you’re looking for a bit of help to engage your audience.

Still feel like you need more heavy-lifting? If it’s a talented Oxford, Cambridge, or Ivy League tutor you need to help you master creative writing, check out these creative writing online courses .

Related Content

Smart career paths: published author.

• Creative Writing

The vital presence of creative writing in the English Department is reflected by our many distinguished authors who teach our workshops. We offer courses each term in fiction, poetry, nonfiction, screenwriting, playwriting, and television writing. Our workshops are small, usually no more than twelve students, and offer writers an opportunity to focus intensively on one genre. 

Apply to Creative Writing Workshops

Workshops are open by application to Harvard College undergraduates, graduate students, staff, and students from other institutions eligible for cross registration. Submission guidelines for workshops can be found under individual course listings; please do not query instructors.  Review all departmental rules and application instructions before applying.  

Fall 2024 Application Deadline: 11:59 pm ET on Sunday, April 7, 2024. Spring 2025 Application Deadline: TBD

Please visit our course listings for all the Fall 2024 workshops.

Our online submission manager (link below) will open for Fall 2024 applications on Friday, March 22 , 2024.

Students who have questions about the creative writing workshop application process should contact Case Q. Kerns at [email protected] .

Featured Faculty

Teju Cole  is a novelist, critic, and essayist, and is the first Gore Vidal Professor of the Practice. "Among other works, the boundary-crossing author is known for his debut novel “Open City” (2011), whose early admirers included Harvard professor and New Yorker critic James Wood." 

Faculty Bookshelf

Known and strange things by teju cole (2016).

In Defense of Food by Michael Pollan (2008)

The Isle of Youth by Laura van den Berg (2013)

Find Me by Laura van den Berg (2015)

Creative Writing Workshops

• Spring 2024

English CACD. The Art of Criticism

Instructor: Maggie Doherty Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.

English CACW. Advanced Fiction Workshop

Instructor: Paul Yoon TBD | Location: TBD Enrollment: Limited to 12 students Advanced fiction workshop for students who have already taken a workshop at Harvard or elsewhere. The goal of the class is to continue your journey as a writer. You will be responsible for participating in discussions on the assigned texts, the workshop, engaging with the work of your colleagues, and revising your work. Supplemental Application Information:   * Please note: previous creative writing workshop experience required. * Please submit ONLY a cover letter telling me your previous creative writing workshop experience, either at Harvard or elsewhere; then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Again, please no writing samples.

English CBBR. Intermediate Poetry: Workshop

Instructor:  Josh Bell   Monday, 12:00-2:45pm | Location: Barker 018 Enrollment: Limited to 12 students Course Site

Initially, students can expect to read, discuss, and imitate the strategies of a wide range of poets writing in English; to investigate and reproduce prescribed forms and poetic structures; and to engage in writing exercises meant to expand the conception of what a poem is and can be. As the course progresses, reading assignments will be tailored on an individual basis, and an increasing amount of time will be spent in discussion of student work. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a portfolio including a letter of interest, ten poems, and a list of classes (taken at Harvard or elsewhere) that seem to have bearing on your enterprise.

English CCEP. Ekphrastic Poetry: Workshop

Instructor: Tracy K. Smith Wednesday, 3:00-5:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site What can a poem achieve when it contemplates or even emulates a work of art in another medium? In this workshop, we'll read and write poems that engage with other art forms--and we'll test out what a foray into another artistic practice allows us to carry back over into the formal methods and behaviors of poetry. With poems by Keats, Rilke, Auden, Hughes, and Brooks, as well as Kevin Young, Evie Shockley, Ama Codjoe and other contemporary voices. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCFC. Poetry Workshop: Form & Content

Instructor: Tracy K. Smith Tuesday, 12:00-2:45pm | Location: Sever 112 Enrollment: Limited to 12 students Course Site

In this workshop, we’ll look closely at the craft-based choices poets make, and track the effects they have upon what we as readers are made to think and feel. How can implementing similar strategies better prepare us to engage the questions making up our own poetic material? We’ll also talk about content. What can poetry reveal about the ways our interior selves are shaped by public realities like race, class, sexuality, injustice and more? Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)   

Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCIJ. Intermediate Fiction Workshop

Instructor: Jesse McCarthy Thursday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site This is an intermediate course in the art of writing literary fiction. Previous experience with workshopping writing is encouraged but not required. The emphasis of the course will be learning how to read literature as a writer, with special attention given to the short story, novella, or short novel. We will read these works from the perspective of the writer as craftsperson and of the critic seeking in good faith to understand and describe a new aesthetic experience. We will be concerned foremost with how literary language works, with describing the effects of different kinds of sentences, different uses of genre, tone, and other rhetorical strategies. Together, we will explore our responses to examples of literature from around the world and from all periods, as well as to the writing you will produce and share with the class. As a member of a writing community, you should be prepared to respectfully read and respond to the work of others—both the work of your peers and that of the published writers that we will explore together. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  This course is by application only but there are no prerequisites for this course and previous experience in a writing workshop is not required . In your application please submit a short letter explaining why you are interested in this class. You might tell me a bit about your relationship to literature, your encounter with a specific author, book, or even a scene or character from a story or novel. Please also include a writing sample of 2-5 pages (5 pages max!) of narrative prose fiction.

English CCFS. Fiction Workshop

Instructor: Teju Cole Spring 2024: Tuesday, 6:00-8:45pm | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD This reading and writing intensive workshop is for students who want to learn to write literary fiction. The goal of the course would be for each student to produce two polished short stories. Authors on the syllabus will probably include James Joyce, Eudora Welty, Toni Morrison, Alice Munro, Jhumpa Lahiri, and Diane Williams.

Supplemental Application Information:   Please submit a cover letter saying what you hope to get out of the workshop. In the cover letter, mention three works of fiction that matter to you and why. In addition, submit a 400–500 word sample of your fiction; the sample can be self-contained or a section of a longer work.

English CLPG. Art of Sportswriting

Instructor: Louisa Thomas Spring 2024: Tuesday, 9:00-11:45am | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD

In newsrooms, the sports section is sometimes referred to as the “toy department” -- frivolous and unserious, unlike the stuff of politics, business, and war. In this course, we will take the toys seriously. After all, for millions of people, sports and other so-called trivial pursuits (video games, chess, children’s games, and so on) are a source of endless fascination. For us, they will be a source of stories about human achievements and frustrations. These stories can involve economic, social, and political issues. They can draw upon history, statistics, psychology, and philosophy. They can be reported or ruminative, formally experimental or straightforward, richly descriptive or tense and spare. They can be fun. Over the course of the semester, students will read and discuss exemplary profiles, essays, articles, and blog posts, while also writing and discussing their own. While much (but not all) of the reading will come from the world of sports, no interest in or knowledge about sports is required; our focus will be on writing for a broad audience.  Supplemental Application Information:  To apply, please write a letter describing why you want to take the course and what you hope to get out of it. Include a few examples of websites or magazines you like to read, and tell me briefly about one pursuit -- football, chess, basketball, ballet, Othello, crosswords, soccer, whatever -- that interests you and why.

English CALR. Advanced Screenwriting: Workshop

Instructor: Musa Syeed Spring 2024: Wednesday, 12:00-2:45pm | Location: TBA Enrollment: Limited to 12 students Course Site Spring 2025: TBD

The feature-length script is an opportunity to tell a story on a larger scale, and, therefore, requires additional preparation. In this class, we will move from writing a pitch, to a synopsis, to a treatment/outline, to the first 10 pages, to the first act of a feature screenplay. We will analyze produced scripts and discuss various elements of craft, including research, writing layered dialogue, world-building, creating an engaging cast of characters. As an advanced class, we will also look at ways both mainstream and independent films attempt to subvert genre and structure. Students will end the semester with a first act (20-30 pages) of their feature, an outline, and strategy to complete the full script.

Supplemental Application Information:  Please submit a 3-5 page writing sample. Screenplays are preferred, but fiction, creative non-fiction, poetry, and plays are acceptable as well. Also, please write a short note to introduce yourself. Include a couple films/filmmakers that have inspired you, your goals for the class, as well as any themes/subject matter/ideas you might be interested in exploring in your writing for film.

English CNFR. Creative Nonfiction: Workshop

Instructor: Darcy Frey Fall 2024: Wednesday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

Whether it takes the form of literary journalism, essay, memoir, or environmental writing, creative nonfiction is a powerful genre that allows writers to break free from the constraints commonly associated with nonfiction prose and reach for the breadth of thought and feeling usually accomplished only in fiction: the narration of a vivid story, the probing of a complex character, the argument of an idea, or the evocation of a place. Students will work on several short assignments to hone their mastery of the craft, then write a longer piece that will be workshopped in class and revised at the end of the term. We will take instruction and inspiration from published authors such as Joan Didion, James Baldwin, Ariel Levy, Alexander Chee, and Virginia Woolf. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with creative/literary nonfiction; what excites you about nonfiction in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of creative/literary nonfiction (essay, memoir, narrative journalism, etc, but NOT academic writing) or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CKR. Introduction to Playwriting: Workshop

Instructor: Sam Marks TBD | Location: TBD Enrollment: Limited to 12 students This workshop is an introduction to writing for the stage through intensive reading and in-depth written exercises. Each student will explore the fundamentals and possibilities of playwriting by generating short scripts and completing a one act play with an eye towards both experimental and traditional narrative styles. Readings will examine various ways of creating dramatic art and include work from contemporary playwrights such as Ayad Aktar, Clare Barron, Aleshea Harris, Young Jean Lee, and Taylor Mac, as well established work from Edward Albbe, Caryl Churchill, Suzan Lori-Parks, and Harold Pinter. Supplemental Application Information:  No experience in writing the dramatic form is necessary. Please submit a 5-10 page writing sample (preferably a play or screenplay, but all genres are acceptable and encouraged). Also, please write a few sentences about a significant theatrical experience (a play read or seen) and how it affected you.

English CACF. Get Real: The Art of Community-Based Film

Instructor: Musa Syeed Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 student Course Site

“I’ve often noticed that we are not able to look at what we have in front of us,” the Iranian director Abbas Kiarostami said, “unless it’s inside a frame.” For our communities confronting invisibility and erasure, there’s an urgent need for new frames. In this workshop, we’ll explore a community-engaged approach to documentary and fiction filmmaking, as we seek to see our world more deeply. We’ll begin with screenings, craft exercises, and discussions around authorship and social impact. Then we each will write, develop, and shoot a short film over the rest of the semester, building off of intentional community engagement. Students will end the class with written and recorded materials for a rough cut. Basic equipment and technical training will be provided.

Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a brief letter explaining why you're interested to take this class. Please also discuss what participants/communities you might be interested in engaging with for your filmmaking projects. For your writing sample, please submit 3-5 pages of your creative work from any genre (screenwriting, poetry, fiction, non-fiction, etc.)

English CAFR. Advanced Fiction Workshop: Writing this Present Life

Instructor: Claire Messud Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site Intended for students with prior fiction-writing and workshop experience, this course will concentrate on structure, execution and revision. Exploring various strands of contemporary and recent literary fiction – writers such as Karl Ove Knausgaard, Rachel Cusk, Chimamanda Adichie, Douglas Stuart, Ocean Vuong, etc – we will consider how fiction works in our present moment, with emphasis on a craft perspective. Each student will present to the class a published fiction that has influenced them. The course is primarily focused on the discussion of original student work, with the aim of improving both writerly skills and critical analysis. Revision is an important component of this class: students will workshop two stories and a revision of one of these. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:  Please submit 3-5 pages of prose fiction, along with a substantive letter of introduction. I’d like to know why you’re interested in the course; what experience you’ve had writing, both in previous workshops and independently; what your literary goals and ambitions are. Please tell me about some of your favorite narratives – fiction, non-fiction, film, etc: why they move you, and what you learn from them.

English CAKV. Fiction Workshop: Writing from the First-Person Point of View

Instructor:  Andrew Krivak Tuesday, 9:00-11:45 1m | Location: TBD Enrollment: Limited to 12 students Course Site This course is a workshop intended for students who are interested in writing longer form narratives from the first-person point of view. The “I” at the center of any novel poses a perspective that is all at once imaginatively powerful and narratively problematic, uniquely insightful and necessarily unreliable. We will read from roughly twelve novels written in the first-person, from Marilynne Robinson and W.G. Sebald, to Valeria Luiselli and Teju Cole, and ask questions (among others) of why this form, why this style? And, as a result, what is lost and what is realized in the telling? Primarily, however, students will write. Our goal will be to have a student’s work read and discussed twice in class during the semester. I am hoping to see at least 35-40 pages of a project —at any level of completion—at the end of term.  Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a substantive letter telling me why you’re interested in taking this class, what writers (classical and contemporary) you admire and why, and if there’s a book you have read more than once, a movie you have seen more than once, a piece of music you listen to over and over, not because you have to but because you want to. Students of creative nonfiction are also welcome to apply.

English CCSS. Fiction Workshop: The Art of the Short Story

Instructor: Laura van den Berg Tuesday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site This course will serve as an introduction to the fundamentals of writing fiction, with an emphasis on the contemporary short story. How can we set about creating “big” worlds in compact spaces? What unique doors can the form of the short story open? The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Ted Chiang, Lauren Groff, Carmen Maria Machado, and Octavia Butler. This workshop welcomes writers of all levels of experience. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. Please also include a very brief writing sample (2-3 pages). The sample can be in any genre (it does not have to be from a work of fiction). 

Write an Honors Creative Thesis

Students may apply to write a senior thesis or senior project in creative writing, although only English concentrators can be considered. Students submit applications in early March of their junior year, including first-term juniors who are out of phase. The creative writing faculty considers the proposal, along with the student's overall performance in creative writing and other English courses, and notifies students about its decision in early mid-late March. Those applications are due, this coming year, on TBA . 

Students applying for a creative writing thesis or project must have completed at least one course in creative writing at Harvard before they apply. No student is guaranteed acceptance. It is strongly suggested that students acquaint themselves with the requirements and guidelines well before the thesis application is due. The creative writing director must approve any exceptions to the requirements, which must be made in writing by Monday, February 7, 2022. Since the creative writing thesis and project are part of the English honors program, acceptance to write a creative thesis is conditional upon the student continuing to maintain a 3.40 concentration GPA. If a student’s concentration GPA drops below 3.40 after the spring of the junior year, the student may not be permitted to continue in the honors program.

Joint concentrators may apply to write creative theses, but we suggest students discuss the feasibility of the project well before applications are due. Not all departments are open to joint creative theses.

Students who have questions about the creative writing thesis should contact the program’s Director, Sam Marks .

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What Is Creative Writing? (Ultimate Guide + 20 Examples)

Creative writing begins with a blank page and the courage to fill it with the stories only you can tell.

I face this intimidating blank page daily–and I have for the better part of 20+ years.

In this guide, you’ll learn all the ins and outs of creative writing with tons of examples.

What Is Creative Writing (Long Description)?

Creative Writing is the art of using words to express ideas and emotions in imaginative ways. It encompasses various forms including novels, poetry, and plays, focusing on narrative craft, character development, and the use of literary tropes.

Table of Contents

Let’s expand on that definition a bit.

Creative writing is an art form that transcends traditional literature boundaries.

It includes professional, journalistic, academic, and technical writing. This type of writing emphasizes narrative craft, character development, and literary tropes. It also explores poetry and poetics traditions.

In essence, creative writing lets you express ideas and emotions uniquely and imaginatively.

It’s about the freedom to invent worlds, characters, and stories. These creations evoke a spectrum of emotions in readers.

Creative writing covers fiction, poetry, and everything in between.

It allows writers to express inner thoughts and feelings. Often, it reflects human experiences through a fabricated lens.

Types of Creative Writing

There are many types of creative writing that we need to explain.

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

They are compact but impactful, telling a full story within a limited word count. These tales often focus on a single character or a crucial moment.

