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Take an active role in literature with a creative writing degree from the University of Reading.

• English literature
• film, theatre and television.

No matter which course you choose, you will learn from prize-winning authors and visiting writers as you explore fiction, drama, poetry and creative-non-fiction.

In your final year of study, you will also have the opportunity to specialise in either prose or poetry through one of our creative writing masterclass modules. In these advanced modules you will read and discuss recently published texts, identify and write about the themes that are currently popular, and pursue publication yourself.

Creative writing studies at Reading are hosted by our Department of English Literature , a research-active academic community with access to superb resources and literary treasures . Our Department’s focus on student success is highlighted in the most recent Graduate Outcomes Survey 2020/21, 95% of first degree English Literature responders are in work or further study within 15 months of graduation.

Your learning environment

Our creative writing lectures concentrate on specific, practical issues, such as how to construct a character, or how to write historical fiction.

You will be assigned novels, short stories or poems to read beforehand, and your lecturer will draw examples from these to illustrate their advice.

We are committed to teaching through the workshop model. These small group sessions are the heart of Reading’s writing community: guided by one of our lecturers, you and your fellow students will gain confidence as your share your writing and help each other improve through practical writing exercises.

You will also have the opportunity to publish your work – and gain experience in editing and publishing – by participating in our online creative writing magazine .

Find out more about our creative writing studies, including information about our academics, on the Department of English Literature’s creative writing webpage .

BA Art and Creative Writing

Full Time:  4 Years

BA Creative Writing and Film & Theatre

Full Time:  3 Years

BA Creative Writing and Film

BA Creative Writing and Theatre

BA English Literature with Creative Writing

I am now taking two master classes in prose and poetry and these have just been a great opportunity to really fine tune my skill and my technique and find out who I am as a writer, and it's also been a good opportunity to think about perhaps publishing later on.

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Creative writing and critical reading

Course description

Course content, course reviews.

This free course, Creative writing and critical reading , explores the importance of reading as part of a creative writer’s development at the postgraduate level. You will gain inspiration and ideas from examining other writers’ methods, as well as enhancing your critical reading skills. Examples will cover the genres of fiction, creative nonfiction, poetry and scriptwriting.

Course learning outcomes

After studying this course, you should be able to:

• understand the importance of reading as part of a creative writer's development
• engage analytically and critically with a range of literary and media texts
• recognise how critical reading supplies writers with inspiration and ideas
• understand through writing practice one or more of the taught genres of fiction, creative nonfiction, poetry and scriptwriting
• engage with postgraduate modes of reading and writing practice.

First Published: 04/03/2019

Updated: 05/09/2019

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Creative Writing

Creative writing (poetry), professor/instructor.

Practice in the original composition of poetry supplemented by the reading and analysis of standard works. Each student is expected to prepare a manuscript each week. There will be a weekly workshop meeting and occasional individual conferences.

Creative Writing (Fiction)

Practice in the original composition of fiction supplemented by the reading and analysis of standard works. Each student is expected to prepare a manuscript at least every other week. There will be a weekly workshop meeting and occasional individual conferences.

Creative Writing (Literary Translation)

Practice in the translation of literary works from another language into English supplemented by the reading and analysis of standard works. Each student is expected to prepare a manuscript each week. There will be a weekly workshop meeting and occasional individual conferences.

Introductory Playwriting

This is a workshop in the fundamentals of writing plays. Through writing prompts, exercises, study and reflection, students will be guided in the creation of original dramatic material. Attention will be given to character, structure, dramatic action, monologue, dialogue, language

Creative Nonfiction

This is a workshop in factual writing and what has become known as literary non-fiction, emphasizing writing assignments and including several reading assignments. Students will examine masterpieces about social inequality and to what extent it is possible for authors to know the struggles of their subjects, and to create empathy for them. One three-hour seminar.

Advanced Creative Writing (Poetry)

Advanced practice in the original composition of poetry for discussion in regularly scheduled workshop meetings. Prerequisites: Two 200-level CWR courses.

Advanced Creative Writing (Fiction)

Advanced practice in the original composition of fiction for discussion in regularly scheduled workshop meetings.

Advanced practice in the original composition of fiction for discussion in regularly scheduled workshop meetings. Prerequisites: Two 200-level CWR courses.

