warwick university creative writing ma

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Writing MA University of Warwick

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MA - Master of Arts

University of Warwick

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Course summary

Writing is a profession and a passion; it is also an act of community. Warwick’s MA in Writing introduces you to the real world of writing surrounded and supported by writing staff and students sharing your ambition. It shows you how to make your way in the world as a writer.

We teach in writing workshops seminars and one-to-one supervisions. Most modules are assessed by portfolios of writing in the relevant genre sometimes with an accompanying essay. Space for reading thinking and writing matters almost as much as teaching. Our campus is a good place for writers with a wide range of creative spaces and events open throughout the year.

An annual anthology

Each year the MA group produce an anthology of new writing derived from work done during their time at e latest volume Chimera was launched at an evening of celebratory readings at the Piccadilly branch of Waterstone's in June 2019. You will get the chance to be involved in the production editing writing and promotion of a new anthology seeing your work in print and gaining some invaluable hands-on experience along the way.

A career in writing

Our staff have excellent links not only with other writers but also with publishing houses literary journals and agencies with national and regional organizations such as the Arts Council PEN and the Royal Literary Fund and with other creative writing programmes both in Britain and in the USA.

Many of our alumni have forged highly successful writing careers and picked up major national and international prizes: recent examples include Sophie Mackintosh's novel The Water Cure Katy Whitehead winning the 2017 Fitzcarraldo Essay Prize and Sohini Basak's debut collection We Live in the Newness of Small Differences winning the 2016 Beverly Series.

At Warwick Thursdays our weekly literary and cultural salon you will encounter creative practitioners (typically including writers filmmakers literary translators visual artists) and indsutry guests (typically including publishers agents journalists) gaining an insight into a range of possible careers in the creative industries.

Modules (Year 1)

Tuition fees.

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£ 26,110 per year

Tuition fees shown are for indicative purposes and may vary. Please check with the institution for most up to date details.

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University of Warwick, Coventry, Coventry, CV4 7AL, England

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3rd out of 56

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UNIVERSITY OF WARWICK

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• Key information

Course Summary

Tuition fees, entry requirements, similar courses at different universities, key information data source : idp connect, qualification type.

MA - Master of Arts

Subject areas

Creative Writing

Course type

Writing is a profession and a passion; it is also an act of community. Warwick’s MA in Writing introduces you to the real world of writing surrounded and supported by writing staff and students sharing your ambition. It shows you how to make your way in the world as a writer.

We teach in writing workshops seminars and one-to-one supervisions. Most modules are assessed by portfolios of writing in the relevant genre sometimes with an accompanying essay. Space for reading thinking and writing matters almost as much as teaching. Our campus is a good place for writers with a wide range of creative spaces and events open throughout the year.

An annual anthology

Each year the MA group produce an anthology of new writing derived from work done during their time at e latest volume Chimera was launched at an evening of celebratory readings at the Piccadilly branch of Waterstone's in June 2019. You will get the chance to be involved in the production editing writing and promotion of a new anthology seeing your work in print and gaining some invaluable hands-on experience along the way.

A career in writing

Our staff have excellent links not only with other writers but also with publishing houses literary journals and agencies with national and regional organizations such as the Arts Council PEN and the Royal Literary Fund and with other creative writing programmes both in Britain and in the USA.

Many of our alumni have forged highly successful writing careers and picked up major national and international prizes: recent examples include Sophie Mackintosh's novel The Water Cure Katy Whitehead winning the 2017 Fitzcarraldo Essay Prize and Sohini Basak's debut collection We Live in the Newness of Small Differences winning the 2016 Beverly Series.

At Warwick Thursdays our weekly literary and cultural salon you will encounter creative practitioners (typically including writers filmmakers literary translators visual artists) and indsutry guests (typically including publishers agents journalists) gaining an insight into a range of possible careers in the creative industries.

UK fees Course fees for UK students

For this course (per year)

International fees Course fees for EU and international students

Minimum requirements 2:i undergraduate degree (or equivalent) in a related subject.