Short stories are known for their brevity.

They deliver emotion and insight in a concise yet powerful package. This format is ideal for exploring diverse genres, themes, and characters. It leaves a lasting impression on readers.

Example: Emma discovers an old photo of her smiling grandmother. It’s a rarity. Through flashbacks, Emma learns about her grandmother’s wartime love story. She comes to understand her grandmother’s resilience and the value of joy.

Novels (The Long Journey)

Novels are extensive explorations of character, plot, and setting.

They span thousands of words, giving writers the space to create entire worlds. Novels can weave complex stories across various themes and timelines.

The length of a novel allows for deep narrative and character development.

Readers get an immersive experience.

Example: Across the Divide tells of two siblings separated in childhood. They grow up in different cultures. Their reunion highlights the strength of family bonds, despite distance and differences.

Poetry (The Soul’s Language)

Poetry expresses ideas and emotions through rhythm, sound, and word beauty.

It distills emotions and thoughts into verses. Poetry often uses metaphors, similes, and figurative language to reach the reader’s heart and mind.

Poetry ranges from structured forms, like sonnets, to free verse.

The latter breaks away from traditional formats for more expressive thought.

Example: Whispers of Dawn is a poem collection capturing morning’s quiet moments. “First Light” personifies dawn as a painter. It brings colors of hope and renewal to the world.

Plays (The Dramatic Dialogue)

Plays are meant for performance. They bring characters and conflicts to life through dialogue and action.

This format uniquely explores human relationships and societal issues.

Playwrights face the challenge of conveying setting, emotion, and plot through dialogue and directions.

Example: Echoes of Tomorrow is set in a dystopian future. Memories can be bought and sold. It follows siblings on a quest to retrieve their stolen memories. They learn the cost of living in a world where the past has a price.

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

They require an understanding of visual storytelling, pacing, and dialogue. Screenplays must fit film production constraints.

Example: The Last Light is a screenplay for a sci-fi film. Humanity’s survivors on a dying Earth seek a new planet. The story focuses on spacecraft Argo’s crew as they face mission challenges and internal dynamics.

Memoirs (The Personal Journey)

Memoirs provide insight into an author’s life, focusing on personal experiences and emotional journeys.

They differ from autobiographies by concentrating on specific themes or events.

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

Example: Under the Mango Tree is a memoir by Maria Gomez. It shares her childhood memories in rural Colombia. The mango tree in their yard symbolizes home, growth, and nostalgia. Maria reflects on her journey to a new life in America.

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

It’s about crafting compelling narratives concisely. Each word in flash fiction must count, often leading to a twist.

This format captures life’s vivid moments, delivering quick, impactful insights.

Example: The Last Message features an astronaut’s final Earth message as her spacecraft drifts away. In 500 words, it explores isolation, hope, and the desire to connect against all odds.

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

This genre covers real events, people, and places with a twist. It uses descriptive language and narrative arcs to make true stories engaging.

Creative nonfiction includes biographies, essays, and travelogues.

Example: Echoes of Everest follows the author’s Mount Everest climb. It mixes factual details with personal reflections and the history of past climbers. The narrative captures the climb’s beauty and challenges, offering an immersive experience.

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

It explores themes like good vs. evil and heroism in unreal settings. Fantasy requires careful world-building to create believable yet fantastic realms.

Example: The Crystal of Azmar tells of a young girl destined to save her world from darkness. She learns she’s the last sorceress in a forgotten lineage. Her journey involves mastering powers, forming alliances, and uncovering ancient kingdom myths.

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

Science fiction ranges from speculative to hard sci-fi, focusing on plausible futures.

Example: When the Stars Whisper is set in a future where humanity communicates with distant galaxies. It centers on a scientist who finds an alien message. This discovery prompts a deep look at humanity’s universe role and interstellar communication.

Watch this great video that explores the question, “What is creative writing?” and “How to get started?”:

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

They guide writers to produce compelling and impactful work. These principles—Clarity, Coherence, Conciseness, Creativity, and Consistency—help craft stories that engage and entertain.

They also resonate deeply with readers. Let’s explore each of these critical components.

Clarity makes your writing understandable and accessible.

It involves choosing the right words and constructing clear sentences. Your narrative should be easy to follow.

In creative writing, clarity means conveying complex ideas in a digestible and enjoyable way.

Coherence ensures your writing flows logically.

It’s crucial for maintaining the reader’s interest. Characters should develop believably, and plots should progress logically. This makes the narrative feel cohesive.

Conciseness

Conciseness is about expressing ideas succinctly.

It’s being economical with words and avoiding redundancy. This principle helps maintain pace and tension, engaging readers throughout the story.

Creativity is the heart of creative writing.

It allows writers to invent new worlds and create memorable characters. Creativity involves originality and imagination. It’s seeing the world in unique ways and sharing that vision.

Consistency

Consistency maintains a uniform tone, style, and voice.

It means being faithful to the world you’ve created. Characters should act true to their development. This builds trust with readers, making your story immersive and believable.

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

Crafting stories from your imagination involves more than just words on a page. It requires discipline and a deep understanding of language and narrative structure.

Exploring complex characters and themes is also key.

Refining and revising your work is crucial for developing your voice.

The ease of creative writing varies. Some find the freedom of expression liberating.

Others struggle with writer’s block or plot development challenges. However, practice and feedback make creative writing more fulfilling.

What Does a Creative Writer Do?

A creative writer weaves narratives that entertain, enlighten, and inspire.

Writers explore both the world they create and the emotions they wish to evoke. Their tasks are diverse, involving more than just writing.

Creative writers develop ideas, research, and plan their stories.

They create characters and outline plots with attention to detail. Drafting and revising their work is a significant part of their process. They strive for the 5 Cs of compelling writing.

Writers engage with the literary community, seeking feedback and participating in workshops.

They may navigate the publishing world with agents and editors.

Creative writers are storytellers, craftsmen, and artists. They bring narratives to life, enriching our lives and expanding our imaginations.

How to Get Started With Creative Writing?

Embarking on a creative writing journey can feel like standing at the edge of a vast and mysterious forest.

The path is not always clear, but the adventure is calling.

Here’s how to take your first steps into the world of creative writing:

• Find a time of day when your mind is most alert and creative.
• Create a comfortable writing space free from distractions.
• Use prompts to spark your imagination. They can be as simple as a word, a phrase, or an image.
• Try writing for 15-20 minutes on a prompt without editing yourself. Let the ideas flow freely.
• Reading is fuel for your writing. Explore various genres and styles.
• Pay attention to how your favorite authors construct their sentences, develop characters, and build their worlds.
• Don’t pressure yourself to write a novel right away. Begin with short stories or poems.
• Small projects can help you hone your skills and boost your confidence.
• Look for writing groups in your area or online. These communities offer support, feedback, and motivation.
• Participating in workshops or classes can also provide valuable insights into your writing.
• Understand that your first draft is just the beginning. Revising your work is where the real magic happens.
• Be open to feedback and willing to rework your pieces.
• Carry a notebook or digital recorder to jot down ideas, observations, and snippets of conversations.
• These notes can be gold mines for future writing projects.

Final Thoughts: What Is Creative Writing?

Creative writing is an invitation to explore the unknown, to give voice to the silenced, and to celebrate the human spirit in all its forms.

Check out these creative writing tools (that I highly recommend):

Read This Next:

• What Is a Prompt in Writing? (Ultimate Guide + 200 Examples)
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• How To Write A Fantasy Short Story (Ultimate Guide + Examples)
• How To Write A Fantasy Romance Novel [21 Tips + Examples)

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Last updated on Feb 14, 2023

10 Types of Creative Writing (with Examples You’ll Love)

A lot falls under the term ‘creative writing’: poetry, short fiction, plays, novels, personal essays, and songs, to name just a few. By virtue of the creativity that characterizes it, creative writing is an extremely versatile art. So instead of defining what creative writing is , it may be easier to understand what it does by looking at examples that demonstrate the sheer range of styles and genres under its vast umbrella.

To that end, we’ve collected a non-exhaustive list of works across multiple formats that have inspired the writers here at Reedsy. With 20 different works to explore, we hope they will inspire you, too. 

People have been writing creatively for almost as long as we have been able to hold pens. Just think of long-form epic poems like The Odyssey or, later, the Cantar de Mio Cid — some of the earliest recorded writings of their kind. 

Poetry is also a great place to start if you want to dip your own pen into the inkwell of creative writing. It can be as short or long as you want (you don’t have to write an epic of Homeric proportions), encourages you to build your observation skills, and often speaks from a single point of view . 

Here are a few examples:

“Ozymandias” by Percy Bysshe Shelley

Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.

This classic poem by Romantic poet Percy Shelley (also known as Mary Shelley’s husband) is all about legacy. What do we leave behind? How will we be remembered? The great king Ozymandias built himself a massive statue, proclaiming his might, but the irony is that his statue doesn’t survive the ravages of time. By framing this poem as told to him by a “traveller from an antique land,” Shelley effectively turns this into a story. Along with the careful use of juxtaposition to create irony, this poem accomplishes a lot in just a few lines. 

“Trying to Raise the Dead” by Dorianne Laux

 A direction. An object. My love, it needs a place to rest. Say anything. I’m listening. I’m ready to believe. Even lies, I don’t care.

Poetry is cherished for its ability to evoke strong emotions from the reader using very few words which is exactly what Dorianne Laux does in “ Trying to Raise the Dead .” With vivid imagery that underscores the painful yearning of the narrator, she transports us to a private nighttime scene as the narrator sneaks away from a party to pray to someone they’ve lost. We ache for their loss and how badly they want their lost loved one to acknowledge them in some way. It’s truly a masterclass on how writing can be used to portray emotions. 

If you find yourself inspired to try out some poetry — and maybe even get it published — check out these poetry layouts that can elevate your verse!

Song Lyrics

Poetry’s closely related cousin, song lyrics are another great way to flex your creative writing muscles. You not only have to find the perfect rhyme scheme but also match it to the rhythm of the music. This can be a great challenge for an experienced poet or the musically inclined. 

To see how music can add something extra to your poetry, check out these two examples:

“Hallelujah” by Leonard Cohen

 You say I took the name in vain I don't even know the name But if I did, well, really, what's it to ya? There's a blaze of light in every word It doesn't matter which you heard The holy or the broken Hallelujah 

Metaphors are commonplace in almost every kind of creative writing, but will often take center stage in shorter works like poetry and songs. At the slightest mention, they invite the listener to bring their emotional or cultural experience to the piece, allowing the writer to express more with fewer words while also giving it a deeper meaning. If a whole song is couched in metaphor, you might even be able to find multiple meanings to it, like in Leonard Cohen’s “ Hallelujah .” While Cohen’s Biblical references create a song that, on the surface, seems like it’s about a struggle with religion, the ambiguity of the lyrics has allowed it to be seen as a song about a complicated romantic relationship. 

“I Will Follow You into the Dark” by Death Cab for Cutie

 ​​If Heaven and Hell decide that they both are satisfied Illuminate the no's on their vacancy signs If there's no one beside you when your soul embarks Then I'll follow you into the dark

You can think of song lyrics as poetry set to music. They manage to do many of the same things their literary counterparts do — including tugging on your heartstrings. Death Cab for Cutie’s incredibly popular indie rock ballad is about the singer’s deep devotion to his lover. While some might find the song a bit too dark and macabre, its melancholy tune and poignant lyrics remind us that love can endure beyond death.

Plays and Screenplays

From the short form of poetry, we move into the world of drama — also known as the play. This form is as old as the poem, stretching back to the works of ancient Greek playwrights like Sophocles, who adapted the myths of their day into dramatic form. The stage play (and the more modern screenplay) gives the words on the page a literal human voice, bringing life to a story and its characters entirely through dialogue. 

Interested to see what that looks like? Take a look at these examples:

All My Sons by Arthur Miller

“I know you're no worse than most men but I thought you were better. I never saw you as a man. I saw you as my father.” 

Arthur Miller acts as a bridge between the classic and the new, creating 20th century tragedies that take place in living rooms and backyard instead of royal courts, so we had to include his breakout hit on this list. Set in the backyard of an all-American family in the summer of 1946, this tragedy manages to communicate family tensions in an unimaginable scale, building up to an intense climax reminiscent of classical drama. 

💡 Read more about Arthur Miller and classical influences in our breakdown of Freytag’s pyramid . 

“Everything is Fine” by Michael Schur ( The Good Place )

“Well, then this system sucks. What...one in a million gets to live in paradise and everyone else is tortured for eternity? Come on! I mean, I wasn't freaking Gandhi, but I was okay. I was a medium person. I should get to spend eternity in a medium place! Like Cincinnati. Everyone who wasn't perfect but wasn't terrible should get to spend eternity in Cincinnati.” 

A screenplay, especially a TV pilot, is like a mini-play, but with the extra job of convincing an audience that they want to watch a hundred more episodes of the show. Blending moral philosophy with comedy, The Good Place is a fun hang-out show set in the afterlife that asks some big questions about what it means to be good. 

It follows Eleanor Shellstrop, an incredibly imperfect woman from Arizona who wakes up in ‘The Good Place’ and realizes that there’s been a cosmic mixup. Determined not to lose her place in paradise, she recruits her “soulmate,” a former ethics professor, to teach her philosophy with the hope that she can learn to be a good person and keep up her charade of being an upstanding citizen. The pilot does a superb job of setting up the stakes, the story, and the characters, while smuggling in deep philosophical ideas.

Personal essays

Our first foray into nonfiction on this list is the personal essay. As its name suggests, these stories are in some way autobiographical — concerned with the author’s life and experiences. But don’t be fooled by the realistic component. These essays can take any shape or form, from comics to diary entries to recipes and anything else you can imagine. Typically zeroing in on a single issue, they allow you to explore your life and prove that the personal can be universal.

Here are a couple of fantastic examples:

“On Selling Your First Novel After 11 Years” by Min Jin Lee (Literary Hub)

There was so much to learn and practice, but I began to see the prose in verse and the verse in prose. Patterns surfaced in poems, stories, and plays. There was music in sentences and paragraphs. I could hear the silences in a sentence. All this schooling was like getting x-ray vision and animal-like hearing. 

This deeply honest personal essay by Pachinko author Min Jin Lee is an account of her eleven-year struggle to publish her first novel . Like all good writing, it is intensely focused on personal emotional details. While grounded in the specifics of the author's personal journey, it embodies an experience that is absolutely universal: that of difficulty and adversity met by eventual success. 

“A Cyclist on the English Landscape” by Roff Smith (New York Times)

These images, though, aren’t meant to be about me. They’re meant to represent a cyclist on the landscape, anybody — you, perhaps. 

Roff Smith’s gorgeous photo essay for the NYT is a testament to the power of creatively combining visuals with text. Here, photographs of Smith atop a bike are far from simply ornamental. They’re integral to the ruminative mood of the essay, as essential as the writing. Though Smith places his work at the crosscurrents of various aesthetic influences (such as the painter Edward Hopper), what stands out the most in this taciturn, thoughtful piece of writing is his use of the second person to address the reader directly. Suddenly, the writer steps out of the body of the essay and makes eye contact with the reader. The reader is now part of the story as a second character, finally entering the picture.

Short Fiction

The short story is the happy medium of fiction writing. These bite-sized narratives can be devoured in a single sitting and still leave you reeling. Sometimes viewed as a stepping stone to novel writing, that couldn’t be further from the truth. Short story writing is an art all its own. The limited length means every word counts and there’s no better way to see that than with these two examples:

“An MFA Story” by Paul Dalla Rosa (Electric Literature)

At Starbucks, I remembered a reading Zhen had given, a reading organized by the program’s faculty. I had not wanted to go but did. In the bar, he read, "I wrote this in a Starbucks in Shanghai. On the bank of the Huangpu." It wasn’t an aside or introduction. It was two lines of the poem. I was in a Starbucks and I wasn’t writing any poems. I wasn’t writing anything. 