Advanced Creative Writing (Literary Translation)

Advanced practice in the translation of literary works from another language into English supplemented by the reading and analysis of standard works. Prerequisites: 205 or 206 and by application.

Advanced practice in the translation of literary works from another language into English supplemented by the reading and analysis of standard works. Prerequisites: 205 or 206 or by Program permission.

Playwriting II: Intermediate Playwriting

A continuation of work begun in Introductory Playwriting, in this class, students will complete either one full-length play or two long one-acts (40-60 pages) to the end of gaining a firmer understanding of characterization, dialogue, structure, and the playwriting process. In addition to questions of craft, an emphasis will be placed on the formation of healthy creative habits and the sharpening of critical and analytical skills through reading and responding to work of both fellow students and contemporary playwrights of note.

Special Topics in Creative Writing

Students gain special access to the critical understanding of literature through their involvement in the creative process. Topics include autobiography, prosody, non-fiction, revision and point of view. Students are expected to prepare a manuscript at least every other week. Specific topics and prerequisites will vary. By application.

Advanced Creative Writing Tutorial

Tutorials in the original composition of fiction, poetry, or translations, open to those who have demonstrated unusual commitment and talent through four terms of creative writing or who provide equivalent evidence of their capacity for advanced work. Open also to qualified graduate students. Individual conferences to be arranged.

Special Topics in Screenwriting

This class will familiarize students with the complex use of metaphorical, emotional, and visual threads in long form screenplay writing. Analyzing examples of international, independent, and classical structures, students will be exposed to the rhythms and demands of the process of conceiving and writing a long form narrative film. Prerequisite: Introduction to Screenwriting and by application.

Advanced Seminar in American Studies

Advanced seminars bring students into spaces of collaborative exploration after pursuing their individual paths of study in American studies, Asian American/diasporic studies, and/or Latino studies. To students culminating programs of study toward one or more of the certificates offered by the Effron Center for the Study of America, advanced seminars offer the important opportunity to integrate their cumulative knowledge.

Princeton Atelier

University of Notre Dame

Department of English

College of Arts and Letters

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Creative Writing

MFA in Creative Writing

Our program combines generous, attentive focus on student work with active pedagogy in a cooperative process of growth, learning, professionalization, and exploration.

Undergraduate Creative Writing

Rigorous training in poetry, fiction, and creative nonfiction, with emphasis on international, innovative, and publicly engaged literature. 

The Creative Writing Program at the University of Notre Dame offers graduate and undergraduate writers rigorous training in innovative literary technique as well as in traditional forms. We engage robustly with socially grounded critical thought, and give generous individual attention, balancing student-centered creative exploration with robust pedagogical support. The program’s internationally renowned faculty bring expertise in a range of genres and aesthetic approaches, as well as deep experience in publishing, criticism, and editing. As writers and teachers we are committed to the public role of literature: we see our community on campus as part of a global network of writers, poets, thinkers, and critics engaged in understanding, changing, and re-imagining our world.

Have questions about the programs in Creative Writing? Contact:

Johannes Göransson Director of Creative Writing Associate Professor of English Email: [email protected]

Paul Cunningham Creative Writing Program Manager Email: [email protected]

• Summer Seminar
• Publications
• Awards and prizes

An Afternoon with Jan Carson: Reading and Discussion of Quickly, While They Still Have Horses

Time: Mon, Sep 9 at 3:30 pm - 5:00 pm

Location: Room 1050 Jenkins Nanovic Hall

MVP Fridays – Javier Zamora: "What can immigrant stories teach us?"

Time: Fri, Sep 20 at 4:00 pm - 6:00 pm

Location: Geddes Hall Andrews Auditorium

Creative Writing Reading Series ft. Michael Dumanis and Bianca Stone

Time: Wed, Sep 25 at 7:00 pm - 8:30 pm

Location: 232 Decio Commons

MVP Fridays — Ilyon Woo: “How can history help us pursue justice?”