MA/PGDip Creative Writing

University of roehampton, phd english and creative writing, creative writing (welsh medium) ma, bangor university, creative writing (english medium) ma, creative and critical writing phd.

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Writing MA The University of Warwick

• On campus - h Main Site
• Sep 30, 2024 Part-time - 2 years
• Sep 30, 2024 Full-time - 1 years

Key Course Facts

• Admission advice for international students

Course Description

Writing is a profession and a passion; it is also an act of community. Warwick’s MA in Writing introduces you to the real world of writing, surrounded and supported by writing staff and students who share your ambition. It will show you how to make your way in the world as a writer.

The Warwick Writing Programme, founded in 1996, is the largest and most comprehensive of its kind in Europe and was ranked first by The Times and Sunday Times Good University Guide 2021.

Course overview

Our flexible MA in Writing is open to students from around the world.

Four taught modules (Fiction Workshop 1, Non-Fiction Workshop, or Writing Poetry), plus three other taught modules of your choice.

Across the Autumn and Spring terms, you will take four taught modules (Fiction Workshop 1 or Non-Fiction Workshop plus three other taught modules of your choice). In the summer term, you will work with a supervisor on your Long Project, for which you write a long piece of creative work in any genre that the Programme is able to supervise. This creative piece is accompanied by a shorter critical reflection.

If you study Part Time, you will take either Fiction Workshop 1 or Non-Fiction Workshop in your first Autumn term, and take one optional module in the Spring term. In your second year, you will take two optional modules (one in the Autumn and one in the Spring term) and then do your Long Project in the Summer term.

Warwick Writing Programme

The acclaimed Warwick Writing Programme is the largest and most comprehensive of its kind in Europe. You will be working alongside practising, award-winning novelists, poets and literary translators. Our teaching staff includes: A.L. Kennedy, Tim Leach, Nell Stevens, Maureen Freely (Chair of the International Booker Prize 2019), Gonzalo C. Garcia and David Morley (winner of the Ted Hughes Award 2015). We are closely involved with The Sunday Times Young Writer of the Year Award. Each year the winner of the award – which has in the past included Sally Rooney and Raymond Antrobus – spends a period of time as writer-in-residence at Warwick, working with students.

Further information about the MA in Writing is available on the Warwick Writing Programme website.

This information is applicable for 2024 entry. Given the interval between the publication of courses and enrolment, some of the information may change. It is important to check our website before you apply.

Assessment Methods

Entry requirements / admissions, requirements for international students / english requirements.

IELTS academic test score (similar tests may be accepted as well)

• Foundation / Pathway Courses
• Graduate Degrees
• Undergraduate Degrees Arts
• Undergraduate Degrees Business, Computer and Social Studies
• Undergraduate Degrees Faculty of Sciences excepting MORSE

UCAS Sponsorship Information

Minimum requirements

2: 1 undergraduate degree (or equivalent) in a related subject.

In addition to the usual application materials, candidates will be selected on the basis of a personal statement and a portfolio of their written work. The portfolio should be a maximum of 20 pages of poetry or 5,000 words of fiction/non-fiction, or a combination of the two. You must upload this with your online application form.

English language requirements

You can find out more about our English language requirements. This course requires the following:

IELTS overall score of 7.5, minimum component scores of two at 6.5/7.0 and the rest at 7.5 or above.

International qualifications

We welcome applications from students with other internationally recognised qualifications.

Average student cost of living in the UK

London costs approx 34% more than average, mainly due to rent being 67% higher than average of other cities. For students staying in student halls, costs of water, gas, electricity, wifi are generally included in the rental. Students in smaller cities where accommodation is in walking/biking distance transport costs tend to be significantly smaller.

University Rankings

Positions of the university of warwick in top uk and global rankings., about the university of warwick.

The University of Warwick, often shortened to Warw, is a government funded research university situated on the outer limits of Coventry, England. With an eye on the future, Warw intends to establish itself by 2030 as one of the world’s exceptional universities, helping to transform the region, country and world for collective good by the application of research. The main campus is located between Coventry and Warwickshire on almost three square kilometres of leafy woodland.