This short story is a delightfully metafictional tale about the struggles of being a writer in New York. From paying the bills to facing criticism in a writing workshop and envying more productive writers, Paul Dalla Rosa’s story is a clever satire of the tribulations involved in the writing profession, and all the contradictions embodied by systemic creativity (as famously laid out in Mark McGurl’s The Program Era ). What’s more, this story is an excellent example of something that often happens in creative writing: a writer casting light on the private thoughts or moments of doubt we don’t admit to or openly talk about. 

“Flowering Walrus” by Scott Skinner (Reedsy)

I tell him they’d been there a month at least, and he looks concerned. He has my tongue on a tissue paper and is gripping its sides with his pointer and thumb. My tongue has never spent much time outside of my mouth, and I imagine it as a walrus basking in the rays of the dental light. My walrus is not well. 

A winner of Reedsy’s weekly Prompts writing contest, ‘ Flowering Walrus ’ is a story that balances the trivial and the serious well. In the pauses between its excellent, natural dialogue , the story manages to scatter the fear and sadness of bad medical news, as the protagonist hides his worries from his wife and daughter. Rich in subtext, these silences grow and resonate with the readers.

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Perhaps the thing that first comes to mind when talking about creative writing, novels are a form of fiction that many people know and love but writers sometimes find intimidating. The good news is that novels are nothing but one word put after another, like any other piece of writing, but expanded and put into a flowing narrative. Piece of cake, right?

To get an idea of the format’s breadth of scope, take a look at these two (very different) satirical novels: 

Convenience Store Woman by Sayaka Murata

I wished I was back in the convenience store where I was valued as a working member of staff and things weren’t as complicated as this. Once we donned our uniforms, we were all equals regardless of gender, age, or nationality — all simply store workers. 

Keiko, a thirty-six-year-old convenience store employee, finds comfort and happiness in the strict, uneventful routine of the shop’s daily operations. A funny, satirical, but simultaneously unnerving examination of the social structures we take for granted, Sayaka Murata’s Convenience Store Woman is deeply original and lingers with the reader long after they’ve put it down.

Erasure by Percival Everett

The hard, gritty truth of the matter is that I hardly ever think about race. Those times when I did think about it a lot I did so because of my guilt for not thinking about it.  

Erasure is a truly accomplished satire of the publishing industry’s tendency to essentialize African American authors and their writing. Everett’s protagonist is a writer whose work doesn’t fit with what publishers expect from him — work that describes the “African American experience” — so he writes a parody novel about life in the ghetto. The publishers go crazy for it and, to the protagonist’s horror, it becomes the next big thing. This sophisticated novel is both ironic and tender, leaving its readers with much food for thought.

Creative Nonfiction

Creative nonfiction is pretty broad: it applies to anything that does not claim to be fictional (although the rise of autofiction has definitely blurred the boundaries between fiction and nonfiction). It encompasses everything from personal essays and memoirs to humor writing, and they range in length from blog posts to full-length books. The defining characteristic of this massive genre is that it takes the world or the author’s experience and turns it into a narrative that a reader can follow along with.

Here, we want to focus on novel-length works that dig deep into their respective topics. While very different, these two examples truly show the breadth and depth of possibility of creative nonfiction:

Men We Reaped by Jesmyn Ward

Men’s bodies litter my family history. The pain of the women they left behind pulls them from the beyond, makes them appear as ghosts. In death, they transcend the circumstances of this place that I love and hate all at once and become supernatural. 

Writer Jesmyn Ward recounts the deaths of five men from her rural Mississippi community in as many years. In her award-winning memoir , she delves into the lives of the friends and family she lost and tries to find some sense among the tragedy. Working backwards across five years, she questions why this had to happen over and over again, and slowly unveils the long history of racism and poverty that rules rural Black communities. Moving and emotionally raw, Men We Reaped is an indictment of a cruel system and the story of a woman's grief and rage as she tries to navigate it.

Cork Dork by Bianca Bosker

He believed that wine could reshape someone’s life. That’s why he preferred buying bottles to splurging on sweaters. Sweaters were things. Bottles of wine, said Morgan, “are ways that my humanity will be changed.” 

In this work of immersive journalism , Bianca Bosker leaves behind her life as a tech journalist to explore the world of wine. Becoming a “cork dork” takes her everywhere from New York’s most refined restaurants to science labs while she learns what it takes to be a sommelier and a true wine obsessive. This funny and entertaining trip through the past and present of wine-making and tasting is sure to leave you better informed and wishing you, too, could leave your life behind for one devoted to wine. 

Illustrated Narratives (Comics, graphic novels)

Once relegated to the “funny pages”, the past forty years of comics history have proven it to be a serious medium. Comics have transformed from the early days of Jack Kirby’s superheroes into a medium where almost every genre is represented. Humorous one-shots in the Sunday papers stand alongside illustrated memoirs, horror, fantasy, and just about anything else you can imagine. This type of visual storytelling lets the writer and artist get creative with perspective, tone, and so much more. For two very different, though equally entertaining, examples, check these out:

Calvin & Hobbes by Bill Watterson

"Life is like topography, Hobbes. There are summits of happiness and success, flat stretches of boring routine and valleys of frustration and failure." 

This beloved comic strip follows Calvin, a rambunctious six-year-old boy, and his stuffed tiger/imaginary friend, Hobbes. They get into all kinds of hijinks at school and at home, and muse on the world in the way only a six-year-old and an anthropomorphic tiger can. As laugh-out-loud funny as it is, Calvin & Hobbes ’ popularity persists as much for its whimsy as its use of humor to comment on life, childhood, adulthood, and everything in between. 

From Hell by Alan Moore and Eddie Campbell 

"I shall tell you where we are. We're in the most extreme and utter region of the human mind. A dim, subconscious underworld. A radiant abyss where men meet themselves. Hell, Netley. We're in Hell." 

Comics aren't just the realm of superheroes and one-joke strips, as Alan Moore proves in this serialized graphic novel released between 1989 and 1998. A meticulously researched alternative history of Victorian London’s Ripper killings, this macabre story pulls no punches. Fact and fiction blend into a world where the Royal Family is involved in a dark conspiracy and Freemasons lurk on the sidelines. It’s a surreal mad-cap adventure that’s unsettling in the best way possible. 

Video Games and RPGs

Probably the least expected entry on this list, we thought that video games and RPGs also deserved a mention — and some well-earned recognition for the intricate storytelling that goes into creating them. 

Essentially gamified adventure stories, without attention to plot, characters, and a narrative arc, these games would lose a lot of their charm, so let’s look at two examples where the creative writing really shines through: 

80 Days by inkle studios

"It was a triumph of invention over nature, and will almost certainly disappear into the dust once more in the next fifty years." 

Named Time Magazine ’s game of the year in 2014, this narrative adventure is based on Around the World in 80 Days by Jules Verne. The player is cast as the novel’s narrator, Passpartout, and tasked with circumnavigating the globe in service of their employer, Phileas Fogg. Set in an alternate steampunk Victorian era, the game uses its globe-trotting to comment on the colonialist fantasies inherent in the original novel and its time period. On a storytelling level, the choose-your-own-adventure style means no two players’ journeys will be the same. This innovative approach to a classic novel shows the potential of video games as a storytelling medium, truly making the player part of the story. 

What Remains of Edith Finch by Giant Sparrow

"If we lived forever, maybe we'd have time to understand things. But as it is, I think the best we can do is try to open our eyes, and appreciate how strange and brief all of this is." 

This video game casts the player as 17-year-old Edith Finch. Returning to her family’s home on an island in the Pacific northwest, Edith explores the vast house and tries to figure out why she’s the only one of her family left alive. The story of each family member is revealed as you make your way through the house, slowly unpacking the tragic fate of the Finches. Eerie and immersive, this first-person exploration game uses the medium to tell a series of truly unique tales. 

Fun and breezy on the surface, humor is often recognized as one of the trickiest forms of creative writing. After all, while you can see the artistic value in a piece of prose that you don’t necessarily enjoy, if a joke isn’t funny, you could say that it’s objectively failed.

With that said, it’s far from an impossible task, and many have succeeded in bringing smiles to their readers’ faces through their writing. Here are two examples:

‘How You Hope Your Extended Family Will React When You Explain Your Job to Them’ by Mike Lacher (McSweeney’s Internet Tendency)

“Is it true you don’t have desks?” your grandmother will ask. You will nod again and crack open a can of Country Time Lemonade. “My stars,” she will say, “it must be so wonderful to not have a traditional office and instead share a bistro-esque coworking space.” 

Satire and parody make up a whole subgenre of creative writing, and websites like McSweeney’s Internet Tendency and The Onion consistently hit the mark with their parodies of magazine publishing and news media. This particular example finds humor in the divide between traditional family expectations and contemporary, ‘trendy’ work cultures. Playing on the inherent silliness of today’s tech-forward middle-class jobs, this witty piece imagines a scenario where the writer’s family fully understands what they do — and are enthralled to hear more. “‘Now is it true,’ your uncle will whisper, ‘that you’ve got a potential investment from one of the founders of I Can Haz Cheezburger?’”

‘Not a Foodie’ by Hilary Fitzgerald Campbell (Electric Literature)

I’m not a foodie, I never have been, and I know, in my heart, I never will be. 

Highlighting what she sees as an unbearable social obsession with food , in this comic Hilary Fitzgerald Campbell takes a hilarious stand against the importance of food. From the writer’s courageous thesis (“I think there are more exciting things to talk about, and focus on in life, than what’s for dinner”) to the amusing appearance of family members and the narrator’s partner, ‘Not a Foodie’ demonstrates that even a seemingly mundane pet peeve can be approached creatively — and even reveal something profound about life.

We hope this list inspires you with your own writing. If there’s one thing you take away from this post, let it be that there is no limit to what you can write about or how you can write about it. 

In the next part of this guide, we'll drill down into the fascinating world of creative nonfiction.

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Elements of Creative Writing

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

Copyright Year: 2023

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

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

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

Comprehensiveness rating: 4 see less

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

Content Accuracy rating: 5

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

Relevance/Longevity rating: 5

The book is relevant and up-to-date.

Clarity rating: 5

The text is clear and easy to understand.

Consistency rating: 5

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

Modularity rating: 5

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

Organization/Structure/Flow rating: 5

Topics are presented in logical, clear fashion.

Interface rating: 5

Navigation is good.

Grammatical Errors rating: 5

No grammatical issues that I could see.

Cultural Relevance rating: 3

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

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

Table of Contents

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

Creative Nonfiction

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

Back Matter

• Contributors
• North American Review Staff

Ancillary Material

• University of Northern Iowa

About the Book

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

About the Contributors

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

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

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

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What to Know About Creative Writing Degrees

Many creative writing degree recipients pursue careers as authors while others work as copywriters or ghostwriters.

Tips on Creative Writing Degrees

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Prospective writing students should think about their goals and figure out if a creative writing degree will help them achieve those goals.

Many people see something magical in a beautiful work of art, and artists of all kinds often take pride in their craftsmanship. Creative writers say they find fulfillment in the writing process.

"I believe that making art is a human need, and so to get to do that is amazing," says Andrea Lawlor, an author who this year received a Whiting Award – a national $50,000 prize that recognizes 10 excellent emerging authors each year – and who is also the Clara Willis Phillips Assistant Professor of English at Mount Holyoke College in Massachusetts.

"We all are seeing more and more of the way that writing can help us understand perspectives we don't share," says Lawlor, whose recent novel "Paul Takes the Form of a Mortal Girl" addresses the issue of gender identity.

"Writing can help us cope with hard situations," Lawlor says. "We can find people who we have something in common with even if there's nobody around us who shares our experience through writing. It's a really powerful tool for connection and social change and understanding."

Creative writing faculty, many of whom are acclaimed published authors, say that people are well-suited toward degrees in creative writing if they are highly verbal and enjoy expressing themselves.

"Creative imaginative types who have stories burning inside them and who gravitate toward stories and language might want to pursue a degree in creative writing," Jessica Bane Robert, who teaches Introduction to Creative Writing at Clark University in Massachusetts, wrote in an email. "Through formal study you will hone your voice, gain confidence, find a support system for what can otherwise be a lonely endeavor."

Read the guide below to gain more insight into what it means to pursue a creative writing education, how writing impacts society and whether it is prudent to invest in a creative writing degree. Learn about the difference between degree-based and non-degree creative writing programs, how to craft a solid application to a top-notch creative writing program and how to figure out which program is the best fit.

Why Creative Writing Matters and Reasons to Study It

Creative writers say a common misconception about their job is that their work is frivolous and impractical, but they emphasize that creative writing is an extremely effective way to convey messages that are hard to share in any other way.

Kelly Caldwell, dean of faculty at Gotham Writers Workshop in New York City, says prospective writing students are often discouraged from taking writing courses because of concerns about whether a writing life is somehow unattainable or "unrealistic."

Although creative writers are sometimes unable to financially support themselves entirely on the basis of their creative projects, Caldwell says, they often juggle that work with other types of jobs and lead successful careers.

She says that many students in her introductory creative writing class were previously forbidden by parents to study creative writing. "You have to give yourself permission for the simple reason that you want to do it," she suggests.

Creative writing faculty acknowledge that a formal academic credential in creative writing is not needed in order to get writing published. However, they suggest, creative writing programs help aspiring authors develop their writing skills and allow space and time to complete long-term writing projects.

Working writers often juggle multiple projects at once and sometimes have more than one gig, which can make it difficult to finish an especially ambitious undertaking such as a novel, a play for the screen or stage, or a well-assembled collection of poems, short stories or essays. Grants and fellowships for authors are often designed to ensure that those authors can afford to concentrate on their writing.

Samuel Ace, a published poet and a visiting lecturer in poetry at Mount Holyoke, says his goal is to show students how to write in an authentic way that conveys real feeling. "It helps students to become more direct, not to bury their thoughts under a cascade of academic language, to be more forthright," he says.

Tips on Choosing Between a Non-Degree or Degree-Based Creative Writing Program

Experts note that someone needs to be ready to get immersed in the writing process and devote significant time to writing projects before pursuing a creative writing degree. Prospective writing students should not sign up for a degree program until they have reached that sense of preparedness, warns Kim Todd, an associate professor at the University of Minnesota College of Liberal Arts and director of its creative writing program.

She says prospective writing students need to think about their personal goals and figure out if a creative writing degree will help them achieve those goals.

Aspiring writers who are not ready to invest in a creative writing degree program may want to sign up for a one-off writing class or begin participating in an informal writing workshop so they can test their level of interest in the field, Todd suggests.

How to Choose and Apply to a Creative Writing Program

In many cases, the most important component of an application to a writing program is the writing portfolio, writing program experts say. Prospective writing students need to think about which pieces of writing they include in their portfolio and need to be especially mindful about which item they put at the beginning of their portfolio. They should have a trusted mentor critique the portfolio before they submit it, experts suggest.

Because creative writing often involves self-expression, it is important for aspiring writing students to find a program where they feel comfortable expressing their true identity.

This is particularly pertinent to aspiring authors who are members of minority groups, including people of color or LGBTQ individuals, says Lawlor, who identifies as queer, transgender and nonbinary.

How to Use a Creative Writing Degree

Creative writing program professors and alumni say creative writing programs cultivate a variety of in-demand skills, including the ability to communicate effectively.

"While yes, many creative writers are idealists and dreamers, these are also typically highly flexible and competent people with a range of personal strengths. And a good creative writing program helps them understand their particular strengths and marketability and translate these for potential employers, alongside the more traditional craft development work," Melissa Ridley Elmes, an assistant professor of English at Lindenwood University in Missouri, wrote in an email.

Elmes – an author who writes poetry, fiction and nonfiction – says creative writing programs force students to develop personal discipline because they have to consistently produce a significant amount of writing. In addition, participating in writing workshops requires writing students "to give and receive constructive feedback," Elmes says.