Time: Fri, Sep 27 at 4:00 pm - 6:00 pm

Dionne Bremyer

Associate Professor

Johannes Göransson

Director of Creative Writing Professor

Joyelle McSweeney

Orlando Menes

Xavier Navarro Aquino

Assistant Professor

Roy Scranton

Azareen Van Der Vliet Oloomi

Dorothy G. Griffin College Professor of English

A Curious Mind: Joseph Earl Thomas ’19 MFA looks at life through many lenses

August 29, 2024

Creative Writing MFA Alumni Spotlight: Monica Mody ('10)

May 14, 2024

Deepening understanding: English professor and cultural historian Sara Marcus embraces experiential learning, from shape-note singing to karaoke

April 23, 2024

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• Creative Writing

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

Apply to Creative Writing Workshops

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

Fall 2024 First Application Deadline: 11:59 pm ET on Sunday, April 7

Fall 2024 Second Application Deadline: 11:59 pm ET on Thursday, August 22 (Not all workshops will be reopen to applications. First-year students, incoming transfer students, and incoming graduate students - who could not participate in April registration processes - will be given priority during the August application review cycle. Returning students who did not submit workshop applications in April may apply in August. Students who applied in April and were not offered a seat in a workshop will automatically be reconsidered and need not submit a new application.) Spring 2025 Application Deadline: October-November 2024, TBA

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

Our online submission manager (link below) will open for Fall 2024 applications on Thursday, August 15 .  

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

Featured Faculty

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

Faculty Bookshelf

Sea change by jorie graham.

The Last Shot: City Streets, Basketball Dream by Darcy Frey (2004)

Place: New Poems by Jorie Graham (2012)

The Omnivore’s Dilemma: A Natural History of Four Meals by Michael Pollan (2006)

Creative Writing Workshops

• Spring 2024

English CACD. The Art of Criticism

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

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.

English CACW. Advanced Fiction Workshop

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

English CBBR. Intermediate Poetry: Workshop

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

Initially, students can expect to read, discuss, and imitate the strategies of a wide range of poets writing in English; to investigate and reproduce prescribed forms and poetic structures; and to engage in writing exercises meant to expand the conception of what a poem is and can be. As the course progresses, reading assignments will be tailored on an individual basis, and an increasing amount of time will be spent in discussion of student work. Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22)

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

English CCEP. Ekphrastic Poetry: Workshop

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

English CCFC. Poetry Workshop: Form & Content

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

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

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

English CCIJ. Intermediate Fiction Workshop

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

English CCFS. Fiction Workshop

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

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

English CLPG. Art of Sportswriting

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

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

English CALR. Advanced Screenwriting: Workshop

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

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

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

English CNFR. Creative Nonfiction: Workshop

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

Whether it takes the form of literary journalism, essay, memoir, or environmental writing, creative nonfiction is a powerful genre that allows writers to break free from the constraints commonly associated with nonfiction prose and reach for the breadth of thought and feeling usually accomplished only in fiction: the narration of a vivid story, the probing of a complex character, the argument of an idea, or the evocation of a place. Students will work on several short assignments to hone their mastery of the craft, then write a longer piece that will be workshopped in class and revised at the end of the term. We will take instruction and inspiration from published authors such as Joan Didion, James Baldwin, Ariel Levy, Alexander Chee, and Virginia Woolf. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required. Apply via Submittable  (deadline: 11:59pm ET on Thursday, August 22)

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

English CLAR. Getting the Words Right: The Art of Revision

Instructor: Laura van den Berg TBD | Location: TBD Enrollment: Limited to 12 students A promising draft is of little use to us as writers if we have no idea what to do next, of how to begin again. This course aims to illuminate how revision can be every bit as creative and exhilarating as getting the first draft down—and how time spent re-imagining our early drafts is the ultimate show of faith in our work. We will explore the art of revision—of realizing the promise of that first draft—through reading, craft discussion, exercises, and workshop. Students can expect to leave the semester with two polished short stories (or 40-50 polished novel pages), a keener understanding of their own writing process, and a plan for where to take their work next. Texts will include  How to Write an Autobiographical Novel  by Alexander Chee,  Refuse to by Done  by Matt Bell, and  Craft in the Real World  by Matthew Salesses. It will be helpful to enter into the semester with some pre-existing material that you wish to revise (a short story, several chapters of a novel). Previous experience with workshopping writing is encouraged but not required. Supplemental Application Information:   Please submit a brief letter—1-2 pages—that discusses your interest in the course and in writing more broadly. What are you interested in working on and learning more about, at this point in your practice? Please also submit a short—2-3 page—writing sample (the first 2 pages of a short story or novel, for example).

