creative writing group cambridge

Writing Groups

• Competitions
• Anthologies
• Short Stories
• Flash Fiction

Our writing groups all meet monthly. We don’t write on the night, but members read work aloud and give and receive constructive feedback.

Contact a group coordinator in the first instance to arrange coming along to a meeting. You are welcome to try a couple of meetings before joining Cambridge Writers.

Long prose may include anything from novels to biographies and memoirs. At a meeting, members read extracts of their work and receive helpful feedback on their writing from the rest of the group. Depending on numbers attending, you will have around twenty minutes to read your piece and receive feedback. It helps if you bring printed copies for other members to refer to, and write comments on, which will be returned to you at the end. Meetings are held on the last Tuesday of each month.

Coordinator

Edwin Hall: contact

Online Creative Writing

This group arose during 2020, as an online meeting conducted over the ‘Zoom’ platform. It works in the same way as the long prose group described above, with extracts read out by members and feedback given and received. Extracts are shared beforehand for these meetings, so that members can have a copy to refer to as a piece is read out. Meetings are held on the second and third Tuesdays of the month, and ‘Zoom’ links will be emailed to those wishing to attend. Darragh Peter Murphy assists Siobhan by running the session on the third Tuesday of the month.

Siobhan Carew: contact

The poetry group meets on the second Monday of each month. 3-13 people attend. Some of us are unpublished and are happy that way, but I think it’s true to say the tone is “professional” rather than academic or therapeutic. The format is pretty standard. The poet hands the work out. After having given people time to read it, the poet reads it. Then all but the poet discuss it. Finally the poet joins in. As you will appreciate, poetry needs the very closest attention to the text and this is hard to do if one can only listen. Therefore, at these meetings we ask that you bring along copies of the poem you wish to be considered.

Tim Love : contact

Short Prose

Short stories and short non-fiction are read at this group. As a guide to length, we usually ask that work substantially over 2000 words be read over two meetings. It helps if you bring printed copies of your work to the meetings for other members to refer to.

Meetings are held on the third Thursday of each month.

Tim Love: contact

Travel and Nature Writing

There are currently five members who work on travel narratives and who meet once a month.

Jane Wilson-Howarth: contact

Note: During Covid, some groups may be making special arrangements. Please check with group coordinators for the most up-to-date information on how groups are running.

Cambridge Creative

Writing Company

Writing a novel can be like navigating an unknown landscape without a map. You're all alone and, after a while, supplies and morale are low. You know the destination you want to reach; you're consulting your compass and making progress, but it's proving harder than you thought. Landmarks are missing and instructions are vague - what you need now is a wise, kindly guide to show you the way.

Together we've helped hundreds of aspiring writers along the road to publication. Perhaps you're just at the beginning, with a good idea but no idea of how to spin it into a book. Perhaps you're in the middle but have stalled. Perhaps you're close to the end, looking for that next level of polish. Wherever you are in your journey to publication, we have the perfect tools to help you taking your writing to the next level!

We provide insightful, motivational, and interactive small-group dayschools to support you in honing your writing skills and to jump-start your next fiction or non-fiction project. Our classes are led by internationally published authors and University of Cambridge tutors in creative writing  Menna van Praag  and  Emily Winslow . All are held in-person at Jesus College in  Cambridge’s historic city centre .  

See what we have coming up on our Classes & Events page,  or learn in the comfort of your own home with Emily's brilliant book: Time to Write . 

“Emily and Menna are a brilliant teaching team.” Simon Clarke

© 2022 by Emily Winslow and Menna van Praag. Proudly created with Wix.com

Logo by Alice Jago Illustration

Meet the team

Made up entirely of students, the CUPPS committee works hard to organise term cards for the academic year. Reach out to us with your suggestions and get involved. 

About CUPPS

We are the first university-wide creative writing society in Cambridge for both poetry and prose. Our goal is to provide an active, dedicated platform where students can pursue a passion for literature in a collaborative and inclusive environment.

We host speaker events, student sharing groups, workshops, open-mics and more. We want to help connect the existing creative community, as well as create more spaces for readers and writers to come together. You can find all our upcoming events on our term card and stay up to date through our social media.

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Cambridge launches first Creative Writing degree

The University of Cambridge’s first Master of Studies (MSt) in Creative Writing will explore the art of writing in all its many forms and guises, not just novel writing, according to Course Director Dr Sarah Burton.

There is always an element of writing that is almost inexplicable – that’s the magical element that can’t be taught – that’s what the student brings. Sarah Burton

The two-year, part-time course, run by the Institute of Continuing Education and developed in conjunction with the Faculty of English, begins in October 2013 with applications for entry closing at the end of this month (March).

But rather than focusing purely on fiction and creative non-fiction, the MSt in Creative Writing will also take in political speechwriting, radio essays, stand-up comedy and polyphonic scripts for stage, screen and radio.

Students will also learn the art of the short story, flash fiction, writing for children, as well as poetry, literary non-fiction, criticism, reviews, and travel writing in the first year of study.

Guest speakers are likely to include Wendy Cope, Michael Holroyd and comedian Stewart Lee.

Dr Burton said: “The MSt has been carefully designed to fit around people’s busy lives with intensive residential study pods strategically placed across the two years to enable the fullest participation. The first year will cover a wide range of genres and styles to encourage our writers to develop versatility through experimentation with new forms – while there is the chance to focus on a specialist strength, under expert supervision, in their second year.

“Writing for children is often neglected and this course is unique in offering a relationship with a local school where ideas can be developed and workshopped with a live audience.”

Successful applicants to the course will become members of one of three Cambridge colleges (Wolfson, St Edmund’s and Lucy Cavendish) and will join the wider graduate community with full access to the facilities of the University.

Dr David Frost, Tutor for Part-Time Students at Wolfson College, said: “I am very excited at the prospect of Creative Writing students becoming members of our college. We are already a vibrant postgraduate community which includes professionals such as journalists, lawyers, teachers, doctors and architects as well as researchers in the arts and the sciences. We would really love to add writers to this mix.”

Another unusual feature of the course is that in the first year critical writing is formally assessed, but creative writing is not.

Added Dr Burton: “Extensive feedback will be given on creative writing, but we are removing the pressures of formal marking, freeing students to allow themselves to develop and extend their skills by having permission to experiment, rather than fall back on what they already do well. This encourages ambitious and original, rather than conservative and ‘safe’, writing.”

The course tutors and guest speakers are all established literary professionals. Year one consists of four modules, which take place in October, December, February and June: Finding Voices, Writing for Readers, Writing for Performance and Non-fiction. A four-day residency of intensive workshops, seminars and lectures forms the core of each module.