Cindy Childress, who has a Ph.D. in English from the University of Louisiana—Lafayatte and did a creative writing dissertation where she submitted poetry, says creative writing grads are well-equipped for good-paying positions as advertising and marketing copywriters, speechwriters, grant writers and ghostwriters.

According to the Bureau of Labor Statistics, the median annual compensation for writers and authors was $63,200 as of May 2019.

"I think the Internet, and writing communities online and in social media, have been very helpful for debunking the idea that if you publish a New York Times Bestseller you will have 'made it' and can quit your day job and write full time," Elmes explains. "Unless you are independently wealthy, the odds are very much against you in this regard."

Childress emphasizes that creative writing degree recipients have "skills that are absolutely transferable to the real world." For example, the same storytelling techniques that copywriters use to shape public perceptions about a commercial brand are often taught in introductory creative writing courses, she says. The ability to tell a good story does not necessarily come easily to people who haven't been trained on how to do it, she explains.

Childress says she was able to translate her creative writing education into a lucrative career and start her own ghostwriting and book editing company, where she earns a six-figure salary. She says her background in poetry taught her how to be pithy.

"Anything that we want to write nowadays, particularly for social media, is going to have to be immediately understood, so there is a sense of immediacy," she says."The language has to be crisp and direct and exact, and really those are exactly the same kind of ways you would describe a successful poem."

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• Events Calendar

The Department of English has moved from Hellems and Denison to Muenzinger . The main office is in Muenzinger D110.

Since the 1970s, the Creative Writing Program at CU Boulder has provided a center for American experimental writing in the Rockies. Guided by our innovative and award-winning faculty, you will discover the heights of your imagination and explore new territories in language and form.

Undergraduate Studies

Find out how to become an English major or minor, find your academic advisor, join a group, and apply for a scholarship, internship, independent study, or the honors program.

Learn more about undergraduate studies

Graduate Studies

Learn about the graduate degrees offered including MFA, MA, and PhD programs. Find scholarships, groups and explore faculty members and teaching opportunities.

Learn more about graduate studies

Published Works by Creative Writing Faculty 

Masses & motets: a francesca fruscella mystery, jeffrey deshell.

Noah Eli Gordon's "Is That the Sound of a Piano Coming from Several Houses Down? (Solid Objects)" included in The New York Times' April 3 "New & Noteworthy" list

Someone Shot My Book, Julie Carr

Objects from a Borrowed Confession, Julie Carr

My Hero, Stephen Graham Jones

Mapping the Interior, Stephen Graham Jones

See Published Works by Creative Writing Alumni

Check Out the CU Boulder MFA Showcase

Follow Creative Writing on Facebook

Check Out the CU Boulder Creative Writing Series

Creative Writing Faculty

English (Creative Writing), BA

On this page:.

At a Glance: program details

• Location: Tempe campus
• Additional Program Fee: No
• Second Language Requirement: No

• Initial Math Course: MAT 142 - College Mathematics

Required Courses (Major Map)

Major Map on-campus archive

eAdvisor Tracking Tool

Program Description

The BA in English with a concentration in creative writing focuses on the study and practice of the literary arts, with courses in poetry, fiction and creative nonfiction.

Students gain practical experience through writing workshops and internship opportunities.

The undergraduate program features an outstanding faculty whose many books have received major national and international recognition.

In addition to the guidelines in the Concurrent Program Options section below, students interested in pursuing concurrent or second baccalaureate degrees in The College of Liberal Arts and Sciences are advised to visit The College's website for more information and requirements.

Admission to the Creative Writing Concentration (Fiction & Poetry)

Portfolio submission period opens: february 20, 2023, portfolios due: march 17, 2023 by 5:00pm, submit here: spring 2023 creative writing concentration  .

Note: You need to be logged into your ASU Gmail account to connect to the portfolio submission form.  

About the Creative Writing Concentration

The Creative Writing Program encourages all interested students, regardless of their field of study, to join our community of writers through beginning and intermediate workshops in fiction and poetry (ENG 287/ENG 288 , ENG 387/ENG 388), diverse special topics courses (ENG 394/ENG 494), and various, exciting writing events held on campus. 

Interested students*, who have already taken beginning and intermediate workshops, and are committed to continuing their study of Creative Writing, have an opportunity to develop their skills in supportive, highly focused workshops through the Creative Writing Concentration. Instruction in the tradition(s) to which concentration students can aspire and uphold, and from which they may draw inspiration, will be provided by the Creative Writing Program's nationally recognized faculty of writers.

Please note that acceptance into the Creative Writing Concentration is restricted.   Students must submit a portfolio for review and be offered a seat in the advanced workshops. (Please see the "Portfolio Review Guidelines" below.) 

*Students interested in pursuing both fiction and poetry at the 400-level, must check with their academic advisor to ensure that the necessary courses (ENG 487, ENG 488, ENG 498: Fiction, ENG 498: Poetry) will fit their degree plan. Students must submit two portfolios--one in fiction, one in poetry--to be considered for admittance into advanced coursework in both areas. 

Students pursuing the Creative Writing Concentration must either select as their major the bachelor's in English with a concentration in creative writing upon being admitted to ASU or, after entering the university, meet with an English advisor to change to this major and concentration.  Non English-majors will be evaluated on a case-by-case basis.

• To complete the concentration, English majors who have already declared themselves in the creative writing concentration must maintain a cumulative GPA of 3.00 or higher in their major.
• Concentration students must complete the two advanced courses in their genre (ENG 487 and ENG 498 in poetry, or ENG 488 and ENG 498 in fiction). Note that enrollment into these courses is restricted. Spaces are limited. Students must submit a portfolio and be selected to move forward.  (See the "Portfolio Review Guidelines" below.)
• Transfer students must seek advisement as to whether they will be able to successfully fulfill the creative writing concentration requirements.
• PLEASE NOTE :  Students admitted to begin 400-level coursework through the Fall 2020 Portfolio Review will start their coursework in Spring 2021. ENG 488 (fiction) will be taken in the Spring semester. The capstone course, ENG 498, will be taken in the Fall 2021 semester. ENG 487/488 and ENG 498 may not be taken simultaneously. 
• The next portfolio review for fiction will be offered in Fall 2022. The next portfolio review for fiction and poetry will be offered in Spring 2023.
• Students are only allowed to apply for the creative writing concentration twice during their time at ASU.

Portfolio Submission: How to Apply

Submit your completed portfolio online via the link below. Your portfolio should include:

1.     COVER SHEET (Available Online)

2.     CREATIVE WRITING SAMPLE

     a.      Poetry Sample: 5 poems

     b.      Fiction Sample: 1 piece of fiction of at least 5 double-spaced pages and not longer than 10 double-spaced pages

3.     PERSONAL STATEMENT (2 double spaced pages or 500 words)

     a.    Discuss your interest in the relevant genre (poetry or fiction)

     b.     What do you hope to gain from the creative writing concentration

4.     CRAFT ESSAY (2 double spaced pages or 500 words)

     a.     Submit an essay on a single poem or short story focusing an element(s) of craft you learned from the piece, how that craft element(s) works within the poem/story, and  why this aspect of craft is pertinent to your own writing

     b.     Please provide textual examples from the creative piece in your essay

5 .      SUBMIT: SPRING 2023 CREATIVE WRITING CONCENTRATION

        NOTE: You need to be logged into your ASU Gmail account to connect to the portfolio submission form. 

Further Information  

To receive further information about the bachelor's in English with a concentration in creative writing, make an appointment to speak with English undergraduate advisor at 480-965-3168. You may also contact Creative Writing Program Manager, Justin Petropoulos ( [email protected] ), RBH 152.

Portfolio Review Guidelines

Admission Requirements

All students are required to meet general university admission requirements.

Transfer Options

ASU is committed to helping students thrive by offering tools that allow personalization of the transfer path to ASU. Students may use the Transfer Map search to outline a list of recommended courses to take prior to transfer.

Change of Major Requirements

A current ASU student has no additional requirements for changing majors.

Students should refer to https://changingmajors.asu.edu for information about how to change a major to this program.

Flexible Degree Options

Accelerated program options.

This program allows students to obtain both a bachelor's and master's degree in as little as five years. It is offered as an accelerated bachelor's and master's degree with:

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Acceptance to the graduate program requires a separate application. During their junior year, eligible students will be advised by their academic departments to apply.

Next Steps to attend ASU

Learn about our programs, apply to a program, visit our campus, affording college, tuition calculator, scholarships, financial aid, career outlook.

Degree programs in English prepare students for graduate studies in a number of programs, including English, creative writing, education, law and business. They also lead to a variety of careers in diverse fields. Employers seek those with strong writing, communication and critical thinking skills. Some of the most common professions for English majors are in the fields of:

• nonprofit service

Graduates often find roles where they spend time:

• developing web content
• managing public relations
• writing professional and technical content

Example Careers

Students who complete this degree program may be prepared for the following careers. Advanced degrees or certifications may be required for academic or clinical positions. Career examples include but are not limited to:

Writers and Authors

• Growth: 3.7%
• Median Salary*: 73150
• Growth: -4%
• Median Salary*: 73080

English Language and Literature Teachers, Postsecondary

• Growth: 1.2%
• Median Salary*: 74280

Poets, Lyricists and Creative Writers

Secondary school teachers, except special and career/technical education.

• Median Salary*: 62360

Public Relations Specialists

• Growth: 6.1%
• Median Salary*: 67440

Search Marketing Strategists

• Growth: 13.4%
• Median Salary*: 68230

Technical Writers

• Growth: 6.9%
• Median Salary*: 79960

* Data obtained from the Occupational Information Network (O*NET) under sponsorship of the U.S. Department of Labor/Employment and Training Administration (USDOL/ETA).

Global Opportunities

Global experience.

Studying abroad expands students' perspectives by exposing them to new and distinct cultures, communities and people. Students can explore the English language at a deeper level through an extended lens of dialects, literature and terminology in one of more than 300 study abroad programs.

Students can enhance their resumes with the educational experience and heightened cultural competency, communication and critical thinking skills they acquire through study abroad programs.

The College of Liberal Arts and Sciences recommends these study abroad programs for students majoring in English with a concentration in creative writing .

Program Contact Information

If you have questions related to admission, please click here to request information and an admission specialist will reach out to you directly. For questions regarding faculty or courses, please use the contact information below.

• [email protected]
• 480/965-3168

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Creative Writing

About this program.

Have you longed to explore your creative potential?

Embrace the unknown and start your journey here. As part of one of the largest Creative Writing programs in Canada, you can learn the essentials of excellent writing and put them into practice. Whether you aspire to write a novel or short story, explore poetry, pen a script or screenplay, or explore other writing styles, we have the courses you need to improve your skills.

Class sizes and writers workshops are kept small to ensure you receive the individual attention you need to help your writing thrive, whether you take your class in-class or online. 

Courses in the genres listed below can be applied to the Certificate in Creative Writing

• Creative Non-Fiction
• Escritura Creativa en Español
• Literary Fiction
• Multi-genre
• Poetry and Songwriting
• Popular Fiction
• Stage and Screenwriting
• U of T Summer Writing School
• Writing for Children

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Table of contents

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• Portfolio Tips

The Ultimate Guide to Academic & Professional Creative Writing Portfolios

Building a creative writing portfolio that gets you accepted into your dream writing program is a challenge in itself. But did you know that when you graduate, you’ll have to throw everything you know about portfolios out the window and start the process all over again?

Whether you want to get into a great school to work on your craft, or you’re freshly out of school trying to land your first job, this guide has all you need to know.

We’ll review how to build a creative writing portfolio for a course or degree program and what career paths you can choose from once you graduate from it. Then we’ll show you how to create a professional creative writing portfolio and show you a tool that makes it super quick and easy.

Creative writing portfolio for college and university

Let’s go in chronological order. Before you go after a full-time writing job or try to land some freelance clients, you’ll probably want to study writing. It would be a little harder to become a writer without mastering the craft of writing, after all.

And when it comes to writing programs, whether it’s a creative writing course or a full-on degree program, most schools expect you to hand in a creative writing portfolio alongside your application.

Always check the guidelines

The very first thing you’ll have to do is checking the creative writing portfolio requirements that your desired program has. They tend to be very specific about the format, length, and contents of the material, so make sure you get it right. Let’s check some examples to see what you can expect when looking at these guidelines.

Creative writing portfolio requirement examples

Example for creative writing portfolio requirements

University of the Arts

When you apply to the Creative Writing program at the University of the Arts, you’ll have to submit a portfolio of your original writing and an essay that answers a creative writing prompt. They give the following requirements for these two:

• Portfolio : 10-15 pages in length, including at least two different pieces. It could be short stories, creative nonfiction, poetry, or excerpts from novels.
• Essay : 150-200 words in length with the topic of describing an important window.

University of Portsmouth - MA in Creative Writing

“We don’t prescribe an ideal portfolio,” they write at the requirements for this program. There are still some requirements that applicants have to follow though:

• Maximum 4,000 words in length
• No more than 3 pieces of writing
• Except for poetry-only submissions, there they recommend about 5 poems
• You have to write a short description of each piece

Apart from the portfolio, you’ll also need to submit a personal statement, talking about your ambitions and your writer’s journey so far.

Belhaven University - Creative Writing BFA Program

For applying to the Creative Writing program at Belhaven, you have to send your application via email with the following:

• Portfolio: Minimum 12-15 pages of creative writing (fiction, poetry, scripts, or creative nonfiction)
• Essay: 3-4 pages, discussing your history as a writer or reader OR explaining why you want to study creative writing
• A cover letter

Tips for your academic creative writing portfolio

Once you have the guidelines for your portfolio, it’s time to actually sit down and put it together.

Pick your writing pieces carefully

It goes without saying, but your choice of writing pieces will make or break your creative writing portfolio. Don’t be afraid to spend a longer time rereading your work and evaluating if the pieces hit the standard you want your portfolio to have.

It’s also a good idea to choose the ones you’d like to add, then put them aside, wait a few days, and assess them again. When you’ve been focusing on something for hours on end, it gets harder to see them clearly, so a little break can help a lot.

Once you’re done selecting them, double-check it with the requirements again and read through them one more time.

Get someone to review your portfolio

Another tip to make sure your portfolio is as good as it can get is to get someone to review it. It can be another writer or an avid reader who can evaluate your pieces from a literary point of view, or even just a friend or family member to check it for typos and other grammatical mistakes.

Similar to picking your pieces, when you wrote something and have read it a hundred times already, your mind will slip over typos naturally, knowing what you intended to write there. So giving yourself a break and getting someone to help can make sure there are no mistakes left in it when you hand it in.

Because as an applicant to a writing program, you really can’t afford to have typos and grammar mistakes in your creative writing portfolio.

What can you do with a creative writing degree?

When you’ve been obsessed with writing all your life, deciding to go for a creative writing program is a no-brainer. You’ll probably have the time of your life getting your degree too. But what happens when you graduate and actually have to figure out what you want to do for a living?

It might take a little more thinking than choosing your education, as you have many more options for a writing career , so it’s not as straightforward. We’ll quickly review the different career paths that are all open for you, once you graduate with a creative writing degree.

Publish books and become an author

Becoming a published author or poet is probably what most students with a creative writing portfolio dream of. It’s definitely a logical and super suitable direction, but unfortunately, it’s not as easy as one might expect. You’ll have to do a lot of pitches to get signed with a publishing house. Alternatively, you can set up a site using an author website template and publish books on your own.

Choose marketing or advertising, become a copywriter

A field that’s easier to get into for writers is marketing and advertising. More specifically, copywriting. Creative directors often emphasize how important it is for copywriters to master the craft of writing. So much so, that they would rather recommend taking a creative writing course than going to a portfolio school.

Copywriters can work freelance, in-house, or at agencies and they write advertising and/or marketing materials. It can be anything from slogans for advertising campaigns, TV and radio spots, copy for Facebook and Google ads, or even complete email marketing campaigns.