List of 313 Bachelor and Master Courses from The University of Warwick - Course Catalogue

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Module Catalogue

Cw215-30 composition & creative writing.

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• Description
• Availability

Introductory description

This is a core module for second years of QP36 ‘English Literature and Creative Writing’ only. It is available only as a 100% fully assessed module. It proceeds in the form of writing workshops and seminars. Absence from these workshops will severely limit your capacity for achieving strong work. It is not available as an optional module.

Module web page

Module aims

This module introduces students to the question of narrative in all its forms. It acquaints students with the processes involved in writing narrative fiction and non-fiction, including traditional and experimental methods, revision, drafting, editing and considerations of audience, also endowing them with critical insights into works of contemporary and classic literature and the traditional and modern processes of literary production.

Outline syllabus

This is an indicative module outline only to give an indication of the sort of topics that may be covered. Actual sessions held may differ.

AUTUMN TERM: WEEKS 1–5: SHORT FICTION In the first 5 weeks of Composition, we’ll be focusing on Short Stories. We’ll be looking at structure, characterisation, sustaining a voice and advancing theme. We’ll be then looking at non-fiction, focusing on experience-based writing, problematizing wordiness and opting for precision and concision to more effectively provoke affective responses with our writing. It is very important that you do the reading and prepare for each seminar. While the focus of each class will be practical, your tutor will be asking for your notes on the reading (this can be anything that sparked your curiosity) so that you can present them to your peers and we can then start a fruitful discussion. Week 1: Common People, Unusual Situations – The plotting board Reading:

• Raymond Carver, Cathedral.
• Ernest Hemingway, Hills Like White Elephants. Week 2: Post-Modernity in Narrative Reading:
• George Saunders, Pastoralia. Week 3: Anger, Politics and Humour Reading:
• Sherman Alexie, ‘The Ballad of Paul Nonetheless’, ‘Salt’ and ‘Bird-Watching At Night’ in War Dances.
• Lorrie Moore, 'You're Ugly, Too' Week 4: The Short Tragedy Reading:
• Tillie Olsen, 'I Stand Here Ironing'
• Virginia Woolf, 'A Haunted House' Week 5: Bursts of Emotion – Constructing Empathy and Using Super-Objectives Reading:
• Alice Munro, 'Runaway' in Runaway. WEEKS 7- 10 NON-FICTION “Herodotus of Halicarnassus here displays his investigation, so that human achievements may not become forgotten in time, and great and marvellous deeds may not be without their glory.” Herodotus, The Histories The second unit will examine the process of writing non-fiction investigations into the alien, the familiar, and the personal. In particular, the unit will aim to develop students beyond the narrow focus on the self and the tyranny of the “I”. NON-FICTION Week 7: Writing About Politics & Injustice Reading:
• Anabel Hernández, ‘The Hours of Extermination’ in The Sorrows of Mexico.
• Sam Jordison, ‘Milton Friedman’, ‘Ronald Reagan’ and ‘L. Ron Hubbard’ in Enemies of the State. Week 8: Writing From Experience – Issues With The ‘Language of Feeling’ Reading: - Caitlin Moran, How To Be A Woman Week 9: Playing with Genre Reading: - Paul Ewan, How To Be A Public Author Week 10: Writing for Publication Workshop & Editing Workshop

SPRING TERM: WEEKS 1–5 FICTION, DISCIPLINE, AND THE IMAGINATION “Line by line, writing’s not so hard . . .You do a little sentence and then another little sentence. It’s when you allow yourself to think of the totality of what you have to do, of the task which faces you with each book that you feel it’s hard, even terrifying. In my daily work, minimizing the terror is my object.” (Hilary Mantel, “Growing A Tale”) The first half of this term proposes itself as an antidote to creative – or rather, uncreative – terror and will look at ways in which you can begin, sustain and partially resolve a piece of fiction without losing your poise, hair, nails and sanity. We’ll also consider, week by week, a story or a book that exemplifies some bit of the puzzle – situation, voice, form and structure, character, register, etc. The preceding paragraph could be the beginning to a story. Who is speaking? Where are they speaking/writing? What might happen next? Where might it lead? Week One: Now. What are writers writing at the moment? Imagining a situation, peopling and furnishing that situation. Reading: Cat Person, Kristin Roupenian https://www.newyorker.com/magazine/2017/12/11/cat-person Carmen Maria Machado, The Husband Stitch: https://granta.com/the-husband-stitch/ Week Two: Where to start: playing with time, large and small.