The second year of study, in which students work more independently on their chosen genre, features two more short residential sessions at Madingley Hall and students will write a thesis in the form of a portfolio of creative and critical writing.

“The question of whether you can teach anyone to write is a valid one, and of course you can’t make anyone a writer,” Dr Burton added. “However, you can nurture raw talent, help nascent writers find their own voices and offer the sort of advice and counsel that writers have historically offered each other informally (Charles Lamb’s advice to Coleridge to ‘cultivate simplicity’ is a great example) in a structured and methodical way. There are more efficient routes to improving your writing than trying to work out, all on your own, how to create certain effects. But it’s by no means a science. There is always an element of writing that is almost inexplicable – that’s the magical element that can’t be taught – that’s what the student brings.”

Further details on course fees, entry and visa requirements are available at the ICE website .

This work is licensed under a Creative Commons Licence . If you use this content on your site please link back to this page.

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Credit: words words words by Chris Blakeley

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• English literature
• creative writing
• non-fiction
• Master of Studies
• Part-time study
• Sarah Burton
• David Frost
• Institute of Continuing Education
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Cambridge Writers' Workshop

Cambridge writers’ workshop budapest & prague writing retreat – july 19-27, 2024.

July 24-25, 2023- Final Workshop and Spoken Word Paris

Dear Reader,

We started our final day in Paris coming together and workshopping our work using the Liz Lerman method and Felicia Rose Chavez’s Artist Statement. In Chavez’s anti-racist model, it is the writer who initiates the dialogue. It begins with a brief summary of your work and three solid questions pertaining to your work that you want critiqued during your workshop time. This is a great way to understand the author and to see what they are looking for as you dive into their work. This workshop time was inspiring, as each writer genuinely engaged in one another’s pieces. I could not help but be in awe of the community that we had created within the past week we had been together. Not only did we lift each other up, but we inspired each other.

We concluded our time together by attending Spoken Word Paris at La Cave Café, a writing community that meets weekly to share their poems, stories, and songs. There only rule is to make the words come alive, and to keep it five minutes! As I weaved throughout the bar and down a steep staircase, I spotted a thick, wooden windowless door at the bottom. As I pushed open the door, I heard the words of poetry sliver up the steps. I was intrigued as I made my way down the steps of this underground world. When I opened the door, a wall of dense air hit me, seeming to hold onto the words of every writer as much as it was holding onto the warmth. I was passed a fan and I watched the entire room fanning themselves, willing to sit in this sweaty basement to hear everyone’s amazing stories.

Tonight’s theme was “push.” Starting at 8:45 p.m., countless writers from all over the world presented their work from poetry to song-writing centering around this theme. Our fellow Co-Director Diana Norma was the feature poet of the night and presented some of her work centering around her heritage, food, and her family. I felt that I could relate to her work through my own writing, as food and family overlap so much in my life, and inspire my writing. Cherishing your roots and passing them down through your own words is one of the ways in which I and many other writers claim their stories. A few of our writers presented their works which included some of their recently workshopped pieces. Their words seems to lift off the page as they read in confident voices that sizzled the room. I enjoyed being a part of the audience this time, but I think next time, I would love to be on that stage as boldly as the others were.

The next day, we concluded our Paris Writing Retreat over a buttery croissant and discussed our writing goals for the future. During this time, we also decided to meet again over Zoom and connect over the Cambridge Writers’ Workshop NING member network . It was amazing to reflect back on how everyone grew and connected in such a short time. Although we were sad to part ways, we are looking forward to seeing everyone accomplish their writing goals and hopefully see them on future retreats!

Corrine Previte, Manager

Cambridge Writers’ Workshop

July 22, 2023- A Day at Versailles

We made it to Versailles! Today, we had a free day to explore the beautiful palace. I couldn’t believe that Louis XIV roamed this incredible large palace. I was in awe of its vastness as it went on for miles. The city of Versailles is quaint and charming, with restaurants and shops to wander in and out of.

Today also served as a day of reflection as our writers ventured into the gardens to continue their writing projects. Many of our writers visited the Marie Antoinette House for inspiration (which had just opened to the public). Her house was filled with embroidered upholstery, intricate wall designs, and beautiful pieces of artwork, including a portrait of Antoinette herself. Some of our other writers wandered deeper into the groves of the palace and stumbled across the Queen’s Hamlet, which was used by Marie Antoinette as an extra space to relax and host guests. Personally, it reminded me of the cottage in Snow White and the Seven Dwarves; I even thought I saw her myself working throughout the assortment of gardens filled with growing vegetables and opulent flowers. The house also had a pond with a tower (with vines inching up its legs) overlooking it with fish waiting to be greeted. The space was certainly the queen’s own fairytale.

As I flâneused around, I couldn’t help but notice how each part of the castle grounds gleamed as the sun began to set. This whole palace made me channel my inner flâneur as I took note of the intricacies of each corner of the palace. I was especially intrigued with the Great Hall of Mirrors. The chandeliers sparkled reflecting off of the walls made of glass. I thought of past kings and queens roaming such an ornate place every day of their lives.

As the sun began to set, the castle grounds began to light up as the fountains danced to music. The light show had begun. Each statue was surrounded by a sea of lights. The night ended with a beautiful fireworks show. We all watched in awe, feeling invigorated in a place with so much history and beauty. I couldn’t help but to be grateful to be part of Cambridge Writers’ Workshop.

Corrine Previte, Manager Cambridge Writers’ Workshop

July 21, 2023- Essays, Flâneurs, Provocateurs and Writing the Moment through Food

Welcome to Day 3 of our Paris Writing Retreat, where we engaged in a craft of writing seminar titled “Flâneurs, Essays, and Provocateurs” taught by Rita Banerjee. Today we explored what it specifically means to be a flâneur. We also looked at the structures of essays and thought about how evocative essays are attempted and constructed. We learned about how being a flâneur and an essayist are intimately combined. We studied how essayists from Montaigne to James Baldwin to Lauren Elkin to Audre Lorde to Yoko Tawada redefined the environment they inhabit and create a space for electric art. For our walking tour portion of the class, Rita challenged us to channel our inner flâneurs and flâneuses by being open to the all of our senses while through the lively Parisian streets.