The career path in this profession is usually the following: junior copywriter, copywriter, senior copywriter, associate creative director, creative director, global creative director

Write long-form pieces as a journalist or magazine columnist

If selling products and services is not your thing, writing for newspapers or magazines could be another option for you. It probably won’t pay as much as a job in advertising, but you get to write longer pieces about topics you’re (ideally) interested in. And after all, no matter what happens, we’ll always need and want to read about what’s going on in the world.

Interested in this field? Read our tips for creating a journalism portfolio !

Get into content marketing and SEO

If you don’t mind that you won’t be exclusively writing all day every day, content marketing and SEO (a.k.a. search engine optimization) would be a great option for you. You’d still be writing, namely long-form articles and blog posts that are preceded by thorough keyword research.

With SEO comes a more technical side of the job, but that only balances out the work and makes your daily routine more versatile. Not to mention that you’ll always have data of how well your content does, so you can measure your performance effectively.

Make writing impeccable as an editor or proofreader

If you’re the kind of writer that loves reading and is bit of a perfectionist, you’d make an amazing editor or proofreader. Although these professions don’t need you to actually sit and write a ton, the job couldn’t be done if you didn’t know all the ins and outs of writing.

How to make a professional creative writing portfolio

Once you graduate and decide which way to go, you’ll need a portfolio to get started. Not the kind of standard “15-page-document” they asked you to write for school. Oh no, nobody wants to read through that now. Instead, you’ll need something that stands out, something that’s easy to browse through while showcasing your excellent writing skills.

The best format for your creative writing portfolio

The best format for your real-life, professional creative writing portfolio is actually a website. Realistically, whether you’re applying for a job or looking to land freelance clients, you’ll get in touch with them online.

So handing over your good old “book” won’t be an option. Just like presenting them with a lengthy document won’t be either. Why? Because it’s essentially a big wall of text that would be way too overwhelming to read through.

A website on the other hand is easy on the eyes, has lots of visuals, and organizes all the materials you want to present nicely.

The three main essentials you need to have on your website are an eye-catching home page, a well-written about page and separate pages for each of your writing projects, whether it is advertising copy, poetry, or a published book.

The heart of it all: the home page

Your home page will be the most important page of your website. This is where everybody lands at first and thus where they get their first impressions from. To have a great first impression, turn it into genuine interest, and make your visitors convert, your home page will have to check some boxes.

• What website are they looking at? Looking at the home page, visitors have to be clear about what website they landed on. They should know at least your name and what you do by just looking at the very first page.
• How do they find out more? You should have a navigation bar that makes it easy for people to find what they are looking for: your work, your about page, your contact information.
• Who are you actually? Although you have your about page to elaborate on that, it's best if they can find out a little bit about you right on your homepage. Adding a photo of yourself and a short bio will immediately help them make a more personal connection with you.
• Why should they keep on reading? Now they know who you are and what you do, but they still need a reason to spend their precious time on your site and keep on reading. Feature your most impressive projects on your homepage to prove the quality of your work right away.

Crafting the perfect about page

The about page is your place to shine: it gives you a perfect opportunity to introduce yourself more in detail and get creative with your writing. What would be a better way to flaunt your storytelling skills than telling your own, after all?

But if possible, make sure it’s still not just a big wall of text: try to break it up with images to make it easier to read and to illustrate what you’re writing about.

The about page is also a great place to feature your writer resume . Some writers like to link to it as a PDF, some embed it as a picture, while others simply have theirs typed there as part of the page.

Project pages for books, poetry, and beyond

The way your project page should be structured depends a lot on the type of project you’d like to add to your creative writing portfolio. But there’s still a general formula you can follow to introduce the “behind-the-scenes” of your writing:

• What was the task you had or the reason why you decided to write this piece?
• What was your creative process of writing the piece? Did you face any challenges while writing? And if so, how did you overcome them?
• What was the impact your piece had once published?

These are pretty general questions, but it’s exactly because of that that they can be applied to many different forms of creative writing.

It’s also expected to feature the finished result so that people can actually read your writing and evaluate your skills. When it comes to shorter pieces like poetry, feel free to publish the whole thing.

But for longer writing like novels, nobody expects you to publish it from start to finish in your portfolio. You can add an excerpt - or if it’s been published and has received positive feedback, you can feature some quotes on what people said about it.

Build your creative writing portfolio with Copyfolio

If you want to create a beautiful website that has everything we outlined above… and you don’t want to spend hours upon hours figuring out the technical side of it… Your best bet is using a website builder or portfolio builder tool that was designed specifically for writers.

Don’t worry about coding or design

The good thing about using a tool like Copyfolio is that you won’t have to worry about the technical side of things. Or whether you can design it to look good or not.

Having the templates, palettes and presets makes sure you can build the foundations of your site in just a few clicks. And it will look good, no matter what you add to it.

Create professional images in the editor, with a few clicks

You don't need to have Photoshop or any other design program to have images that'll wow your site's viewers. Place your image into a magazine, laptop, or TV with a single click and have a portfolio that looks like it was professionally designed.

Get help with writing about your projects

Apart from the daily portfolio tips that you’re going to get in email after signing up, you’ll also find tips and prompts in the website builder itself.

Built with insights from successful freelance writers, hiring managers, and creative directors, we’re guiding you through the process to help you create a portfolio that has exactly what people are looking for.

Sign up today and create a stunning creative writing portfolio for free, in a matter of minutes!

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Isaac created his portfolio with Copyfolio, using the "Billboard" template

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The English Major: Creative Writing Option

Note!  The requirements below took effect in Summer 2022 .  If you declared your major before then, please see the old requirements .  If you have questions about which version of the major applies to you, please contact HAS .

The Creative Writing Concentration prepares students not only to be more effective communicators and artists, but also creative problem solvers and more nuanced critical thinkers. By situating small, student-oriented writing workshops alongside literary models, Creative Writing classes enhance the broader study of literature and critical theory, helping students gain a greater understanding of the social and cultural forces informing their work. A student completing the program is more able to situate themselves in a larger aesthetic and social context and make more meaningful, informed decisions about their own artistic practice. In addition, through the intense practice of creative writing, students are able to see the world more clearly, in a more nuanced and meaningful manner, and apply these skills to a wide variety of work and life situations.

This page describes the English Major Concentration in Creative Writing. For the major's other option, see English Language, Literature, and Culture ,.

Students enrolled in the Creative Writing Concentration will complete a major consisting of 65 ENGL credits, at least 30 of which must be completed in residence at the University of Washington. A maximum of 20 credits in 200-level courses may count toward the English major, and may be used to fulfill the distribution requirements.

Creative writing students’ coursework is distributed as follows:

• ENGL 202: Introduction to English Language and Literature
• A sequence of creative writing workshops: ENGL 283: Beginning Verse Writing, ENGL 284: Beginning Short Story Writing, ENGL 383: The Craft of Verse, and ENGL 384: The Craft of Prose
• 15 credits in Historical Depth
• 15 credits in Power and Difference
• Two 400-level Creative Writing seminars ( Please see the  400-level Creative Writing workshop registration instruction page  for instructions on registering for these courses)

Please note: Creative writing students do *not* need to complete either ENGL 302 (satisfied by 383 & 384) or the senior capstone (satisfied by two 400-level CW classes), required for the major in Language, Literature, and Culture. All creative writing courses satisfy the Genre, Method, and Language distribution area, so Creative Writing students do not need to complete this area separately.

Applying to Creative Writing:

Applicants to the Creative Writing option must have already declared, or be eligible to declare, the English: Language and Literature major .

Applications for the Creative Writing option are accepted in autumn, winter, and spring quarters only, and should be submitted through this online application form   by the third Friday of the quarter at 4:00pm . Applications to creative writing are not accepted in summer quarter.

Eligibility Requirements

To be eligible to apply for the Creative Writing option, you must

• have already declared, or be ready to declare, the English major program ;
• have completed ENGL 202, 283 (beginning verse writing) and ENGL 284 (beginning short story writing) or transfer equivalents.

Application Procedure:

Please submit online ONE complete attachment that includes the items below, by 4:00pm on the third Friday of autumn, winter, or spring quarter (no applications accepted in summer):

1. Undergraduate Creative Writing Option Application (PDF)

RIGHT-click the above link and save it as a PDF to your computer. Fill out the form using Acrobat Reader. Save your changes. Then combine it with the following materials:

Transcripts for all college work completed, both at the UW and elsewhere (these are additional sets of transcripts, separate from the transcripts you will have supplied as part of your application for the major):

• Unofficial UW Transcript : Even if this is your first quarter after transferring to the UW, you should submit an unofficial UW transcript, available through the MyUW system ;
• Complete set of Unofficial transcripts from all schools from which you have transfer credit : We need the information contained in the complete transcript from each transfer school; the transfer summary on a UW unofficial transcript is not sufficient. Photocopies of transcripts are acceptable.

2. A Writing Sample of 3-5 poems and 5-10 pages of fiction (preferably a complete story). Fiction should be double-spaced, with 12pt font (Times New Roman) and 1" margins:

• Review writing sample guidelines and be sure to submit literary fiction and poetry
• Be sure to proofread carefully.

Admission decisions are based primarily on the potential a student exhibits in his or her writing sample - grades and GPAs are usually not at issue. Admission decisions are sent to applicants by e-mail, normally within two weeks of the application deadline.

Completion of the requirements above does not guarantee admission.

Students who are denied admission to the Creative Writing option will continue to be English majors, and may complete the requirements for the literature BA in English. They may apply for the Creative Writing option one additional time, but if they are denied admission then, they must complete the literature major or elect another major in another department.

Distribution Areas:

The majority of English courses are distributed among three overlapping areas: Historical Depth, Power & Difference, and Genre, Method, and Language. Creative Writing students are required to complete 15 credits in two of these areas, Historical Depth and Power & Difference, with the remainder of their coursework focusing on Creative Writing workshops. 

Some courses can count towards both "Historical Depth" or "Power & Difference"; however, each course can ultimately only be used to fulfill one requirement. For example, ENGL 351 is listed under both “Historical Depth” and “Power and Difference" but it will only count in one of those categories in a student's degree progress. The student may choose (and can change their mind, shuffling courses as long as they are enrolled).  Students noticing issues with how these classes are applying to the distribution areas in their degree audit can contact an advisor at   Humanities Academic Services Center  (HAS), A-2-B Padelford Hall  for support. 

Descriptions of each area, along with the courses fulfilling it, are available below. 

Historical Depth:

People have been speaking, reading, and writing in English for more than a thousand years, producing literature that is at once timeless and deeply informed by the time in which it was written. Cultural artifacts from the English-speaking world have shaped, and been shaped by, social movements and historical conditions around the globe, as has the language itself. With this in mind, English majors are required to take 15 credits focused on materials produced before 1945, with at least 5 of those credits focused on materials produced before 1700. Distributing coursework in this way helps students to understand the depth, richness, and variability of English literature, language, and culture across time, and dramatizes how the ways we organize history affect the stories we tell about it. These courses open up past worlds that are in some ways totally alien and in others very similar to our own, revealing that what seems real and true to us can radically alter over time. Entering into these past realities offers a new perspective on the present and develops our capacity to imagine alternative futures.

Historical Depth Courses:

• ENGL 210 Medieval and Early Modern Literature, 400 to 1600
• ENGL 211 Literature, 1500-1800
• ENGL 225 Shakespeare
• ENGL 310 The Bible as Literature
• ENGL 320 English Literature: The Middle Ages
• ENGL 321 Chaucer
• ENGL 322 Medieval & Early Modern Literatures of Encounter (P&D)
• ENGL 323 Shakespeare to 1603
• ENGL 324 Shakespeare after 1603
• ENGL 325 Early Modern English Literature
• ENGL 326 Milton (GML)
• ENGL 351: Writing in the Contact Zone: North America 1492 - 1800 (P&D)
• ENGL 376: Introduction to Middle English Language (HD)
• ENGL 422 Arthurian Legends (GML)
• ENGL 212 Literature, 1700-1900
• ENGL 300: Reading Major Texts (can also count as pre-1700 depending on texts)
• ENGL 303 History of Literary Criticism and Theory I (GML)
• ENGL 312 Jewish Literature: Biblical to Modern (P&D)
• ENGL 314: Transatlantic Literature and Culture (P&D)
• ENGL 315: Literary Modernism (GML)
• ENGL 327 Narratives of Bondage & Freedom (P&D)
• ENGL 328 Eighteenth Century Literature & Culture
• ENGL 329 Rise of the English Novel (GML)
• ENGL 330 English Literature: The Romantic Age
• ENGL 331 Globalization & Nationalism in the Age of Empire (P&D)
• ENGL 332 Nineteenth Century Poetry (GML)
• ENGL 333 Nineteenth Century Novel (GML)
• ENGL 335 English Literature: The Victorian Age
• ENGL 336 English Literature: Early Twentieth Century
• ENGL 337 The Modern Novel (GML)
• ENGL 338 Modern Poetry (GML)
• ENGL 352 Literatures of the United States to 1865 (P&D)
• ENGL 353 American Literature: Later Nineteenth Century
• ENGL 354 American Literature: Early Twentieth Century
• ENGL 373: History of the English Language (GML)
• ENGL 380: Special Topics in History
• ENGL 385: Global Modernism (P&D)

Power and Difference:

Literature, language, and culture have been shaped by and in turn shape systems of power. Such systems include capitalism, colonialism, imperialism, and hierarchies of race, status, caste, sex, gender, and sexuality. Over time, systems of power elevate some voices and stories and marginalize and silence others. English majors are required to take at least 15 credits focused on how systems of power operate in and through literature, language, and culture. These courses explore the evolving relationship of literature, language, and culture to structures of violence and dispossession and center critical perspectives that have been marginalized or silenced. They embrace alternative ways of learning about the past and present, and the impress of the former on the latter. They highlight the complex, sometimes contradictory ways in which literature and culture mediate systems of power. In so doing, Power and Difference courses foster our imagination of more just and equitable futures.

Power and Difference Courses:

• ENGL 207: Introduction to Cultural Studies (GML)
• ENGL 208: Data and Narrative (GML)
• ENGL 256: Introduction to Queer Cultural Studies (DIV) (GML)
• ENGL 257: Introduction to Asian American Literature (DIV)
• ENGL 258: Introduction to African American Literature (DIV)
• ENGL 259: Literature and Social Difference (DIV)
• ENGL 265: Introduction to Environmental Humanities (DIV, GML)
• ENGL 307: Cultural Studies
• ENGL 308: Marxism and Literary Theory
• ENGL 311: Modern Jewish Literature in Translation
• ENGL 312: Jewish Literature: Biblical to Modern (HD)
• ENGL 314: Transatlantic Literature and Culture (HD)
• ENGL 316: Postcolonial Literature and Culture (DIV)
• ENGL 317: Literature of the Americas (DIV)
• ENGL 318: Black Literary Genres (DIV, GML)
• ENGL 319: African Literatures (DIV)
• ENGL 322 Medieval & Early Modern Literatures of Encounter (HD)
• ENGL 327 Narratives of Bondage & Freedom (HD)
• ENGL 331 Globalization & Nationalism in the Age of Empire (HD)
• ENGL 339: Globalization & Contemporary World Literature (GML)
• ENGL 340: Irish Literature (P&D)
• ENGL 349: Science Fiction & Fantasy
• ENGL 351: Writing in the Contact Zone: North America 1492 - 1800 (HD)
• ENGL 352: American Literatures to 1865 (HD)
• ENGL 355: Contemporary American Literature
• ENGL 357: Jewish American Literature and Culture (DIV)
• ENGL 358: African American Literature (DIV)
• ENGL 359: Contemporary American Indian Literature (DIV)
• ENGL 361: American Political Culture After 1865 (DIV)
• ENGL 362: Latino Literary Genres (DIV, GML)
• ENGL 364: Literature & Medicine
• ENGL 365: Literature & Environment (GML, DIV)
• ENGL 366: Literature & Law
• ENGL 367: Gender Studies in Literature (DIV)
• ENGL 368: Women Writers (DIV)
• ENGL 372: World Englishes (DIV) (GML)
• ENGL 379: Special Topics in Power & Difference
• ENGL 385: Global Modernism (HD)
• ENGL 386: Asian American Literature (DIV)
• ENGL 466: Queer and LGBT Literature (DIV)
• ENGL 478: Language and Social Policy (DIV) (GML)
• ENGL 479: Language Variation and Language Policy in North America (DIV, GML)
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Creative Writing

Creative Writing - BA (Hons)

Engage your imagination by exploring a diverse mix of literary texts and genres to develop your skills and voice as a writer. Under the guidance of our experienced, published poets, novelists, and creative practitioners, you will develop your technical abilities in addition to acquiring the knowledge and understanding needed to thrive in the current writing marketplace.