Tobias Wolff, ‘Bullet in the Brain’ http://pov.imv.au.dk/Issue_27/section_1/artc2A.html

TC Boyle, ‘Chicxulub’ New Yorker podcast plus discussion with Lionel Shriver https://www.newyorker.com/podcast/fiction/lionel-shriver-reads-t-c-boyle If we have time, we’ll also discuss inventive use of time in fiction, including Kate Atkinson’s Life After Life; Paul Auster’s 4,3,2,1 and Laura Barnett’s The Versions of Us. You don’t have to have read any of these (bonus points if you have), but they provide interesting starting points for talking about how writers use time. Week Three: Shape and scale (voice, perspective and a whole world in 5000 words) Alice Munro, Axis, available via The New Yorker podcast https://www.google.co.uk/amp/s/www.newyorker.com/podcast/fiction/lauren-groff-reads-alice-munro/amp

Lorrie Moore, Paper Losses https://www.theguardian.com/books/audio/2008/jul/04/lorrie.moore.paper.losses?CMP=Share_iOSApp_Other We’ll also refer to Olive Kitteridge, by Elizabeth Strout Week Four: Voice, dialogue and pace…experimentation and the tyranny of the dreaded Muse (or absence thereof).

George Saunders, Adams (via The New Yorker Fiction podcast) https://www.newyorker.com/podcast/fiction/joshua-ferris-reads-george-saunders

We’ll also refer to some extracts from Days without End, by Sebastian Barry and Oranges are Not the Only Fruit, by Jeanette Winterson. Week Five: Endings. Working towards that final point. The Lottery, by Shirley Jackson https://sites.middlebury.edu/individualandthesociety/files/2010/09/jackson_lottery.pdf The Spot, by David Means (discussed on The New Yorker podcast with Jonathan Franzen): https://www.newyorker.com/podcast/fiction/jonathan-franzen-reads-david-means

NON-FICTION, INFORMATION, AND INSIGHT Week Seven: The making of memory. Finding a way into making a picture of the past. Joe Brainard’s I Remember. https://eng10165511.files.wordpress.com/2013/09/brainard-i-remember.pdf Inventory, by Carmen Maria Machado (from Her Body and Other Parties)

Week Eight: Writing, watching, listening: The Loser by Gay Talese. https://thestacks.deadspin.com/the-loser-the-most-honest-sports-story-ever-written-772260237 Also H is for Hawk, by Helen Macdonald. Wonderful podcast here: http://www.bbc.co.uk/programmes/b07wnj7t and a great discussion about Jeanette Winterson’s Why be Happy When You Could be Normal here: https://www.theguardian.com/books/audio/2015/jul/17/jeanette-winterson-helen-macdonald-h-is-for-hawk-podcast Week Nine: Cultural History by personal means Bad Blood by Lorna Sage. Also Priestdaddy by Patricia Lockwood and, if we have time, Go Gentle into that Goodnight: https://www.rogerebert.com/rogers-journal/go-gentle-into-that-good-night .

If we have time…

George Orwell, The Hanging http://www.george-orwell.org/A_Hanging/0.html Week Ten: Politics, objectivity and emotion; exterior and interior reportage. This is the Place to be, by Lara Pawson. Also, Arundhati Roy’s essay Democracy: Who’s She When She’s at Home? https://sedosmission.org/old/eng/roy.htm We may also discuss at some point (or you may like to look at) the following: Writers on writing: David Foster Wallace, The Nature of The Fun https://www.penusa.org/blogs/mark-program/bookmark-david-foster-wallaces-nature-fun