The second half of the day, Diana Norma Szokolyai taught “Writing the Moment through Food.” We began our session with a moment of mindfulness where we tried an assortment of French delicacies, such as foie gras. Many of us discovered that foods can evoke a range of emotions and memories. For example, one of us was brought back to our grandmother’s house, while others recalled moments with friends. For me, it brought a sense of warmth and comfort, specifically the Biscoff cookie. I was transported to a rainy New England day where I was sitting inside curled up with a cup of tea and a good book. Fall scented candles like Pumpkin Spice were lit in the background as I wrapped a soft blanket around me (can you tell I’m excited for fall?).

After we had our food tasting, we walked down rue Daguerre, where we encountered a variety of food markets. These markets provided an assortment of options from vibrant strawberries and tomatoes to rolls of cheese and meat for a future charcuterie board. The smells of breads and cheeses filled my nostrils as people’s conversations slipped into my ears. My inner flâneur was on high alert as I took everything in with each step I took. Our first stop on this street was a honey store, Famille Mary, where we tried a range of flavors from different regions throughout France. Each batch of honey had a sense of fullness and pureness of taste that already has me thinking about going back for more. I personally bought honey from the Pyrenees, which I look forward to using in my tea on that rainy New England day.

As our journey down rue Daguerre continued, we entered into one of Paris’ oldest cemeteries, Montparnasse Cemetery, housing many of France’s famous artists, philosophers, and writers. European cemeteries are set up so that the tombstone lies above the ground. Many people choose to leave flowers, mementos, and tributes. Just a handful of artists that we saw buried there were: photographer Gisèle Freund, writer Marguerite Duras, and philosophers Jean-Paul Sartre and Simone De Beauvoir, whose shared grave was covered in lipstick marks and mementos. Some of us left pens at Duras’ grave.

As we walked further, Diana Norma showed us where famous writers and artists like Picasso, Rilke, Modigliani, Man Ray, and Louie Aragon lived. We also came across apartments where many writers and artists still live in creative communities. This portion of the walk evoked my inner provocateur as I began to wonder, how could I be an agent of change as much as these artists were? In what way could I push the boundaries of societal norms, specifically in the realm of education? I sense another journal entry coming on as I seek to explore both my inner flâneur and provocateur.

July 23, 2023- What Makes a Memoir?

In today’s lecture, we discovered “What Makes a Memoir” led by Rita Banerjee. The overall message I received from this class is that memoir is part of our every day routine. You don’t need to be an expert to write one, but memoir requires vulnerability and can push us into an areas of discomfort. At times, I even have a hard time telling my own life story to others. But the great part about writing a memoir is you can choose how you want it written by claiming your own voice and experiences. Michelle Zauner’s Crying in H Mart is a great example of raw and authentic writing. Another one of my favorite examples is Eat, Pray, Love by Elizabeth Gilbert. I couldn’t help both envy and be inspired by the journey she took. She had so much will to take a year off and reclaim herself, particularly in a world that wants us to staying grounded and focused in our established careers and community. These are both great reads and fantastic examples of memoirs.

Later on in the day, we had writing time and time to explore the city. I decided to visit the Louvre. I could not believe the size of this museum, I could have spent all day in there. Now, I did see the infamous Mona Lisa, and there was a long line to see her up close. Museum goers waited anxiously to get a glimpse, raising their arms over the sea of people in hopes that their camera could capture her wry smile. I couldn’t help but wonder, if she were to write her own memoir, what would she include in it? What’s her story? What was truly at stake in her life? How different was her life compared to mine?

I pondered these questions as I moved throughout the museum and observed other sculptures and paintings. As I walked further into the depth of the museum, I then began to question the artists who created these works of art. What story were they trying to convey in each one of their works? What sort of struggles or triumphs were they itching to tell? I think one great aspect about a memoir is that it gives you a chance to claim your story, and there is power in that. As I wrap up this post, Rita left us on an encouraging note and said “Don’t have the journey planned, see where your writing takes you. Let the structure bubble through you.” I plan to use these words as inspiration as I tease out my own memoir.

Cambridge Writers’ Workshop

July 20, 2023 – Paris Writing Retreat Classes Begin!

Welcome back to our Paris Writing Retreat blog! Today, we began our time in Paris and attended two great lectures. We began our day with our first craft of writing seminar titled “CREDO & Literary Salon” led by our Co-Directors Rita Banerjee and Diana Norma Szokolyai. As a resource, this class used Cambridge Writers’ Workshop’s CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing (C&R Press) , which presents different types of “Credos” or “I believe” statements, manifestos, creative advice and exercises. According to the synopsis a Credo is a “call to arms. It is a declaration…an act of an individual pushing back against society, against established stigmas, taboos, values, and norms.”

I think every writer should have a CREDO or at least challenge themselves by writing one. Having just arrived in Paris, sitting with a group of writers it felt empowering to think about what I believed in. This exercise encouraged me to write the following: “I believe in the fact that every human is capable of doing hard things. I believe that everyone should be loved with the same respect and the dignity that they deserve. Everyone should be open and honest and come forward with calm minds. Minds that aren’t restless or fearful of what the world has to offer.” This CREDO exercise has left me thinking that it would be a great way to introduce a future novel and get into character. The aforementioned quotes are only a small excerpt of the page I wrote for this practice.

We were challenged to create our own credos after reading other credos. Here are some brief excerpts from our CREDO statements:

• “We’re surrounded by obligations. Writing is of me, it is an organ, a ritual.”
• “Writing is a compulsive act.”
• “Believe in leisure, not a metric of performance”
• “Being present is a kind of perfection. A rejection of time.”

After lunch, we had our next craft of writing seminar which was titled “Surrealism in Paris and Beyond” taught by Diana Norma Szokolyai. In the class, we discussed the origin of surrealism and its impact on artists and writers from the 20th century to today. We learned about the tools surrealists use to access the subconscious. We explored the texts of the Surrealist Manifestos, as well as learned about key figures of the movement like André Breton, Yvan Goll, Dora Maar, Louis Aragon, Salvador Dalí, Tristan Tzara, René Magritte, Frida Kahlo, Pierre Reverdy, Méret Oppenheim and more. Since we were staying in Montparnasse, it was interesting to learn about the writers and artists who were connected to the surrealist movement. It was inspiring to read contemporary authors, who are inspired by surrealism, such as Ada Limón and Adam McOmber.

We tried surrealist writing exercises meant to cross the bridges between dreams and reality and go beyond rational thought into the subconscious. I had never done this form of writing before, but I wanted to challenge myself, specifically the dream journaling and automatic writing. Automatic writing seemed daunting to me, it’s a challenge to just write without stopping and going back, crossing something out and editing it altogether (does anyone else’s process look like this? With a bunch of scribbles on the page? Yeah, mine too). To be honest, I think writing without stopping can create the best work from an artist, but being okay with writing without editing needs to be a habit of mind beforehand.