Year of entry

• 2025 - for 2025 entry see here - for 2024 entry see here

Course type

• Single Honours
• Keele University campus

Subject area / School

• School of Humanities

Duration of study

• 3 years / 4 years with international or placement year

Why study Creative Writing at Keele University?

Reasons to choose creative writing, course overview.

Creative Writing at Keele is ranked Top 5 in the UK for student positivity, NSS 2023 (Broad-based universities, based on overall student satisfaction, which is an average score across 27 questions asked in the NSS). Our exciting programme aims to equip you with the knowledge , skills and literary acumen to enter the writing marketplace with confidence. From poetry and prose to fiction, creative non-fiction and screen writing, you will explore a range of literary texts to develop your ability to communicate with a wide range of audiences in a variety of genres.

As creative works are neither produced nor read as individual entities, you will also be encouraged to connect your work to its historical, socio-political, ethnic, gender, and geographical settings to shape your style and identity as a writer.

As part of this process, you will explore creative cultures within the wider community of which the University is part, forge links with neighbouring institutions such as theatres, museums and schools and engage with ideas of bringing creative writing to the community.

In addition to developing your technical writing skills you will also learn about the workings of the modern publishing industry, including the traditional routes to becoming a published author and newer ways of getting your work seen and read via digital publishing and other forms of online engagement.

Your final year will culminate with the opportunity to create a portfolio of original writing that is developed in a single medium (eg poetry or prose). This will include writing a creative brief which identifies the scope and intention of your work.

This will develop your ability to commit to theoretical, technical and creative goals and design and deliver portfolios which best showcase your development as a practitioner.

Work placements

Opportunities to enhance your employability are at the heart of our programmes: we want you to graduate not only as a confident literary critic but also with a highly-desirable set of broader skills. Our optional module 'Work Placement in the Humanities' allows you to engage with potential future employers whilst being supported by academic and career advisors to design and complete a programme of work in partnership with a workplace. In addition to your time at your chosen organisation, you will engage with taught sessions that focus on how to articulate your skillset to an employer and also be encouraged to reflect upon your experiences to identify how you can apply your learnings to your studies and beyond.

Alternatively, you may opt for a work placement year that allows you to practise your knowledge and prepare for employment after university at greater length and in more depth. This will enable you to build confidence and demonstrate your abilities in a professional environment, using the skills you have gained throughout your degree programme. You will be supported with your preparation for your placement with advice on CV writing and cover letters, as well as the chance to attend Q&A workshops to discuss individual experiences with alumni and employers. This is a valuable, character-building experience which will help you to develop both personally and professionally.

We offer a multi layered support structure to help you meet your academic and personal needs. This includes a dedicated academic mentor, and access to Keele's Student Experience and Support team . All members of teaching staff on the Creative Writing programme are also available to see you during advertised weekly advice and feedback hours and at other times by appointment.

Students for whom English is not their first language are offered language classes, facilities and services by the University's Language Centre. In addition to credit-bearing modules on English for academic study, they also provide one-to-one tutorials for individual help and advice, and to a wealth of resources for self-study and practice.

Study Abroad

International year or international semester.

Broaden your horizons with the option of an international year at one of our partner institutions. Taking advantage of this opportunity between your second and third years of study will enable you to immerse yourself in another culture and see the world from a different perspective.

On successful completion of all modules across the year, you will graduate with the degree title ‘Creative Writing with International Year’. This can be highly beneficial for your career prospects: through experiencing sustained time within a different country, you will not only grow as an individual, but you will also strengthen your knowledge and understanding of the world and its diversity.

Alternatively, you may choose to study abroad for a single semester in your second year which will count towards your second-year grades. Our Global Opportunities team will support you through the process, ensuring you are able to get the most out of your international experience.

Related courses

• Education and English Literature
• English Literature and Creative Writing
• English Literature and Film Studies
• English Literature and History
• English Literature and Philosophy
• English Literature and Psychology
• How to apply

"The warm and nurturing environment at Keele encourages prospective scholars to explore their own academic interests and establish themselves as independent literary critics." Athena, English Literature

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Teaching excellence framework gold.

Keele University has been awarded the highest rating of gold in the teaching excellence framework (TEF), 2023. The TEF assessment identifies excellence in the educational experience and outcomes of our students, focusing on all undergraduate courses and students.

Additional opportunities

The keele difference.

There are a range of additional opportunities available when studying this course. Please note, undertaking one may impact upon the availability of another.

Entry requirements

Keele strives to be a place where learning, living and working is a positive experience for our entire community, and we're committed to ensuring equality of opportunity to all our applicants with the potential and motivation to succeed, regardless of background. That's why we operate a range of 'alternative offer' schemes with clear eligibility criteria, including contextual offers, offers for those studying within the Keele region, and recognising a range of additional qualifications in your offer. If you are looking for the 2023 schemes please see here .

The entry grades outlined in this section indicate the likely offer or range of offers which would be made to candidates along with any subject specific requirements. This is for general information only. Keele University reserves the right to vary offer conditions depending upon a candidate's application.

Read more about our undergraduate entry requirements for United Kingdom and International students .

Not got the grades?

If you don't think you'll meet the entry requirements specified, you may be able to gain entry to this course via a Foundation Year .

Preparation programmes for international students

International students who do not meet the direct entry requirements for this course have the opportunity to study an International Foundation Year programme .

These courses are designed to prepare international students to enter into Keele University undergraduate degrees.

POTENTIAL INTERNATIONAL DROPDOWN ENTRY REQUIREMENTS SELECT

Content for X country

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The following section details our typical entry requirements for this course for a range of UK and international qualifications. If you don’t see your qualifications listed, please contact us to find out if we can accept your qualifications. If you don't think you'll meet the entry requirements specified, you may be able to gain entry to this course via a Foundation Year .

Typical offer

Please ensure that you read the full entry requirements by selecting your qualifications from the dropdown menu below. This will include any subject specific, GCSE/Level 2 Maths, and English language requirements you may need.

Please select your qualification from the drop-down list below for the full entry requirement information

BBC in three A Levels.

Contextual Offer: CCC in three A Levels.

You will also need: an English language qualification (see below).

BTEC Extended Diploma / National Extended Diploma

DMM in any BTEC Extended Diploma / National Extended Diploma.

Contextual Offer : MMM in any BTEC Extended Diploma / National Extended Diploma.

BTEC National Diploma / Diploma

Distinction and Merit in any BTEC National Diploma / Diploma and C in one A Level, or Merit and Merit in BTEC Diploma and A in one A Level.

BTEC National Extended Certificate / Subsidiary Diploma

Distinction in any BTEC National Extended Certificate / Subsidiary Diploma and CC in two A Levels, or Merit in any BTEC National Extended Certificate / Subsidiary Diploma and BB in two A Levels.

Merit in any T Level.

International Baccalaureate Diploma

554 in three Higher Levels or 29 points.

Contextual Offer: 444 in three Higher levels or 27 points.

International Baccalaureate Career-Related Programme

We encourage applications with the IBCP but recognise that your combination of qualifications may differ depending on where you are studying.

If you are taking a BTEC National Diploma / Diploma with one or more Higher Levels, your offer will be similar to our BTEC + A level offer (see 'BTEC National Diploma / Diploma') but with an HL requirement of 6 for A, 5 for B, or 4 for C.

For any other combination, please contact the University Admissions Team for advice.

Access to HE Diploma

112 UCAS points in any Access to HE Diploma including Distinction in at least 15 Level 3 credits.

Welsh Baccalaureate / Bagloriaeth Cymru

The Advanced Skills Challenge Certificate is equivalent to one full A Level at the same grade and can be included alongside 2 other A Levels in a standard A Level offer for this course (see A Level). All subject specific requirements will still need to be met.

Scotland - Highers and Advanced Highers

BCCCC in five Highers, or CD in two Advanced Highers and CC in two Highers, or CCD in three Advanced Highers.

Extended Project Qualification (EPQ)

If you have B or higher in the EPQ and are studying A Levels, BTEC, the International Baccalaureate Diploma, or an Access to HE Diploma, you will typically receive an alternative offer which will be lower than the standard offer. Please see 'Alternative and contextual offers' below.

If you have B or higher in Core Maths and are studying A Levels, BTEC, the International Baccalaureate, or an Access to HE Diploma, you will typically receive an alternative offer which will be lower than the standard offer. Please see 'Alternative and contextual offers' below.

Ireland - Leaving Certificate

H3, H4, H4, H4, H4, H4 in the Irish Leaving Certificate.

China - Gaokao

70% in the Gaokao.

India - Standard XII

Average of 65% from four subjects in the ICSE, CBSE or Western Bengal Standard XII, or average of 70% from four subjects in any other Standard XII.

Germany - Abitur

2.4 overall average in the Abitur.

France - Baccalaureate

12 in the French Baccalaureate/International Option Baccalaureate/Baccalauréate Français International.

Hong Kong - Diploma

443 from two electives and one core subject in the HKDSE.

Spain - Bachillerato

Overall average of 7 in the Título de Bachillerato.

Italy - Diploma di Esame di Stato

75% in the Esame di Stato.

Cyprus - Apolytirion

17.5 / 83% in the Apolytirion.

Overall average of 15 in a Secondary Certificate.

Canada - Diploma

60% / BCCCC in five courses in the Grade 12 Diploma.

Kenya - KCSE / Diploma

We do not accept the Kenya Certificate of Secondary Education for direct entry. However, you can apply to study an International Foundation Year at Keele University International College. On successful completion, you can progress to an undergraduate degree at Keele.

We may accept a two year Diploma. Please contact the University Admissions Team for advice.

Nigeria - Senior School Certificate / OND

We do not accept the Senior School Certificate (WAEC or NECO) for direct entry. However, you can apply to study an International Foundation Year at Keele University International College. On successful completion, you can progress to an undergraduate degree at Keele.

We may accept an Ordinary National Diploma with GPA of 2.5 or a Merit / Lower Credit. Please contact the University Admissions Team for advice.

USA - Advanced Placement

443 from three Advanced Placement subjects.

You will also need: an English language qualification (see below)

We do not accept the West African Senior School Certificate Examination for direct entry. However, you can apply to study an International Foundation Year at Keele University International College. On successful completion, you can progress to an undergraduate degree at Keele.

Sri Lanka - Advanced Level

BBC in three Advanced Levels.

Malaysia - STPM

BBC in three Principal Level subjects in the STPM.

Pakistan - Secondary School Certificate

We do not accept the Secondary School Certificate for direct entry. However, you can apply to study an International Foundation Year at Keele University International College. On successful completion, you can progress to an undergraduate degree at Keele.

Singapore - A Levels (H2)

BBC in three H2 Levels.

European Baccalaureate

70% overall.

Pass NCUK Foundation Year with BBC and a C in EAP English Language module.

Uganda - Advanced Certificate of Education

BBC in three Principal Level subjects in the Advanced Certificate of Education.

Zimbabwe - Advanced Level GCE

BBC in three Advanced Level subjects.

English language requirements

All of our courses require an English language qualification or test. For most students, this requirement can be met with a 4 or C in GCSE English. Please see our English Language guidance pages for further details, including English language test information for international students. For those students who require an English language test, this course requires a test from Group A.

Alternative and contextual offers

We're committed to ensuring equality of opportunity to all our applicants with the potential and motivation to succeed, regardless of background. That's why we operate a range of alternative offer schemes with clear eligibility criteria, including contextual offers, offers for those studying within the Keele region, and recognising a range of additional qualifications in your offer.

General information

The entry grades outlined in this section indicate the typical offer which would be made to candidates, along with any subject specific requirements. This is for general information only. Keele University reserves the right to vary offer conditions depending upon a candidate's application.

Our Experts

You will learn from academics who are not only experts in their field but also published authors. Our creative writing teaching staff cover a wide range of interests in the field as well as in film and in multiple literatures in English. Their work has been widely published in the form of novels, poetry collections, digital outputs, research monographs and articles in leading international journals.

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Fees and funding

Tuition fees for 2024/25 academic year.

• International: Band 2, £19,500 for the 2024/25 academic year

Please note, our 2025/26 entry fees have not yet been set. We set our fees on an annual basis and they will be updated here once set.

For continuing international students, fees will increase annually by RPIX, with a maximum cap of 5% per year.

For details of our international fee bands please see our Undergraduate tuition fees web page.

Going to university can be a daunting as well as an exciting experience. It can be difficult to understand the true costs of being a student, as well as the financial support that is available to help you meet those costs.

Our Student Financial Support team offers confidential advice and guidance to help you to manage your money, so that you can make the most of your time at Keele. We can help you to resolve issues with your Student Finance, create a budget, and help you to explore your options if you’re facing financial hardship. We are also able to ensure that you receive any funding for which you may be eligible, such as bursaries and scholarships.

View our money advice and guidance section for information on tuition fees.

For more information visit our undergraduate fees and funding section .

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Modules for Creative Writing

The module details given below are indicative, they are intended to provide you with an idea of the range of subjects that are taught to our current students. The modules that will be available for you to study in future years are prone to change as we regularly review our teaching to ensure that it is up-to-date and informed by the latest research and teaching methods, as well as student voice. The information presented is therefore not intended to be construed and/or relied upon as a definitive list of the modules available in any given year.

This programme is also eligible for Global Challenge Pathways optional modules, Keele's exciting route of elective study. GCP allows you to explore current debates, enhance your understanding and employability, and complement your chosen subject.

COMPULSORY MODULES

• Writing Scripts
• Writing Poetry
• Writing Fiction
• Writing, Delivery and Performance
• Writing for Other Platforms

OPTIONAL MODULES

• Gothic Nightmares: Robots, Monsters and Witches
• Reading Film
• Introduction to Television Studies
• Texts and Contexts
• Playing Parts: Studying Drama and Poetry
• Film and Culture
• The Early Modern World, 1490-1700
• Digital Video
• Audiences: From Moral Panics to Digital Cultures
• Sound and Society
• Writing Genre
• Emerging Themes
• Sources of Writing
• Creative Non-Fiction
• Romanticisms
• The Renaissance: Shakespeare and Beyond
• Literature and Social Change
• Transatlantic Modernisms
• Creative Arts and Humanities in Society
• Work Placement for Humanities Students
• Contemporary World Literature
• Methods and Approaches to Literature
• Culture and Barbarism: Literature in the Victorian Age
• Science Fiction Cinema: Utopias and Dystopias
• 21st-Century Apocalypses
• Documentary: Theory and Practice
• Film and Screen Music
• Creative Synergies: Designing Collaborative Projects

Semester 1 and 2

Creative Writing: Portfolio

• Words and Pictures: the Contemporary American Graphic Novel
• High Culture: Drink, Drugs, and the American Dream
• Postmodernism: Fiction, Film and Theory
• Writingscapes
• Thresholds: Young Adult Fiction
• British Social Realism
• Youth and Film: Growing Up on Screen
• From Sawbones to Social Hero? Doctors and medicine 1808-1886
• Creative Magazine Production
• Work Placement for Humanities Final-Year Students
• Postcolonial and World Literature in English
• Shakespeare on Film: Adaptation and Appropriation
• The Alcohol Question
• Modernist Manifestos and Magazines
• Violence and death in Shakespeare's theatre
• Hitchcock's Queer Cinema
• Crime in Neoconservative America
• Approaches to Screenwriting

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Your future career

95% of Keele students are in employment or further study within 15 months of finishing their studies (HESA Graduate Outcomes, 2019/20)

Enhance your employability

A degree in Creative Writing will prepare you for a broad range of careers. You will graduate as a creative writer, researcher and presenter with a critical approach. You will also develop core skills that will enable you to communicate ideas and arguments with clarity and care, write to deadlines and think under pressure.