Lorrie Moore, ‘How to Become a Writer’ http://www.sfuadcnf.com/wp-content/uploads/2015/11/How-to-Become-a-Writer-Lorrie-Moore.pdf

Orwell: Why I write. http://orwell.ru/library/essays/wiw/english/e_wiw

Zadie Smith, Fail Better: http://faculty.sunydutchess.edu/oneill/failbetter.htm Big ideas: Free Speech https://www.vanityfair.com/news/2009/02/hitchens200902(Christopher Hitchens)

The New Commandments, Christopher Hitchens https://www.vanityfair.com/news/2010/04/hitchens-201004

The tyranny of the ‘I’. Stream of consciousness and making it work.

Édouard Levé, When I look at a strawberry I think of a tongue (incomplete) https://www.theparisreview.org/letters-essays/6078/when-i-look-at-a-strawberry-i-think-of-a-tongue-edouard-leve

Humour: Kurt Vonnegut, Dispatch from a Man Without a Country. http://www.spokesmanbooks.com/Spokesman/PDF/90Vonnegut.pdf Bad Behaviour, Rebecca Starford Freakonomics, Steven Leavitt and Stephen J. Dubner The Wild Ways, Robert Macfarlane A Writer’s Coming of Age, Joyce Carol Oates Notes from a Big Country, Bill Bryson On Writing Stephen King Family Life, Akil Sharma The Last Act of Love, Cathy Rentzenbrink Cupcakes and Kalashnikovs

Learning outcomes

By the end of the module, students should be able to:

• Generate original creative work.
• Grasp the importance of creative and intellectual experiment, risk-taking and process over product.
• Demonstrate a working understanding of editorial skills.
• Demonstrate a working understanding of issues around reading in translation.
• Deploy a reflective approach to the process of composition.
• Embark on research to support their writing.
• Deploy the rules, conventions and possibilities of written and spoken language in several forms.
• Demonstrate a creative engagement with the expressive and imaginative powers of language.
• Demonstrate a commitment to their own writing.
• Read and respond critically to published work and to work in progress.
• Engage with the historical and cultural dimensions of language use and literature, including media technologies.
• Engage with others in order to improve their own and others' work.

Indicative reading list

The Bloody Chamber, Angela Carter

Grief is the Thing with Feathers, Max Porter

Days Without End, Sebastian Barry

Life After Life, Kate Atkinson

The Golden Gate, Vikram Seth

Swimming Home, Deborah Levy

The God of Small Things, Arundhati Roy

The Moor’s Last Sigh, Salman Rushdie

A Fine Balance, Rohinton Mistry Our Story Begins, Tobias Wolff

Bring Out the Dog, Will Mackin

Sunrise Sunset, Edwige Dandicat

A Love Story, Samantha Hunt

The Raw Shark Texts, Steven Hall

The Green Road, Anne Enright

Olive Kitteridge, Elizabeth Strout

Fates and Furies, Lauren Groff

Collected Short Stories, by T.C. Boyle

American Pastoral, Philip Roth

Choke, Fight Club, Chuck Palahniuk Interpreter of Maladies, Jhumpa Lahiri Blake Morrison: And When did you Last See your Father? Giving Up the Ghost, Hilary Mantel Strangers in Iceland, Sarah Moss The Diving Bell and the Butterfly, Jean Dominique Bauby Behind the Beautiful Forevers, Katherine Boo In Cold Blood, Truman Capote How to Build a Girl, Caitlin Moran Bluets, Maggie Nelson H is for Hawk, Helen McDonald The Liar’s Club, Mary Karr Unreliable Memoirs, Clive James Beasts of No Nation, Uzodinma Iweala Dave Eggers, What is the What Katherine Boo, Behind the Beautiful Forevers Al Alvarez, The Savage God Jeannette Winterson, Why Be Happy When You Could Be Normal? Jean-Dominique Bauby, The Diving Bell and the Butterfly Maggie Nelson, Bluets Tim Parks, Teach Us to Sit Still Jon Ronson, So You Have Been Publicly Shamed Roberto Saviano, Gomorrah

Subject specific skills

Transferable skills.