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

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

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

Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22)

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

English CAFR. Advanced Fiction Workshop: Writing this Present Life

Instructor: Claire Messud Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site Intended for students with prior fiction-writing and workshop experience, this course will concentrate on structure, execution and revision. Exploring various strands of contemporary and recent literary fiction – writers such as Karl Ove Knausgaard, Rachel Cusk, Chimamanda Adichie, Douglas Stuart, Ocean Vuong, etc – we will consider how fiction works in our present moment, with emphasis on a craft perspective. Each student will present to the class a published fiction that has influenced them. The course is primarily focused on the discussion of original student work, with the aim of improving both writerly skills and critical analysis. Revision is an important component of this class: students will workshop two stories and a revision of one of these. Apply via Submittable  (deadline: 11:59pm ET on Thursday, August 22)

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

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

Instructor:  Andrew Krivak Tuesday, 9:00-11:45 1m | Location: TBD Enrollment: Limited to 12 students Course Site This course is a workshop intended for students who are interested in writing longer form narratives from the first-person point of view. The “I” at the center of any novel poses a perspective that is all at once imaginatively powerful and narratively problematic, uniquely insightful and necessarily unreliable. We will read from roughly twelve novels written in the first-person, from Marilynne Robinson and W.G. Sebald, to Valeria Luiselli and Teju Cole, and ask questions (among others) of why this form, why this style? And, as a result, what is lost and what is realized in the telling? Primarily, however, students will write. Our goal will be to have a student’s work read and discussed twice in class during the semester. I am hoping to see at least 35-40 pages of a project —at any level of completion—at the end of term.  Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22) Supplemental Application Information:  Please write a substantive letter telling me why you’re interested in taking this class, what writers (classical and contemporary) you admire and why, and if there’s a book you have read more than once, a movie you have seen more than once, a piece of music you listen to over and over, not because you have to but because you want to. Students of creative nonfiction are also welcome to apply.

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

Instructor: Laura van den Berg Tuesday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site This course will serve as an introduction to the fundamentals of writing fiction, with an emphasis on the contemporary short story. How can we set about creating “big” worlds in compact spaces? What unique doors can the form of the short story open? The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Ted Chiang, Lauren Groff, Carmen Maria Machado, and Octavia Butler. This workshop welcomes writers of all levels of experience. Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22) Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. Please also include a very brief writing sample (2-3 pages). The sample can be in any genre (it does not have to be from a work of fiction). 

Write an Honors Creative Thesis

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

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

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

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

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Department of English

M.f.a. creative writing.

English Department

Physical Address: 200 Brink Hall

Mailing Address: English Department University of Idaho 875 Perimeter Drive MS 1102 Moscow, Idaho 83844-1102

Phone: 208-885-6156

Email: [email protected]

Web: English

Thank you for your interest in the Creative Writing MFA Program at University of Idaho: the premier fully funded, three-year MFA program in the Northwest. Situated in the panhandle of Northern Idaho in the foothills of Moscow Mountain, we offer the time and support to train in the traditions, techniques, and practice of nonfiction, poetry, and fiction. Each student graduates as the author of a manuscript of publishable quality after undertaking a rigorous process of thesis preparation and a public defense. Spring in Moscow has come to mean cherry blossoms, snowmelt in Paradise Creek, and the head-turning accomplishments of our thesis-year students. Ours is a faculty of active, working writers who relish teaching and mentorship. We invite you in the following pages to learn about us, our curriculum, our community, and the town of Moscow. If the prospect of giving yourself three years with us to develop as a writer, teacher, and editor is appealing, we look forward to reading your application.

Pure Poetry

A Decade Working in a Smelter Is Topic of Alumnus Zach Eddy’s Poems

Ancestral Recognition

The region surrounding the University of Idaho is the ancestral land of both the Coeur d’Alene and Nez Perce peoples, and its campus in Moscow sits on unceded lands guaranteed to the Nez Perce people in the 1855 Treaty with the Nez Perce. As a land grant university, the University of Idaho also benefits from endowment lands that are the ancestral homes to many of the West’s Native peoples. The Department of English and Creative Writing Program acknowledge this history and share in the communal effort to ensure that the complexities and atrocities of the past remain in our discourse and are never lost to time. We invite you to think of the traditional “land acknowledgment” statement through our MFA alum CMarie Fuhrman’s words .

Degree Requirements

Three years to write.