Dreams are also a common inspiration in writing but can also be difficult to depict through one’s art. I started dream journaling, and it was very interesting to tap into this new form of writing. My dreams tend to be vibrant, intense and colorful, which I think is in-line with future work I want to do to expand plot lines and emotional tone. It has been fun seeing how the zaniness and metaphor within one’s dreams come through in each person’s work. The results are both personal and fantastical all at once!

At night, we enjoyed a beautiful cruise on the Seine River and we were able to see all the landmarks lit up. Enjoy the photos below!

July 19, 2023 – Bienvenue à Paris, mes amis!

Today, was our first official day in Paris. We hit the ground running by having our first dinner at La Baraka where we were greeted by the resident feline, Fluky. With a warm meow for a hello, we walked inside to a beautiful courtyard filled with wisteria, wooden chairs, pillows, and wicker light fixtures. After a long day of traveling, we were served a comforting meal of couscous that could be mixed with chicken, sausage, chickpea stew, fish, kebabs, and a smooth and crisp wine that was hard to refuse (check it out below).

This meal involved introductions and deep conversation about the importance of the arts today. The big topic of discussion was: why is society diminishing the arts? For example, currently most of Hollywood’s writers and actors are on strike due to AI or artificial intelligence. The major concerns surrounding artificial intelligence are how and where it is being used, like writing TV shows or movies for us. Many writers and actors are concerned that this is going to be our future. Another burning question surrounding this issue was, how can artificial intelligence replicate one of the most important qualities of being human, such as empathy and overall emotions? I’ll let you answer that one for yourself. This led into our next part of the conversation of why we are holding this retreat and why our participants are here. We want to be able to create a space where all creativity and writing is nurtured. We also want to create a space where writers feel inspired and what better place than Paris? A city where the arts are alive and well. Many of our participants not only joined for the scenery but to also have a safe and inclusive space. They also joined to find inspiration and to fall in love with writing again.

The night went on as a saxophone melody started playing in the background. No one seemed to know where it came from except for one: Fluky. Fluky sat on the roof completely engaged by the art that was happening. He could not help but listen and close his eyes while his ears perked up at each note. I’m not sure about you all but we had never seen a cat so engaged and at peace with music playing. That’s the beauty of the arts, you never know what kind of emotion or feeling they can evoke, even for a cat. Art helps people to process emotions, surroundings, and to help better understand the world. As we wrap up this blog post, we not only encourage you to find joy in the arts but we encourage you all to be like Fluky. Engaged, appreciative, understanding, and open to transforming your art.

Juneteenth: Freedom Day

Juneteenth, a day of remembrance and a day to rejoice in freedom. Let us celebrate what we have accomplished and what is yet to come!

CWW 2023 Paris Writing Retreat and Scholarship Application Deadline Extended!

Due to the number of applications we received before midnight, we are excited to announce that our Paris Writing Retreat and Scholarship Application deadline has been extended to June 7, 2023. Please see details about the retreat and scholarship applications below:

The Cambridge Writers’ Workshop Paris Writing Retreat will be held from  July 19-25, 2023  in the historic, literary Montparnasse neighborhood of Paris. Writers will reside at Hôtel du Midi Paris Montparnasse (4 Avenue René Coty, 14th Arr., 75014, Paris, France).

The retreat features multi-genre writing and publishing workshops, craft of writing seminars, and generative writing sessions in a warm, welcoming, and collaborative atmosphere. Modeled after the French literary salon, the Cambridge Writers’ Workshop is known for its thought-provoking, inspiring, inclusive, and generative multi-genre workshop format. Participating writers will hone their craft and expand their writing skills, while working on new or existing projects.

There will also be time to explore the city of Paris in all of its historical, literary, and romantic charm. Situated in heart of Paris’ Montparnasse neighborhood, amongst the fresh and popular open air markets and charming boutiques, the hotel neighborhood is full of Parisian charm. Our classes will take place in the hotel meeting room, as well as a range of classes in the spirit of “flâneur” culture, set in the rich environment of literary cafés, museums, and other famous Parisian locations.

The faculty includes award-winning multi-genre authors Rita Banerjee and Diana Norma Szokolyai , who are known for their engaging and supportive teaching style.

The cost of the retreat is $4,500, which includes tuition for all workshops and classes in Paris, lodging, daily breakfast, special meals, and a trip to Versailles.

Using the online submission system, submit 5 to 10 pages of poetry, fiction, creative nonfiction, drama, or literary translation with a  $5 application fee by June 7, 2023 . Early applications are encouraged as seats are limited and some scholarships are available. Submit to the scholarship application on our Submittable if seeking a scholarship in one of the following categories: diversity, parenthood, or student/educator.

If you’re serious about writing and want to soak in some exquisite French culture this summer, join our retreat in Paris!

Visit cww.submittable.com for an application and complete guidelines. All genres welcome. Please email [email protected] or call 617-800-9901 for more information.

If you’d like to join us in Paris, please apply online by  June 1, 2023 , and include a $5 application screening fee and a  5-10 page writing sample of poetry, prose, drama, illustrated, or hybrid work .  Please also include the following in your cover letter:

1. Full Legal Name 

2. Contact Info (Telephone & Address) 

3. Age & Nationality (Participants should be 18+)

4. Prior creative writing experience and/ publications (not necessary) 

5. Creative writing goals for the retreat 

6. Short one paragraph biography 

7. Contact of Two Personal References (Name, Email, Address, Phone, Relationship to Applicant)

8. What would you bring to a writing workshop community? (communication skills, patience, listening skills, etc.)

Due to limited seats, early applications are encouraged!

Deadline: June 7, 2023

SCHOLARSHIP INFORMATION

Cambridge Writers’ Workshop is delighted to announce that partial scholarships based on need and merit for the Paris Writing Retreat (July 19-25, 2023) are now available. Students can apply for scholarships of $250-$500, and further financial assistance may be available for students in need. Scholarships for BIPOC, LGBTQ+, writers who are students, writers who are parents, writers who are educators, and Cambridge Writers’ Workshop Alumnx are available.

To apply for a scholarship for our 2023 Paris Writing Retreat (July 19-25, 2023), please complete this two-step process:

• Submit a 2023 Paris Writing Retreat Application
• Submit a Scholarship Application and include a 1-2 page over letter that indicates which scholarship you are applying for, your reasons for applying, and how this scholarship will help you with your writing goals.

While there is no application fee, all scholarship applications are due by June 7, 2023. And early scholarship applications are encouraged.