generate original creative work

• grasp the importance of creative and intellectual experiment, risk-taking and process over product
• demonstrate a working understanding of editorial skills
• demonstrate a working understanding of issues around reading in translation
• deploy a reflective approach to the process of composition;
• embark on research to support their writing
• deploy the rules, conventions and possibilities of written and spoken language in several forms
• demonstrate a creative engagement with the expressive and imaginative powers of language
• demonstrate a commitment to their own writing
• read and respond critically to published work and to work in progress
• engage with the historical and cultural dimensions of language use and literature, including media technologies
• engage with others in order to improve their own and others' work

Private study description

Reading, writing & research.

No further costs have been identified for this module.

You do not need to pass all assessment components to pass the module.

Assessment group A

Feedback on assessment.

Written and oral feedback.

This module is Core for:

• Year 2 of UENA-QP36 Undergraduate English Literature and Creative Writing

This module is Option list D for:

• Year 2 of UPHA-VQ72 Undergraduate Philosophy and Literature

Creative Writing: Journals

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MA Creative Writing

The MA in Creative Writing at Bristol is designed for writers who would like to begin publishing their work. In warm, supportive workshops, you will be helped to improve your writing and in lectures and seminars you will increase your understanding of the industrial and critical contexts of contemporary literature.

You will be taught industry-focused content by experienced published writers. A special unit will introduce you to issues in contemporary publishing. Guest writers and experts from industry will speak, bringing up-to-date knowledge and expertise to the course. We also work closely with local writing groups and writing initiatives. You will work with a professional writer one-on-one as your manuscript develops.

Welcomed into the University's prestigious Department of English , you will be taught by groundbreaking researchers about contemporary critical issues in literature. You will be encouraged to read widely and books will be suggested for you by faculty. At the end of the course, you should be able to speak confidently and intelligently about your work and your reading.

Twilight teaching allows people with working or caring responsibilities to study - as do the part-time options. A strong writing portfolio will allow access without a first degree in a related subject - or indeed without a first degree. Times of classes will be announced well in advance, so that students can accommodate study in their busy lives.

On demand academic talks

Hear directly from an academic giving you a deeper insight into this programme.

Programme structure

For full-time students, in the first term:

• Workshop One (20 credits)
• Critical Issues in Contemporary Literature (20 credits)
• Exploration for Creative Dissertations (20 credits).

In the second term:

• Workshop Two (20 credits)
• Critical Issues in Contemporary Publishing (20 credits)
• Planning a Creative Dissertation (20 Credits).

This is followed by the Creative Dissertation (60 Credits) over the summer period.

Two years part-time study requires attendance at one seminar in the first teaching block (TB1) and one seminar in the second teaching block (TB2). In the second year, the two years part-time study option requires attendance at one seminar in TB1, one seminar in TB2, and tutorials over the summer period.

Three years part-time study requires attendance at one seminar in TB1 and one seminar in TB2 in the first year. In the second year, it again requires attendance at one seminar in TB1 and one seminar in TB2. The third year of study requires the student to attend tutorials only.

Visit our programme catalogue for full details of the structure and unit content for our MA Creative Writing.

World-leading research

The University of Bristol is ranked fifth for research in the UK ( Times Higher Education ).

94% of our research assessed as world-leading or internationally excellent.

Entry requirements

Places are offered on the basis of a portfolio of writing. We are looking for writers with potential to soon begin publishing their work. It is helpful, but not essential, for the applicant to have some idea of the project they hope to undertake during the course of the degree. Evidence of prior study in the area, a long-standing writing practice, workshop experience, and extensive reading can also strengthen the application. However, the most essential element of the application is the writing itself. We are currently only accepting submissions for fiction, creative non fiction (for example, memoir) and poetry. The portfolio should be no longer than 20 pages of fiction or creative non-fiction (double spaced, 12-point font) or 8-10 pages of poetry.

See international equivalent qualifications on the International Office website.

Read the programme admissions statement for important information on entry requirements, the application process and supporting documents required.

If English is not your first language, you will need to reach the requirements outlined in our  profile level A.