Regardless of where you are in your artistic career, there is nothing more precious than time. A three-year program gives you time to generate, refine, and edit a body of original work. Typically, students have a light third year, which allows for dedicated time to complete and revise the Creative Thesis. (48 manuscript pages for those working in poetry, 100 pages for those working in prose.)

Our degree requirements are designed to reflect the real-world interests of a writer. Students are encouraged to focus their studies in ways that best reflect their artistic obsessions as well as their lines of intellectual and critical inquiry. In effect, students may be as genre-focused or as multi-genre as they please. Students must remain in-residence during their degrees. Typically, one class earns you 3 credits. The MFA requires a total of 54 earned credits in the following categories.

12 Credits : Graduate-level Workshop courses in Fiction, Poetry, and/or Nonfiction. 9 Credits: Techniques and Traditions courses in Fiction, Poetry, and/or Nonfiction 3 Credits : Internships: Fugue, Confluence Lab, and/or Pedagogy 9 Credits: Literature courses 12 Credits: Elective courses 10 Credits: Thesis

Flexible Degree Path

Students are admitted to our program in one of three genres, Poetry, Fiction, or Nonfiction. By design, our degree path offers ample opportunity to take Workshop, Techniques, Traditions, and Literature courses in any genre. Our faculty work and publish in multiple genres and value the slipperiness of categorization. We encourage students to write in as broad or focused a manner as they see fit. We are not at all interested in making writers “stay in their lanes,” and we encourage students to shape their degree paths in accordance with their passions. 

What You Study

During your degree, you will take Workshop, Techniques, Traditions, and Literature courses.

Our workshop classes are small by design (typically twelve students or fewer) and taught by core and visiting MFA faculty. No two workshop experiences look alike, but what they share are faculty members committed to the artistic and intellectual passions of their workshop participants.

Techniques studios are developed and taught by core and visiting MFA faculty. These popular courses are dedicated to the granular aspects of writing, from deep study of the poetic image to the cultivation of independent inquiry in nonfiction to the raptures of research in fiction. Such courses are heavy on generative writing and experimentation, offering students a dedicated space to hone their craft in a way that is complementary to their primary work.

Traditions seminars are developed and taught by core and visiting MFA faculty. These generative writing courses bring student writing into conversation with a specific trajectory or “tradition” of literature, from life writing to outlaw literature to the history of the short story, from prosody to postwar surrealism to genre-fluidity and beyond. These seminars offer students a dynamic space to position their work within the vast and varied trajectories of literature.

Literature courses are taught by core Literature and MFA faculty. Our department boasts field-leading scholars, interdisciplinary writers and thinkers, and theory-driven practitioners who value the intersection of scholarly study, research, humanism, and creative writing.

Award-Winning Faculty

We teach our classes first and foremost as practitioners of the art. Full stop. Though our styles and interests lie at divergent points on the literary landscape, our common pursuit is to foster the artistic and intellectual growth of our students, regardless of how or why they write. We value individual talent and challenge all students to write deep into their unique passions, identities, histories, aesthetics, and intellects. We view writing not as a marketplace endeavor but as an act of human subjectivity. We’ve authored or edited several books across the genres.

Learn more about Our People .

Thesis Defense

The MFA experience culminates with each student writing and defending a creative thesis. For prose writers, theses are 100 pages of creative work; for poets, 48 pages. Though theses often take the form of an excerpt from a book-in-progress, students have flexibility when it comes to determining the shape, form, and content of their creative projects. In their final year, each student works on envisioning and revising their thesis with three committee members, a Major Professor (core MFA faculty) and two additional Readers (core UI faculty). All students offer a public thesis defense. These events are attended by MFA students, faculty, community members, and other invitees. During a thesis defense, a candidate reads from their work for thirty minutes, answers artistic and critical questions from their Major Professor and two Readers for forty-five minutes, and then answer audience questions for thirty minutes. Though formally structured and rigorous, the thesis defense is ultimately a celebration of each student’s individual talent.

The Symposium Reading Series is a longstanding student-run initiative that offers every second-year MFA candidate an opportunity to read their works-in-progress in front of peers, colleagues, and community members. This reading and Q & A event prepares students for the third-year public thesis defense. These off-campus events are fun and casual, exemplifying our community centered culture and what matters most: the work we’re all here to do.