Upon graduation, you may wish to pursue one of the following areas:

• Copywriting
• Advertising
• Civil Service
• Public Relations

Keele’s Careers and Employability team (Shortlisted for Best University Careers Employment Service - National Undergraduate Employability Awards, 2021) offers a variety of personal and career development opportunities to enhance your employability. From mock interviews, careers guidance and CV advice, to careers fairs, alumni mentoring and networking events, along with helping you find part-time and graduate employment, the team will support you throughout your studies and beyond.

Find out more about our careers and employability services , including career planning, alumni mentoring, jobs, internships, starting your own business and much more.

.END INSERT E

Teaching, learning and assessment.

You will experience a variety of teaching methods on this programme, including:

• Traditional lectures
• Workshops and seminars
• Independent study
• Independent writing
• Web-based learning

The expansive range of assessment methods used on this programme reflects the broad range of knowledge and skills that you will develop as you progress through your degree.

Teaching staff pay particular attention to specifying clear assessment criteria and providing timely, regular and constructive feedback that helps to clarify things.

Assessment methods include:

• Peer review
• Group presentations
• Creative writing reflective commentaries
• Creative writing portfolios

You will also be assessed formatively to enable you to monitor your own progress and to assist staff in identifying and addressing any specific learning needs. Feedback, including guidance on how you can improve the quality of your work, is also provided on all summative assessments within three working weeks of submission, unless there are compelling circumstances that make this impossible, and more informally in the course of tutorial and seminar discussions.

"The staff at Keele always go the extra mile for students and offer immense academic and mental support." Kyle, English Literature

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Foundation year

Our Foundation Year provides an excellent alternative route to Keele, providing a unique opportunity to better prepare for your chosen degree, and with guaranteed entry onto your undergraduate course once you successfully complete your Foundation Year.

This extra year of study can improve your academic skills, expand your subject knowledge, give you a better understanding of higher education and, perhaps most importantly of all, build your confidence.

Keele University is consistently ranked among the top universities for student satisfaction, and we have over 70 years' experience of teaching a foundation year to students. On the Keele Foundation Year, you'll study on campus, joining our undergraduate community from the outset, with access to all the facilities and support that you'd get as an undergraduate student at Keele.

The information in this Foundation Year section is for UK/Home applicants. Where an international Foundation Year is available, please see the 'Information for international students' tab.

The information within this page is for students wishing to start their studies in September. If you would like to start this course in January, please visit our  January pages  for further details.

Course content

Our  Foundation Year  allows you to develop your critical thinking, academic reading, writing, and communication study skills along with subject-specific knowledge and skills which will be invaluable in your academic studies and beyond. Upon meeting the progression criteria and successfully completing our Foundation Year, you will automatically progress into your Keele undergraduate degree with the confidence that you have the skills, and knowledge needed to successfully complete your course.

This Foundation Year is a two-semester programme which provides a tailored pre-degree programme of study to better prepare you for the BA (Hons) Creative Writing degree. For example, the Foundations of Humanities 1 module introduces you to the broad range of source material across the Humanities disciplines - from media to history - which enables us to analyse political, social or economic perspectives and attitudes to individuals, marginal groups and 'mainstream' society. Course content has been developed in collaboration with degree teaching teams, so that by the time you begin Year 1, you will be ready to excel at your studies, as the majority of our Foundation Year students do. 

Find out more about the Keele Foundation Year, including information about teaching and assessment methods by visiting the Foundation Year  homepage . 

Course structure

The module details given below are indicative, they are intended to provide you with an idea of the range of subjects that are taught to our current students. The modules that will be available for you to study in future years are prone to change as we regularly review our teaching to ensure that it is up-to-date and informed by the latest research and teaching methods. The information presented is therefore not intended to be construed and/or relied upon as a definitive list of the modules available in any given year.

Semester one core modules

Semester two core modules.

The entry grades outlined in this section indicate the likely offer or range of offers which would be made to candidates along with any subject specific requirements. This is for general information only. Keele University reserves the right to vary offer conditions depending upon a candidate’s application. Read more about our undergraduate entry requirements for  United Kingdom ,  European Union  and  International students .

• Between 40-48 UCAS points from at least 1 A level/level 3 qualification or equivalent, or
• Relevant work experience
• GCSE English Language at grade 4 (C),  or  Level 2 Functional Skills or
• IELTS 5.5 (with 5.5 in all subtests) 

How to apply 

Students will need to apply for  BA (Hons) Creative Writing with Foundation Year (UCAS code W801)  through UCAS at  www.ucas.com

Direct entry students

If you already have your qualifications, are not expecting any further results and only wish to apply to Keele, please contact the  Admissions Office directly.

We also offer a January start for some of our Foundation Year courses. Adopting a blended learning approach, the January start is particularly useful for students wishing to return to education following time out of studying, or who are seeking a flexible approach to their Foundation Year studies. Our January start is available across most of our Science, Humanities, Social Science and Business courses.

Whilst still being a full-time course, our blended delivery model combines live teaching sessions - both online and on-campus - with self-directed study, enabling you to predominantly study at a time that suits your lifestyle. You will benefit from weekly online taught sessions which encourage you to engage with your teachers and peers.

In addition to online study there will be a series of full study days that you will be required to attend throughout each semester. These sessions may include lab-based activities, group work, review of course and assessment materials studied online. They will emphasise opportunities for you to deepen your knowledge and understanding of your chosen route.

Please refer to the September start tab for more information about the entry requirements and what you will study. The modules that you will take on a January start Foundation Year will be similar to those for the September start, but on a compressed timescale and tailored to a blended learning approach (with the majority of learning taking place online).

For more information, including fees, the UCAS code for this course, how to apply, and how you will be taught, please visit our January Start Foundation Year webpage .

Our International Foundation Year is delivered on campus through Keele University International College (KUIC). Find out more about the International Foundation Year options on the KUIC website .

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.end insert h.

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Please submit your question in the form below and a member of our enquiries team will be in touch with you shortly.

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Discover the Keele difference

Everything’s on your doorstep at Keele, and you’ll soon feel at home and make friends wherever you go.

• Undergraduate Courses
• International Students

We help students manage their money and ensure that they receive any funding for which they may be eligible.

Make yourself more employable after graduation by taking advantage of the whole host of additional opportunities.

Creative Writing, MFA

Publishing Laboratory Enjoys a Relationship with Harpercollins, the World’s Second-Largest English Language Publisher

2 Literary Magazines & 1 Literary Book Imprint - We Offer Graduate Students Experience Working for All 3

Writers’ Week is a Literary Festival Featuring a Diverse Lineup of Writers

STUDY OF CREATIVE WRITING PREPARES STUDENTS FOR PROFESSIONAL SUCCESS. OUR ALUMNI ARE:

Graduates have published books with top commercial, university and independent presses, garnering critical acclaim and prestigious awards. Many have careers as technical writers. Most importantly, they learned the skills and habits to pursue a satisfying and sustainable writing life.

The MFA is a terminal degree and qualifies graduates to teach at the university level. We provide teaching assistantships and pedagogical training. Our graduates go on to teach writing and publishing throughout the country.

Our graduate students gain hands-on experience in the editing, design, production and marketing of books and magazines and go on to careers as agents, marketing coordinators, art directors, managing editors, and small press publishers.

Generate complex, original writing of literary merit and personal value

Utilize form, style, and technique in effective and sophisticated ways

Critically analyze literary works

Articulate your own evolving aesthetic as a writer

“ I gained valuable teaching experience, served as managing editor of Ecotone, and relished my time with mentors who encouraged and challenged me. Simply put, it changed my life. ”

A Community of Writers

Our MFA program joins students who share a common passion and faculty members who provide critical support of their work. The faculty of the Department of Creative Writing view MFA students as colleagues-in-the-making. To help initiate them into the profession, we offer a series of panels and workshops designed to address practical issues that lie outside the scope of the writing workshop.

Apprenticeship Leading to Publishable Quality Manuscript

The MFA at UNCW is a 48-hour apprenticeship, requiring a total of 21 hours of writing workshops, 21 hours of literature or other elective courses, and 6 thesis hours, leading to completion and defense of a substantial book-length manuscript of literary merit and publishable quality.

While students apply in poetry, fiction or creative nonfiction, and focus primarily on that genre, some cross-genre study is required. Coursework in editing and publishing is offered through our Publishing Laboratory. Experience in magazine and book production is also offered in conjunction with our imprint Lookout Books and with Ecotone and Chautauqua , our department's national literary magazines.

SAMPLE COURSES

Admission deadlines & requirements, information: mfa creative writing.

• Complete applications are considered for admission as a group, after the published deadline.
• All application and supporting documents must be received by the published deadline.

Coordinator

• Dr. Melissa Crowe 910-962-3436 [email protected]  

Location/Delivery Method

• Main Campus

Concentrations

• Creative Non-Fiction

Deadlines (11:59 p.m. EST)

• Fall 2024:   January 15, 2024

Transcripts

• One official transcript is required from each U.S. post-secondary institution attended. Refer to the Getting Started page for international transcript instructions.

Test Scores

• None Required

Recommendations

Additional requirements.

• Upload Supplemental Documents After Application Submission
• Writing Sample: A typed manuscript in the applicant’s primary genre, labeled “poetry,” “fiction" or “creative nonfiction”: 10 pages of poetry, 30 pages of fiction or 30 pages of creative nonfiction (double-spaced prose, single-spaced poetry). The manuscript should demonstrate mastery of basic craft and unmistakable literary promise. Applicants are advised not to apply with a mixed-genre manuscript.
• Essay:  An essay (300-500 words) on the applicant’s goals in pursuing the MFA, including previous educational experience.
• Assistantship Essay: If you are interested in being considered for an assistantship in the Creative Writing classroom, or in the Publishing Laboratory (or both), please include a brief (one- to two-page) supplemental statement of relevant experience and interest. (If interested in both, upload a single combined essay.) 

Explore More Program Details

Learn more about the Department

Related Programs

Publishing, post-baccalaureate certificate.

Students seeking to enroll in the MFA publishing certificate program must first complete the introductory course, CRW 520, The Publishing Process.

Filmmaking, MFA

UNCW’s MFA in filmmaking is an immersive three-year terminal degree program. The comprehensive curriculum includes multi-modal (narrative, documentary, and experimental) workshops in cinematography, screenwriting, editing, sound design, producing, and directing, as well as courses in cinema history, analysis and aesthetics.

English M.A.

For lovers of literature, writing, film or the English language, studying English means doing what you love most.

Women’s, Gender & Sexuality Studies, Post-Baccalaureate Certificate

This certificate is designed for students already enrolled in a graduate degree program at UNCW, as well as professionals not seeking a degree. The program provides the opportunity to gain substantial training in women's and gender studies as a supplement to departmental degrees and careers.

Master of Fine Arts in Creative Writing The Write Stuff for Writers

Credit Hours

View Courses

100% online, 8-week courses

Transfer in up to 50% of the degree total

Grow Your Writing Passion into a Career with Liberty’s Online MFA in Creative Writing

Many people write creatively, but few hone their skills to develop their writing craft to its highest form. Even fewer learn the other skills it takes to become a successful writer, such as the steps needed to get a book published and into the hands of readers. Liberty’s 100% online Master of Fine Arts (MFA) in Creative Writing can help you develop your writing passion into a career so you can set your works free to impact culture and the world.

Employers in every industry need professionals who have strong writing skills, so you can be confident that your ability to write effectively can also help set you apart in your current career. With in-demand writing expertise and the ability to customize your degree with electives in literature or writing practice, Liberty’s online MFA in Creative Writing can help you achieve your professional writing goals.

Our online MFA in Creative Writing is designed to help you build on your writing skills with specific workshops dedicated to the craft of fiction, poetry, creative nonfiction, or screenwriting. With a work-in-progress approach to writing practice and mentorship from our faculty of experienced writers and scholars, you can learn the specific skills you need to make your writing stand out.

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• Private Nonprofit University
• 600+ Online Degrees
• No Standardized Testing for Admission
• Transfer in up to 75% of an Undergrad Degree
• Transfer in up to 50% of a Grad/Doctoral Degree

Why Choose Liberty’s MFA in Creative Writing?

Our online MFA in Creative Writing is mainly offered in an 8-week course format, and our tuition rate for graduate programs hasn’t increased in 9 years. Through our program, you can study the writing process and develop your creative skills through workshops with experienced writing professionals. With our flexible format, you can grow in your creative writing while continuing to do what is important to you.

As a terminal degree, the online MFA in Creative Writing can also help you pursue opportunities to teach writing at the K-12 or college level. You will gain comprehensive and in-depth exposure to writing, literature, publishing, and many other professional writing skills that you can pass on to students. Partner with the Liberty family and learn under faculty who have spent years in the field you love. Your career in professional writing starts here.

What Will You Study in Our MFA in Creative Writing?

The MFA in Creative Writing program is designed to help you become an excellent creative writer across the genres of creative fiction, nonfiction, screenwriting, and poetry. You can learn how to produce aesthetically and culturally engaged creative works while gaining professional knowledge and practice. You will also study foundational contemporary literature so that you have a background in studying important works to draw on for your writing.

To help you in your professional writing, you will also study many essential skills in editing, layout, and the business of publishing so that you can best position yourself for success in the market. Through your creative writing courses and workshops, you can develop your craft so that you will be ready for your thesis project.

Here are a few examples of the skills Liberty’s MFA in Creative Writing can help you master:

• Marketing your projects and pursuing new writing opportunities
• Organizing writing and adapting it to different types of writing
• Tailoring writing to specific audiences and markets
• Understanding what makes art effective, compelling, and impactful
• Writing compelling stories that engage readers

Potential Career Opportunities

• Book and magazine writer
• Business communications specialist
• Creative writing instructor
• Publications editor
• Screenwriter
• Website copy editor and writer
• Writing manager

Featured Courses

• ENGL 600 – Editing, Layout, and Publishing
• ENGL 601 – Writing as Cultural Engagement
• ENGL 603 – Literary Theory and Practice
• WRIT 610 – Writing Fiction

Degree Information

• This program falls under the College of Arts and Sciences .
• View the Graduate Arts and Sciences Course Guides (login required).
• Download and review the Graduate Manual for MFA .

Degree Completion Plan (PDF)

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Admission Information for the Master of Fine Arts in Creative Writing (MFA)

Admission requirements.

• A non-refundable, non-transferable $50 application fee will be posted on the current application upon enrollment (waived for qualifying service members, veterans, and military spouses – documentation verifying military status is required) .
• Unofficial transcripts can be used for acceptance purposes with the submission of a Transcript Request Form .
• Creative Writing Sample – A creative writing sample of one creative writing work of at least 2,500 words or a culmination of creative writing samples totaling 2,500 words.*
• Applicants whose native language is other than English must submit official scores for the Test of English as a Foreign Language (TOEFL) or an approved alternative assessment. For information on alternative assessments or TOEFL waivers, please call Admissions or view the official International Admissions policy .

*A sample of one or more poems totaling a minimum of 750 words may also be submitted. Song lyrics are not accepted at this time as writing samples.