Scholarship Categories

If you identify with one of the following identities and have a financial need, we offer partial scholarships. When you apply, please state which scholarship category you are applying to from the list below:

• BIPOC 
• Student 
• Parent (of a child 0-22)
• Cambridge Writers’ Workshop Alumnx

If you have any questions, please email [email protected] .

CWW Artistic Director Diana Norma Szokolyai Serving as a Panelist for 2023 WNBA Award

Cambridge Writers’ Workshop is excited to announced that Diana Norma Szokolyai will be serving as a panelist for the WNBA Award 2023. This award will be presented to GrubStreet founder Evie Bridburg on Friday June 2nd, 2023 at Porter Square Books located on 25 White Street, Cambridge, MA. The event will begin at 6:00 p.m. with a “networking hour.” The panel discussion and award presentation will begin at 7:00 p.m. This even is open to the public and refreshments will be served. For more information email [email protected] or check out their website https://wnba-books.org/wnba-award/

Award Recipient:

Eve Bridbur g, Founder and Executive Director of GrubStreet

Eve Bridburg is the Founder and Executive Director of GrubStreet. Under her leadership, the organization has grown into a national literary powerhouse known for artistic excellence, working to democratize the publishing pipeline and program innovation. An active partner to the Mayor’s Office of Arts and Culture, Eve was the driving force behind establishing the country’s first Literary Cultural District in downtown Boston.

Having graduated from its inaugural class, Eve remains active with the National Arts Strategies Chief Executive Program, a consortium of 200 of the world’s top cultural leaders. She has presented on the importance of literary arts centers and the intersection of arts and civics at numerous conferences. Her essays have appeared in  The Boston Globe ,  Huffington Post ,  Cognoscenti ,  Writer’s Digest  and  TinHouse .

Eve serves on the Advisory Board of The Loop Lab, a Cambridge-based nonprofit dedicated to workforce development for underrepresented youth in the digital storytelling and media sectors. Eve worked as a literary agent at The Zachary Shuster Harmsworth Literary Agency for five happy years where she developed, edited, and sold a wide variety of books. Before starting GrubStreet, she attended Boston University’s Writing Program on a teaching fellowship, farmed in Oregon, and ran an international bookstore in Prague.

Here are the featured Panelists Below:

Natalie Obando, Host WNBA National President

For nearly two decades  Natalie Obando  has worked in the world of books as a literary publicist. She is the founder of Do Good Public Relations Group, a literary PR firm that helps authors and publishers connect with their perfect reader through strategic and social good-based campaigns. Natalie is also the founder of the grassroots organization  Women of Color Writers Podcast and Programming . As the current National President of the Women’s National Book Association (WNBA), she oversees all eleven chapters across the nation as well as the national board and national programs. She is the founder and chair of Authentic Voices—a four-month-long program that immerses people from marginalized communities in a writing, editing, marketing, and publishing masterclass. Natalie has been a speaker at literary conferences across the United States, helping authors and publishers promote their work and drive equity in publishing.

Serina Gousby, Panelist Program Manager,  Boston Writers of Color

Serina Gousby  is a writer, calligrapher, and Program Manager of the Boston Writers of Color program at GrubStreet. She oversees programming, engages with members through media outlets and monthly newsletters, and provides opportunities and guidance to self-identifying writers of color. As a poet, her work is published in Pangyrus, and she has performed at the Boston Poetry Marathon, HUBWeek, and Literary Death Match. Serina holds a BA in English with a concentration in Creative Writing and minor in Black Studies from Suffolk University. When she’s not writing poetry, she’s either writing on her blog, The Rina Collective, or creating artwork.

Namrata Patel, Panelist Author

Namrata Patel  is an Indian American Amazon bestselling author of contemporary fiction. Her debut,  The Candid Life of Meena Dave , was critically acclaimed, including being named on The Center for Fiction’s best novel long list. Her writing examines diaspora and dual-cultural identity among Indian Americans, multi-generational tensions tied to assimilation, and historical awareness of Indian American achievements. Her sophomore novel,  Scent of a Garden , will be released in June 2023. Namrata has lived in India, New Jersey, Spokane, London, and New York City and currently calls Boston home. She has been writing most of her adult life.

Diana Norma Szokolyai, Panelist Co-founder/Artistic Director,  Cambridge Writer’s Workshop Diana Norma Szokolyai is a writer, teacher and co-founder/Executive Artistic Director of Cambridge Writers’ Workshop . She is co-editor of CREDO: An Anthology of Manifestos & Sourcebook for Creative Writing and author of the poetry chapbooks Parallel Sparrows , and Roses in the Snow . Her poetry and essays appear in publications like Critical Romani Studies, The Poetry Miscellany, The Boston Globe , Up the Staircase Quarterly and MER VOX Quarterly . Her poetry has been anthologized in Other Countries: Contemporary Poets Rewiring History , Stone to Stone: Writing by Romani Women , and Teachers as Writers , as well as translated into German for the anthology of Romani poets from around the world Die Morgendämmerung der Worte, Moderner Poesie–Atlas der Roma und Sinti . She was awarded a 2021 Center for Arts and Social Justice Fellowship at Vermont College of Fine Arts She was award as 2021 Center for Arts and Social Justice Fellowship at Vermont College of Fine Arts for her work translating Romani poets into English. Other honors include honorable mention for Best Poetry Book in the 2014 Paris Book Festival and finalist for Hunger Mountain’s 2020 May Day Mountain Chapbook series. Together with Dennis Shafer, she founded ChagallPAC, an interdisciplinary arts organization that hosts performances, readings, and workshops, with a gallery space on Artists’ Row in Salem, MA. A first generation American of Hungarian Romani heritage, she holds an M.A. in French Literature & Cultural Studies from UConn, an Ed.M in Arts in Education from Harvard, and an M.F.A. in Writing from Vermont College of Fine Arts.

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MSt in Creative Writing

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This course is not open for online applications. If you would like to enquire about this course please do so using the 'Ask a question' button.

The Master of Studies (MSt) in Creative Writing is designed for those who wish to develop high-level skills in creative writing both in fiction and non-fiction literatures. The MSt is taught over two years in short, intensive study blocks. It has been designed to be accessible to those in full- or part-time employment and to international students.

Progression for students who have completed this course is provided in a number of ways: some students may use this course as a progression route into a PhD in Creative Writing or in English Literature at other Universities, or they could go on to study the Postgraduate Certificate in Teaching Creative Writing at ICE. 