Further information about  English language requirements and profile levels .

Fees and funding

Fees are subject to an annual review. For programmes that last longer than one year, please budget for up to an 8% increase in fees each year.

More about tuition fees, living costs and financial support .

Alumni discount

University of Bristol students and graduates can benefit from a 25% reduction in tuition fees for postgraduate study.  Check your eligibility for an alumni discount.

Funding for 2024/25

MyWorld Scholarships: UK offer holders for this programme may be eligible for a scholarship of up to £5,000 towards their tuition fees. Information about eligibility and the application process can be found on the MyWorld website . 

Creative Writing is among the subjects eligible for funding from the Postgraduate Master's Loan . The Faculty of Arts also offers funding opportunities for taught and research programmes.

International students are encouraged to apply for the Think Big Postgraduate Scholarship .

Further information on funding for prospective UK and international postgraduate students.

Career prospects

Graduates of the MA in Creative Writing often enter portfolio careers, where creative writing becomes only one element of their income. Other elements may include:

• workshop delivery
• proofreading

The close-reading skills developed on a master's in Creative Writing can also prepare graduates for careers in publishing. Advanced skills in understanding nuance and tone have helped graduates secure work in business communications, marketing and corporate social media.

How to apply

Apply via our online application system. For further information, please see the guidance for how to apply on our webpages.

Overseas applicants: 24 July 2024. Home applicants: 9 August 2024.

Please note that due to high demand, some programmes may close earlier than advertised. Early applications are advised to avoid disappointment. Places are limited and allocated on a continuous basis from September 2023 until all places are filled.

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Department of English

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MA in Creative Writing

Our Creative Writing MA is an academically rigorous programme that gives students structured support through writing workshops and one-to-one tutorials in order to develop practical knowledge of writing poetry and prose fiction.

Creative Writing Staff

Professor paul batchelor.

Dr Naomi Booth

Kayo Chingonyi

Professor Claire Harman

Dr Sam Riviere

Sunjeev Sahota

Our creative writers on their work

Career Development

The Department is involved in various other University and external groups that can further support your writing. These include:

• New Writing North . Writing development agency for the North-east, which runs workshops, lectures, competitions and magazines. The Department works with New Writing North to develop Durham Book Festival.
• The Centre for Poetry and Poetics . Based in the Department, this runs a number of events each term, including open-mic nights and talks by established poets.
• Durham University Creative Writing Society . A group for students to develop their work in a friendly setting.
• The Bubble . Student-run online magazine that publishes creative writing and reviews.
• Durham Book Festival . Annual festival bringing well-known authors to Durham, including the Festival Poet Laureate appointed by the Department; the Festival includes workshops and networking events for aspiring authors.

Several of our students have gone on to achieve success and recognition with their published creative work. Recent notable successes include:

• John Clegg won an Eric Gregory Award from the Society of Authors in 2013 for his first book of poetry, Antler . His second book, Holy Toledo! appeared in 2016. John can be heard reading from and discussing his work in this READ podcast .
• Sarah Fletcher has been a Foyle Young Poet of the Year and a two-time recipient of the Christopher Tower Poetry Prize. She has published two pamphlets: Kissing Angles , was published by (Dead Ink Books, 2015) and Typhoid August
• Eiffel Gao’s poems have appeared in The Poetry Review and Shearsman magazine, and she is an editor for Transect .
• Chris Kerr’s poetry has appeared in a number of publications, and he recently published his debut pamphlet, Citidyll .
• Lauren Owen published her debut novel, The Quick , to great acclaim. It was praised by Hilary Mantel as ‘a sly and glittering addition to the literature of the macabre.’

Find out more about what's new in the world of creative writing at Durham University.

Lucy Atkinson reveals the Newcastle witch trials

Students Share their Stories during National Storytelling Week

‘Something that speaks to you in the quiet of the night’: Horror writing with Naomi Booth

Durham Book Festival 2022

Ideas for Positive Change: Writing Fiction About the Climate Crisis

English Studies academics recognised in two of Nation’s most coveted literary awards

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