Preliminary Acceptance

If you are sending in a preliminary transcript for acceptance, you must:

• Be in your final term and planning to start your master’s degree after the last day of class for your bachelor’s degree.
• Complete a Bachelor’s Self-Certification Form confirming your completion date. You may download the form from the Forms and Downloads page or contact an admissions counselor to submit the form on your behalf.
• Submit an official/unofficial transcript to confirm that you are in your final term. The preliminary transcript must show a minimum of 105 completed credit hours.
• If you are a current Liberty University student completing your undergraduate degree, you will need to submit a Degree/Certificate Completion Application .
• Send in an additional, final official transcript with a conferral date on it by the end of your first semester of enrollment in the new master’s degree.

Dual Enrollment

Please see the Online Dual Enrollment page for information about starting graduate courses while finishing your bachelor’s degree.

Transcript Policies

Unofficial college transcript policy.

Unofficial transcripts combined with a Transcript Request Form can be used for admission. Official transcripts are required within 60 days of the admissions decision or before non-attendance drops for the first set of matriculated classes, whichever comes first, and will prevent enrollment into future terms until all official transcripts have been received.

Before sending unofficial college transcripts, please make sure they include the following:

• Your previous school’s name or logo printed on the document
• Cumulative GPA
• A list of completed courses and earned credit broken down by semester
• Degree and date conferred (if applicable)

Official College Transcript Policy

An acceptable official college transcript is one that has been issued directly from the institution and is in a sealed envelope. If you have one in your possession, it must meet the same requirements. If your previous institution offers electronic official transcript processing, they can send the document directly to [email protected] .

If the student uses unofficial transcripts with a Transcript Request Form to gain acceptance, all official transcripts must be received within 60 days of the admissions decision or before non-attendance drops for the first set of matriculated classes, whichever comes first. Failure to send all official transcripts within the 60-day period will prevent enrollment into future terms until all official transcripts have been received.

Admissions Office Contact Information

(800) 424-9596

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Email for Documents

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Liberty University is dedicated to providing world-class educational experiences to military students across the globe.

Who May Qualify?

• Active Duty
• Reserve/National Guard
• Veterans/Retirees
• Spouses of Service Members and Veterans/Retirees
• Current Department of Defense Employees

Available Benefits:

• Tuition discounts – $275 per credit hour for graduate courses
• Additional discount for veterans who service in a civilian capacity as a First Responder (less than $625 per course) *
• 8-week courses, 8 different start dates each year, and no set login times (may exclude certain courses such as practicums, internships, or field experiences)

*Not applicable to certificates.

Frequently Asked Questions

What is an mfa in creative writing.

A Master of Fine Arts degree, or MFA, is a terminal degree in an artistic craft that demonstrates that you have achieved the highest level of training and skill in your discipline. Like a doctorate, an MFA often allows you to teach courses at the graduate level while also providing many opportunities for scholarship and leadership in education. If you want to grow your creative writing skills to become the best writer you can be, then the Master of Fine Arts can help you get there.

How will students work towards developing their writing skills?

With creative writing workshops and a thesis project, you will receive support and guidance to help you become the best writer you can be.

How long will it take to complete the MFA in Creative Writing?

You can complete the MFA in Creative Writing in just 48 credit hours!

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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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Student life, you are here, creative writing samples.

• A Substance-Free High , by Grace Asher a poem (Creative Writing, Tracy Helixon)
• Savage Beauty , by Caleb Brown a poem (Creative Writing, Tracy Helixon)
• Everything , by Jamie Holweger a poem (Creative Writing, Tracy Helixon)
• Journey Through Meter , by Naomi Miicke a poem (Creative Writing, Tracy Helixon)
• Whispering Pines/Fear , by Lori Pipkin a poem (Creative Writing, Tracy Helixon)
• I Thought I'd Write A Poem Today, by Justin Sagler a poem (Creative Writing, Tracy Helixon)
• Fast Food Generation , by John Schmidt a poem (Creative Writing, Tracy Helixon)
• Loneliness , by Kelsey Shutter a poem (Creative Writing, Tracy Helixon)

Short Stories

• Floating Away , by Jamie Holweger a short story (Creative Writing, Tracy Helixon)

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Creative Writing PhD

Course detail, entry requirements.

• Fees & funding
• Study & career progression

A PhD in Creative Writing gives you the opportunity to develop an original piece of writing (for example a novel, play, screenplay, radio drama) and an accompanying thesis, in which you connect this creative work to relevant theoretical, critical and historical thinking. Together, these assessed elements lead to the award of the prestigious PhD in Creative Writing.

Working collaboratively, we aim to help you craft your work to the highest possible standard as well as facilitate your engagement with the professional world. All writers are encouraged to develop their skills in the broadest way possible. This means participating in writing exercises across a spectrum including reviews and blogs.

Our academics are often consulted by publishers about book proposals and manuscripts. ee a list of potential PhD supervisors and read about their expertise, in the 'Supervisors' section lower down the page. 

Find out more about the full range of  PhD study    opportunities   in the School of Film, Media and Design.

Select your desired study option, then pick a start date to see relevant course information:

Start date:

If your desired start date is not available, try selecting a different study option.

Why study Creative Writing with us?

What our students say…

UWL has truly state-of-the-art facilities. I feel like I'm learning something new every day.

Research Centres

We have seven Research Centres, staffed by experts with an enviable record of publications, conferences, media and public engagement work.

World-leading Research

The University of West London has been recognised by the Government's Research Excellence Framework (REF) for its exceptional research work.

You will be supervised by active researchers/writers with considerable experience of publication, editing, and working with other writers. Our academics are widely published on topics as varied as Jane Austen, Rambo, and literary adaptations.

About PhD study

This course is available for you to study either on a full-time or part-time basis and you have the flexibility to switch should you need to.

A PhD is founded on independent research.  You will undertake a systematic and in-depth exploration of your chosen topic to produce a substantial body of knowledge and make an original and important contribution to the subject area.  

The support provided by your supervisory team will be vital to your student experience and scholarly advancement.  You and your supervisors will have regular one-to-one meetings which will provide you with opportunities to develop your research topic and discuss your progress.

Our research record

View our  academic journal 'New Vistas'   to see the work of students and academics who are making an impact both locally and globally through their research findings.

Based in the heart of Ealing, west London, you can make use of the excellent transport links to travel to the the capital or further afield - ideal for attending research meetings and networking events.

Got a question?

If you would like guidance or more information about studying for a research degree, you can contact  Professor Jeremy Strong .

To enable you to enhance your professional profile, we support you throughout your research degree by:

• providing research seminars
• organising doctoral events and activities
• facilitating networking and collaboration opportunities
• encouraging and supporting publication and dissemination of your research
• offering opportunities to gain teaching expertise and experience.

We provide structured research training, expert supervision, and an environment where you can discuss your research with other PhD students and researchers.

We run seminars in research methods from the Graduate Centre, as well as an ongoing series of events and activities organised by Schools and Colleges. Specialist help with academic English for students for whom English is not their first language is available.

Our facilities include a fully equipped TV Studio containing a lighting grid with DMX lighting control, green and white screens, Ross Crossover Vision Mixer for live editing and audio and video recorder / playback devices.

Media Resource Centre

Our Media Resource Centre is available to all London School of Film Media and Design students for free. We hold a variety of cameras, lights, sound equipment and recording devices. Students can also loan equipment demonstrated in class.

The Paul Hamlyn Library

The Paul Hamlyn Library provides an extensive range of books, journals and digital resources, PC and Mac workstations and a variety of study spaces. Find out more about what the  Paul Hamlyn Library has to offer .

We contribute to national and international initiatives and promote collaboration and networking opportunities. We also encourage and support you to publish and disseminate your research in academic journals and via presenting papers at conferences.

We run an annual conference for doctoral students, where you are encouraged to present a paper about your research. As well as being an opportunity to discuss your work with other students, the conference is a chance to gain valuable experience in presenting your research and participating in open discussions with academic peers.

You will also find other opportunities such as postgraduate student seminars and forums within your specific subject area.

Once you start a PhD course at UWL, you become part of our research community. You will have access to a postgraduate common room, located at our Ealing campus on St Mary’s Road, where you will meet fellow researchers from other subject disciplines offering scope for collaborations or simply to discuss ideas, allowing you to be part of a vibrant research environment.

• Requirements: UK
• Requirements: International

The minimum entry requirements for a research degree are:

• a good first degree (First Class or Upper Second Class), or equivalent qualification in a relevant field
• a Masters Degree (MA, MSc, MBA or MRes) with Merit, or equivalent postgraduate or research experience.

We look for students with:

• a passion for their chosen subject.

You will also have a well thought through and persuasive proposal.

• Competence in written and spoken English is a pre-requisite for entrance to this programme. An IELTS (International English Language Testing System) score of 6.5 (with no element under 6.0).

Fees & funding

• Funding: UK
• Funding: International

The fee above is the cost per year of your course.

If your course runs for two years or more, you will need to pay the fee for each academic year at the start of that year. If your course runs for less than two years, the cost above is for your full course and you will need to pay the full fee upfront.

Government regulation does affect tuition fees and the fees listed for courses starting in the 2025/26 academic year are subject to change.

If no fee is shown above then the fees for this course are not available yet. Please check again later for updates.

Funding your studies

Funding for postgraduate students usually comes from one or more of a range of key sources:

• research councils
• charities and trust funds, including those funded by the UK government
• higher Education institutions
• overseas governments (international students only)
• professional and career development loans
• self-funding (including family funds).

Find out more about funding opportunities. Examples of most of these types of funding are included on the postgraduate studentships website , (with the exception of funding you may be able to obtain from your employer and self-funding).

Bursaries and scholarships

We offer generous bursaries and scholarships to make sure your aspirations are your only limit. See our PhD scholarships , scholarships and bursaries .

For any overseas students, your first port of call should be grant-awarding bodies in your own country (eg The Ministry / Department of Education) and your local (or nearest) office of the British Council.

The British Council manage a small number of international studentship grants in some countries and should be able to tell you what other awards may be available to you - they also produce the Sources of funding for international students guide.

Supervisors

Professor jeremy strong.

Dr Jonathon Crewe

Study & career progression

Studying for a PhD enables you to develop an area of specialism that will give you an edge whether you are planning to work in industry or to develop expertise to teach in academia.

Graduates of the PhD: Creative Writing will be highly accomplished writers, fluent and capable in what is – perhaps – the ultimate transferable skill. It will help position you for a  career in the many branches of the thriving media and cultural industries – nationally and internationally - as well as for academic careers in teaching and research

How to apply

• How to apply: UK
• How to apply: International

To apply for one of our research courses, click the green 'apply now' link shown below to complete an online application form. You will need to attach the following documentation to your online application form:

• research proposal outline (5000 words maximum)
• transcript of your highest qualification.

The research proposal outline, or statement of research interests, enables us to assess your suitability for higher degree work including:

• viability of the topic as a research study
• the most appropriate supervisor(s) to be appointed.

Click here  for more information on applying for a PhD.

Apply for this course

Next steps after making your application.

We aim to make a decision on your application as quickly as we can. If we need any more information about your qualifications, we will be in touch.

In the meantime, come and visit us and find out more about what studying at UWL is like. Sign up for an  open day  or join a campus tour .

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Visit us and see for yourself

Talk to our tutors and find out about our courses and facilities at our next open day or join a campus tour.

We're here to help

Any questions about a course or studying at UWL? We're here to help - call us on 0800 036 8888 (option 2, Monday – Friday 10am-4pm) or email us on [email protected].

To apply for one of our research courses, click the green 'apply now' link shown below to complete an online application form.  You will need to attach the following documentation to your online application form:

• research proposal outline

Related courses

Phd english literature.

PhD Film Studies

PhD Psychology

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Developing Your Writing Style

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A writer’s style is their voice on the page—the unique way they communicate their ideas. Each decision regarding diction (word choice) and syntax (sentence structure) shapes a writer’s style. Thus, it’s essential to be aware of how the choices you make influence your writing—and therefore your readers’ perception of your work. In other words, actively craft your style rather than just letting it happen! 

How Do You Know What Style to Use? 

Different rhetorical situations (learn about the rhetorical situation in our   Building Graduate-Level Writing Skills guid e) call for different writing styles. For instance, the style you would use in a cover letter for an important job application is different from the style you would use in a text message to your best friend. When considering what style to use, keep your audience and the context at the front of your mind. Considering who will read your writing—and where they will read it—will help you make appropriate choices. If you’re writing an article for a scientific journal focusing on physics, for example, you can reference concepts that scholars in your field will already know (like “centrifugal force” and “electromagnetism”) without defining them; it makes sense to use technical language because your audience is a group of experts. If you’re writing a textbook chapter for a high school physics class, it makes sense to use simpler language since your audience doesn’t have the prior knowledge to understand the material.  

One of the main questions writers ask is whether it’s okay to use “I.” Chances are you’ve been given different answers from different instructors, and it never hurts to check in with your professors or advisor since conventions vary in different disciplines. As a general rule, though, use “I” if seeking to avoid it results in overly complicated sentence constructions or obscures the meaning of what you’re trying to say. Some scholars may also choose to use “I” to highlight their ownership of a particular idea or contribution to their field, or to make clear how their work diverges from that of other scholars.  

For more information, check out this resource about   using “I” and weaving personal experiences   in your writing.  

Strategies for Shaping Your Style 

As discussed in our resource on Building Graduate-Level Writing Skills, graduate writers are engaged in a scholarly conversation about their specific topic/area of focus. While integrating information from previous research is essential to building your credibility as a writer and positioning your work in relationship to the work of others in your field, it’s equally essential to make sure that your voice comes through strongly.  

In order to ensure that your voice is at the fore, the University of Vermont’s Graduate Writing Center suggests using a color-coding exercise. Follow these steps: 

As you read through your writing, use a highlighter to mark places in your text where you integrate ideas from outside sources (whether you’re agreeing, disagreeing, or providing background information). 

Read through your draft a second time, using a highlighter of a different color to mark places where you’re sharing your own analysis or findings. 

Ask yourself: 

Have I appropriately cited my sources? If you notice that you’ve included ideas that stemmed from your research but haven’t clearly stated where those ideas came from, add that information. 

Are there places where I could expand my discussion of my argument/findings? If you notice opportunities to add more detail about your own work/ideas in your own voice, do so! 

Is my voice getting lost? If you notice places where it might be difficult for readers to distinguish ideas from your sources from your own ideas, craft clearer transitions. 

Here are additional resources you can explore to hone your writing style: 

The University of Toronto’s Writing Advice website provides a   list of strong verbs   you can use when integrating sources. Verbs are a key part of style because they communicate the nuances of your argument (e.g., “asserts” and “suggests” are two ways of saying that a source is making a particular claim, but “asserts” is more forceful). 

The Writing Center at George Mason University’s guide to “Reducing Informality in Academic Writing” works well as a checklist to make sure that your writing is appropriate for an academic audience.  

The Writing Center at the University of North Carolina at Chapel Hill’s guide to “Writing Concisely” provides tips to help you avoid writing that readers may find “wordy” or that uses the passive voice.   

This content was adapted from: 

“Forwarding, Illustrating, Countering, & Taking an Approach.” Graduate Writing Center, The University of Vermont, https://www.uvm.edu/sites/default/files/Graduate-Writing-Center/GWC%20Guides/Genres/Entering_the_Conversation.pdf. Accessed 10 January 2023. 

“Should I Use ‘I’?” The Writing Center, University of North Carolina at Chapel Hill, https://writingcenter.unc.edu/tips-and-tools/should-i-use-i/. Accessed 10 January 2023.  

“What is style?” Purdue Online Writing Lab, Purdue University, https://owl.purdue.edu/owl/general_writing/writing_style/style%20/Style%20Introduction.html.  Accessed 10 January 2023. 

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