To watch the MSt Creative Writing and MSt Writing for Performance Information Session recording from our MSt Open Week 2023, click here .

View our MSt open afternoon held on 13 December 2022

Watch MSt students talk about their experience of the course »

You will be guided in the production of creative work in a range of genres and styles, and also in critical reflection on your own work and that of other writers. The course tutors and guest speakers are all established literary professionals.

Who is the course designed for?

The MSt aims to facilitate students' creative practice, whether for their own personal creative development as writers or because their professional work impinges on these areas.

Aims of the programme

By the end of the course students should have:

• Developed their own writing and self-editing skills in a range of fiction and non-fiction genres
• Developed a solid and substantial understanding of the history (in terms of innovative developments) of fiction and non-fiction writing and of critical, analytical and narrative theory

Teaching and learning

The MSt in Creative Writing is structured around four modules taught during year 1 of the course and a presentation module during year 2, each of which students must attend. In the first year, each of the four modules is preceded by guided preparatory reading and other activities, and followed by two writing assignments: one critical and one creative.

A Virtual Learning Environment (VLE) offers learning support to students while they are on the programme, including learning resources, and peer-to-peer and student-to-tutor discussion between modules to build a virtual community of practice.

The first year is characterised by variety. Students will engage and experiment with a wide variety of genres, building on existing strengths and exploring unfamiliar territories.

Module 1: Writing for readers: the art of poetry and the craft of criticism  ( 23 - 26 September 2024 )

This module will combine close critical reading of selected examples of poetry and autobiographical prose with the writing of both by students.

Module 2: Writing fiction: imagined worlds (25 - 28 November 2024)

This module focuses on prose fiction, examining the relationship between memory, imagination and research and exploring the essential concerns of the fiction-writer, including plot and narrative, voice and character and the importance of place.

Module 3: Writing for performance: monologue and polyphonic scripts (3 - 6 February 2025)

This module explores various forms of writing for an audience, encompassing writing for radio, theatre, television, cinema and other forms of scripted public address and performance.

Module 4: Writing life: creative non-fiction (12 - 15 May 2025)

This module explores the concept of creative non-fiction and examines examples drawn from a range of sub-genres. These are likely to include biography, memoir, travel-writing and writing about the environment. Sessions on study and research skills will prepare students for Year 2. Visiting speakers for this module will include those from the world of publishing.

The second year is characterised by focus on a specialist genre. Students will work independently to explore further and develop their own literary and critical skills, resulting in an extended piece or portfolio of writing. They will work under the supervision of an expert in their chosen field with whom they will have regular contact.

Students will have five supervisions in the second year. Supervision dates will be arranged between students and supervisors (these can be face-to-face or remote software). The fifth and final supervision will usually take place at around the time of the only module in the second year, the Presentation and Discussion of Portfolios to be held on 20-21 April 2026. 

It is essential that students attend all modules on the dates given above as their ability to complete the course will be severely compromised by missing any of these.

Find out more

If you have any questions about this course, would like an informal discussion on academic matters before making your application, or would like to know more about the admissions process, please complete this enquiry form with your questions .

Following the first module, students will produce 750 words of poetry and a critical commentary of 3,000 words. For each of the following three modules students will produce 4,000 words of creative prose and a critical commentary of 3,000 words.

Students will produce a portfolio consisting of 15,000 words of creative prose (or an equivalent quantity of poems) and a 3,000-word critical commentary.

Students are given formal written feedback on their assignments and informal feedback throughout the course, including during tutorials and supervisions. Tutors produce a report for each student at the end of Year 1 and supervisors produce termly reports for each student during Year 2.

Expected academic standard

Applicants for this course will normally have achieved a good UK 2.i honours degree or overseas equivalent.

There is provision to accept non-standard applicants who do not satisfy the standard academic criterion. Such applicants must produce evidence of relevant and equivalent experience and their suitability for the course.

Language requirement

• IELTS Academic: Overall band score of 7.5 (with a minimum of 7.0 in each individual component)
• CAE: Grade A or B (with at least 193 in each individual element) plus a language centre assessment
• CPE: Grade A, B, or C (with at least 200 in each individual element)
• TOEFL iBT: Overall score of at least 110 with no element below 25

The fees for 2024 will be £8,925.00 per annum for Home students (total Home course fee across the 2 years being £17,850.00) and £15,630.00 per annum for EU/Overseas students (total EU/Overseas course fee across the 2 years being £31,260.00). The combined graduate fee includes college membership. The fee can be paid in eight equal instalments. Students on this course can apply to Downing , Lucy Cavendish , Selwyn , St Edmund's , or Wolfson . Please note there are only a limited number of college places available for this course at Downing and Selwyn Colleges so please indicate a second choice of college on your application form if you are selecting either as your first choice.   

Students will be expected to cover the application fee (£50 online), accommodation whilst in Cambridge and any costs of travel to Cambridge.   Please note that, although you will be a member of a college, you will not be entitled to college accommodation.

ICE fees and refunds policy

For information on a loan from Student Finance England for course fees and a contribution towards living costs, please see https://www.ice.cam.ac.uk/info/student-loans

The Institute of Continuing Education offers the Joy Brandon bursary. Find out more  here . 

Applications will be accepted online until Wednesday 17th January 2024 . Interviews for shortlisted candidates will be held in late February/early March either in person or by remote software if candidates are unable to attend in person.  Candidates will be contacted to arrange convenient times during the previous week.

You are required to provide supporting documents as part of your application.  

Please ensure that you have your CV, writing sample, research proposal and personal statement ready before you start your application, as they will be submitted as part of the application form and cannot be submitted later.

Apply online when you are ready to start the application process. Please read the attached file "Supporting documents required for application" which gives more details about the supporting documents required as part of your application. Please note that one of the writing sample requirements has changed from the last application round. 

Visa requirements 

Student visa sponsorship is not offered for this course. International students who do not already hold a UK visa or immigration status that permits study may enter the UK as a visitor in order to attend teaching sessions. 

The visitor immigration route is used to support students on part-time courses longer than 6 months where the majority of time is spent outside the UK and attendance in Cambridge is only required for short teaching sessions. To meet the requirements of holding this immigration status for study purposes, students are expected not to remain in the UK for extended periods of time. It is not possible as a visitor on a course of more than 6 months to make the UK your main study location or residence or make frequent or successive visits to stay in the UK for extended periods.   

Please read the information about Visas for International Students

How often do the MSt courses run? All of the MSt programmes in the Creative Writing portfolio currently have an annual intake.

Is the course taught online, or is it possible to complete the course by distance-learning? The MSt is not a distance-learning course. You will be required to attend teaching sessions in Cambridge.

Can I complete the course on a full-time basis in one year? No, the MSt is only available as a two-year, part-time course.

Are there any sources of funding available? The Institute of Continuing Education offers the Joy Brandon bursary. Find out more  here . 

How many applications do you receive in relation to places available per year? This varies between programmes and depending on the year. For the 2021 cohort of the MSt in Creative Writing there were roughly 6 applications for each place being offered. 

How many references are required? We require two references. References need to be submitted from professional e-mail addresses, so please ensure that you enter the relevant details into the online application form.

What kind of references should I provide? We prefer academic references from people who, if at all possible, are able to comment on your writing skills and experience, and your ability to study at Master’s level. 

What happens if I am not able to provide academic references? We can accept professional references.

Can I nominate an ICE tutor as my referee? Yes, you may nominate an ICE tutor to act as your referee. 

How long should the Personal Statement be? As a guide, we suggest that the Personal Statement is 500-1000 words long. We would ask you not to exceed 1000 words. An ability to write to a specific word count is an important part of studying at Master’s level as it is in the life of a professional writer!

Is there an advantage to submitting my application early? No, all applications will be considered together after the closing date of the course. While there is no advantage to submitting your application early, we would recommend you do not leave submission until the last minute to avoid any technical difficulties.

What is the time commitment outside of the teaching modules? The teaching teams can provide more specific guidance about what is expected but there is a difference in focus between year 1 and year 2 of each course. Year 1 is based around blocks of teaching and shorter assignments whilst year 2 is the dissertation year where students work on their dissertations with regular individual supervisions. 

Can I attend modules on one of the other MSt in creative writing programmes? No, you will only be able to access the teaching sessions that form part of the MSt course onto which you are admitted.

What happens outside of the taught modules? You will be reading extensively and working on assignments, the details of which will be given to you at the end of each module. You will also be encouraged to engage with tutors and fellow students via the course’s Virtual Learning Environment (VLE) platform.

Can I apply for multiple courses? Yes, you are welcome to submit applications for more than one course, although you would not normally be permitted to undertake more than one MSt at the same time. You are recommended to apply for the course that is most suited to your interests and skills.

Can I use the same referees and writing samples for each separate application? Yes, providing they meet the criteria set out for each application within the Supporting documents file (available on the website).

Can I complete more than one MSt? Although you are welcome to apply for and complete a second MSt course in a subsequent year, it should be noted that you cannot be awarded more than one MSt from the University of Cambridge.

Do I need to have studied creative writing beforehand? You do not need to have previously studied creative writing; however, you would be expected to demonstrate an interest in creative writing and you will be required to provide recent samples of writing as part of your application.

Will I become a College member and do I need to pay College fees? Yes, all of our MSt programmes are matriculated courses meaning that College membership is a requirement. At the time of applying, you will be asked to specify your College preference from a list provided. College places are limited and we liaise with Colleges on your behalf. College fees are included in your course fees.

Will I meet publishers and agents? Yes, there will be opportunity to meet with publishers and agents. During each of the intensive 4-day modules you will have opportunity to hear from numerous guest speakers on a variety of topics and from a variety of genres. 

Course dates

Course duration.

Academic Directors, Course Directors and Tutors are subject to change, when necessary.

Qualifications / Credits

Course code.

Institute of Continuing Education Madingley Hall Madingley Cambridge CB23 8AQ

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Cambridge Common Writers exists to provide a gathering place for alumni, faculty, and friends of Lesley University’s MFA Program in Creative Writing , situated in Cambridge, Massachusetts. We seek to cultivate new and diverse literary voices.

Publication News & Announcements: February 2024

Kent Neal (Poetry, January 2023) has three poems in the current issue of Hole in the Head Review: “Conversion Therapy for a Straight Razor,” “Maintaining the Line,” and “Men Like […]

Publication News & Announcements: January 2024

Katherine Karch’s (WFYP, June 2018) story “A Wielder Does Not Know Regret” is included in The Best of 2023 Anthology from Metaphorosis: a Magazine of Speculative Fiction. Eileen Cleary (Poetry, […]

Publication News & Announcements: December 2023

Enzo Silon Surin’s (Poetry, 2012) poem “When Night Fills with Premature Exits” was nominated for a Pushcart Prize by Black Lawrence Press. The poem was also featured recently on Poets.org. […]

Cambridge Common Writers End-of-Year Celebration and Gift Guide 2023

Of all the features on our website that we get to share with the Lesley MFA community, our End-of-Year Celebration and Gift Guide is our favorite. Not only do we […]

Publication News & Announcements: November 2023

Deborah Sosin (Nonfiction, January 2015) has an essay “What Matthew Perry Taught Us” in Cognoscenti. Julie Wittes Schlack (Nonfiction, June 2013) has an essay “Nostalgia is Lovely, and a Waste […]

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For this interview, we had the pleasure of talking with Thato Mwosa about the enriching experience of working with teens in her films, teaching students at the Lesley MFA in […]

“What Makes You Think You’re Supposed to Feel Better” Book Launch with Jody Hobbs Hesler (Video)

Check out the below video to watch the Cambridge Common Writers-hosted book launch for Jody Hobbs Hesler’s (Fiction, June 2017) short story collection, What Makes You Think You’re Supposed to […]

Diversity, Equity & Inclusion Hub

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All articles from the Diversity, Equity & Inclusion Hub are archived on our DEI Hub page .

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Creative Writing

The creative writing cambridge summer school at oxford summer courses, designed for 16-17 years old students, provides tutorials and is priced from £6,395..

Creative Writing Cambridge Summer School at Oxford Summer Courses for ages 16-17 years. Study Creative Writing with Oxford Summer Courses and learn the methods and structures needed to create engaging fiction, prose, and poetry on our inspiring Creative Writing course. Discover the origins of creative writing, understand why we write, and learn how to craft compelling opening chapters. Explore character development, structure, plot, voice, and dialogue for an in-depth study of the works behind the words. Write the future with inspiration from great writers who shape worlds through words and receive tailored coaching to push your work further. Set and reflect on ambitious goals with our support, engage in tutorial Q&A sessions, participate in an academic skills masterclass for critical thinking development, explore future career pathways through expert speakers, and can visit different Cambridge colleges for a comprehensive Cambridge Summer School experience.

Teaching methodology

Learn the Oxford way with tutorial-style teaching. Your expert tutor will foster self-directed learning and critical thinking through interactive seminars in small groups (no bigger than 8). During your course, you will complete two pieces of independent work (essays or problem sheets), which your tutor will then evaluate in either a 1:1 or 2:1 tutorial. Tutorials will provide you with the opportunity to discuss your work and feedback with your tutor and learn new perspectives from your classmates. On completion of the course, you'll receive a certificate and letter of recommendation from your tutor.

The Summer Courses experience

Moving to the 16-17 age group, academic pursuits deepen with seminars, tutorials, and independent study sessions. Goal-setting and reflection sessions remain integral, offering a personalised approach to academic and personal growth. College visits provide valuable insights into higher education options, enriching the overall Cambridge summer school experience.

Cambridge Summer School Accommodation

Sidney Sussex College

Typical outings.

Westminster, London

Visiting Westminster in London is a must-see for anyone interested in the city's rich history and iconic landmarks. This historic district is located in the heart of London and boasts several of the city's most famous attractions, including the Houses of Parliament, Westminster Abbey, and Buckingham Palace.

British Museum

The British Museum, located in the heart of London, is one of the world's most renowned museums, housing a vast and diverse collection of over 8 million historical artefacts from all corners of the globe. Founded in 1753, the museum covers over 2 million years of human history, from ancient civilisations to modern times.

Visiting Canterbury is a journey back in time to the heart of medieval England. The charming city boasts a rich history and stunning architecture, including the iconic Canterbury Cathedral, which has been a place of worship for over 1,400 years. Visitors can also immerse themselves in the world of Chaucer's Canterbury Tales, and even try on clothing from the era for a truly authentic experience.

Greenwich is a must-visit destination for anyone interested in history, science, or exploration. The Royal Observatory offers a fascinating glimpse into the history of space, time, and navigation, while the Cutty Sark provides a unique opportunity to step aboard a historic tea clipper from the 19th century. At the National Maritime Museum, visitors can uncover stories about how the modern world was shaped by centuries of seafaring exploration.

Warwick Castle

Visiting Warwick Castle is an opportunity to explore the rich history of this magnificent medieval fortress. It dates back to the 11th century and has played a significant role in English history. Students can explore the castle's impressive collection of buildings and exhibitions, as well as witness jousting tournaments, falconry displays, and other live shows.

Tower of London

The Tower of London is a historic castle and fortress that has served as a royal palace, prison, and even a zoo over the centuries. Visitors can explore its impressive collection of buildings and exhibitions, including the iconic White Tower, the Crown Jewels, and the medieval palace. They can also learn about the infamous prisoners who were held in the tower over the centuries, including Anne Boleyn and Guy Fawkes.

Visiting Portsmouth offers an opportunity to explore the rich maritime history of the UK. The city has played a significant role in the country's naval history, and students can learn about this at the historic dockyard, which is home to several iconic ships. They can also explore the Mary Rose Museum, which houses the remains of Henry VIII's flagship, and the National Museum of the Royal Navy.

Bree, Canada

"the creative writing course helped me properly analyse famous writers’ works in order to fully understand them while letting me create my own short stories and poems.".

Irene, Panama

"oxford summer courses has been such a unique and fulfilling experience with the help of the counsellors and mentors.", stay in the city of cambridge.

In the 16-17 age group, the experience is enhanced with evening socials and diverse activities, fostering opportunities for socialising and personal growth. Excursions become full-day trips, enabling students to explore the city and its surroundings more thoroughly. Free time is incorporated, providing flexibility to organise activities with new friends.

Accommodation

When you apply to participate in a Cambridge summer school with Oxford Summer Courses, your accommodation assignment will be based on your chosen room type and age group. Each venue, including Fitzwilliam College, Sidney Sussex College and Corpus Christi College, offers distinctive features. Please note that you won't have the option to select your preferred Cambridge college; it will be assigned based on room availability and your age group.

Food and catering

For our 13-15 Cambridge age group, full-board accommodations include breakfast, lunch, and dinner provided by the college, with packed lunches on excursion days and potential unique dining experiences. The 16-17 and 18-24 Cambridge age groups have half-board arrangements, offering breakfast and dinner, with dinner featuring a mix of college and local restaurant meals. Lunch is not provided, but on-course staff will offer suggestions for individual purchase.

MPhil International Relations, University of Oxford - David specialises in creative writing, philosophy and international relations, taking opportunities which allow him to explore all three fields - primarily writing, translating and editing. After graduating, David worked in the field of public policy including on the Special Policy Team at Google on the Right to be Forgotten. He's since made the transition to being a full-time writer and is currently a Librarian at the Oxford Centre for Buddhist Studies.

PhD University of Leicester - Jane specialises in twentieth-century literature, contemporary poetry and postcolonial literature. An experienced academic, she's currently Honorary Reader in Twentieth Century Literature at De Montfort University. Jane continues to teach and mentor alongside her research, having previously held the roles of Head of Department, Admissions Tutor, co-ordinator for International students and more.

Dr Kieron W

DPhil English Literature, University of Oxford - Kieron is currently a freelance poet and teacher, specialising in creative writing. His first collection of poetry, The Mortal Man, was published in 2015. He was the first poet in residence at Rydal Mount since Wordsworth, and the first poet in many years to read from his own work at Dove Cottage, Wordsworth's home. He's also been Artist in Residence at Lady Margaret Hall, Oxford.

DPhil History, University of Oxford - Thomas Hunt is a published author with a wide range of interests. He's worked as a political operative, journalist, teacher and creative writing instructor. Born in England, Thomas moved to Canada when he was 10, and has since returned to study at the Universities of Cambridge and Oxford. His doctoral research focuses on intellectual life in Britain during the Second World War.

Discover our sample timetable for learners aged 16-17 and experience the immersive learning of Oxford Summer Courses. Our small group tutorials and seminars, led by expert tutors, will help prepare you for future academic pursuits and professional careers while considering the experience you already have in your chosen subject. With a dynamic social and cultural programme, you'll get valuable insights of what it's like to study at Cambridge and create unforgettable memories.

Dates & Prices

30 Jun 2024 - 13 Jul 2024

Standard (shared bathroom)

Premium (en-suite room)

7 Jul 2024 - 20 Jul 2024

14 Jul 2024 - 27 Jul 2024

21 Jul 2024 - 3 Aug 2024

28 Jul 2024 - 10 Aug 2024

If you don't see the course you want to apply for in the list, please contact us.

Flexible payment options for 2024 summer courses, embark on a remarkable summer of learning with oxford summer courses. secure your place today with our convenient payment plans, designed to enhance the accessibility and ease of your academic journey. don't miss out on this opportunity. terms and conditions apply, get our newsletter.

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