Teaching Assistantships

All students admitted to the MFA program are fully funded through Teaching Assistantships. All Assistantships come with a full tuition waiver and a stipend, which for the current academic year is roughly $15,000. Over the course of three years, MFA students teach a mix of composition courses, sections of Introduction to Creative Writing (ENGL 290), and additional writing courses, as departmental needs arise. Students may also apply to work in the Writing Center as positions become available. When you join the MFA program at Idaho, you receive teacher training prior to the beginning of your first semester. We value the role MFA students serve within the department and consider each graduate student as a working artist and colleague. Current teaching loads for Teaching Assistants are two courses per semester. Some members of the Fugue editorial staff receive course reductions to offset the demands of editorial work. We also award a variety of competitive and need-based scholarships to help offset general living costs. In addition, we offer three outstanding graduate student fellowships: The Hemingway Fellowship, Centrum Fellowship, and Writing in the Wild Fellowship. Finally, our Graduate and Professional Student Association offers extra-departmental funding in the form of research and travel grants to qualifying students throughout the academic year.

Distinguished Visiting Writers Series

Each year, we bring a Distinguished Visiting Writer to campus. DVWs interface with our writing community through public readings, on-stage craft conversations hosted by core MFA faculty, and small seminars geared toward MFA candidates. Recent DVWs include Maggie Nelson, Roger Reeves, Luis Alberto Urrea, Brian Evenson, Kate Zambreno, Dorianne Laux, Teju Cole, Tyehimba Jess, Claire Vaye Watkins, Naomi Shihab Nye, David Shields, Rebecca Solnit, Gabrielle Calvocoressi, Susan Orlean, Natasha Tretheway, Jo Ann Beard, William Logan, Aisha Sabatini Sloan, Gabino Iglesias, and Marcus Jackson, among several others.

Fugue Journal

Established in 1990 at the University of Idaho, Fugue publishes poetry, fiction, essays, hybrid work, and visual art from established and emerging writers and artists. Fugue is managed and edited entirely by University of Idaho graduate students, with help from graduate and undergraduate readers. We take pride in the work we print, the writers we publish, and the presentation of both print and digital content. We hold an annual contest in both prose and poetry, judged by two nationally recognized writers. Past judges include Pam Houston, Dorianne Laux, Rodney Jones, Mark Doty, Rick Moody, Ellen Bryant Voigt, Jo Ann Beard, Rebecca McClanahan, Patricia Hampl, Traci Brimhall, Edan Lepucki, Tony Hoagland, Chen Chen, Aisha Sabatini Sloan, sam sax, and Leni Zumas. The journal boasts a remarkable list of past contributors, including Steve Almond, Charles Baxter, Stephen Dobyns, Denise Duhamel, Stephen Dunn, B.H. Fairchild, Nick Flynn, Terrance Hayes, Campbell McGrath, W.S. Merwin, Sharon Olds, Jim Shepard, RT Smith, Virgil Suarez, Melanie Rae Thon, Natasha Trethewey, Philip Levine, Anthony Varallo, Robert Wrigley, and Dean Young, among many others.

Academy of American Poets University Prize

The Creative Writing Program is proud to partner with the Academy of American Poets to offer an annual Academy of American Poets University Prize to a student at the University of Idaho. The prize results in a small honorarium through the Academy as well as publication of the winning poem on the Academy website. The Prize was established in 2009 with a generous grant from Karen Trujillo and Don Burnett. Many of our nation’s most esteemed and celebrated poets won their first recognition through an Academy of American Poets Prize, including Diane Ackerman, Toi Derricotte, Mark Doty, Tess Gallagher, Louise Glück, Jorie Graham, Kimiko Hahn, Joy Harjo, Robert Hass, Li-Young Lee, Gregory Orr, Sylvia Plath, Mark Strand, and Charles Wright.

Fellowships

Centrum fellowships.

Those selected as Centrum Fellows attend the summer Port Townsend Writers’ Conference free of charge. Housed in Fort Worden (which is also home to Copper Canyon Press), Centrum is a nonprofit dedicated to fostering several artistic programs throughout the year. With a focus on rigorous attention to craft, the Writers’ Conference offers five full days of morning intensives, afternoon workshops, and craft lectures to eighty participants from across the nation. The cost of the conference, which includes tuition, lodging, and meals, is covered by the scholarship. These annual scholarship are open to all MFA candidates in all genres.

Hemingway Fellowships

This fellowship offers an MFA Fiction student full course releases in their final year. The selection of the Hemingway Fellow is based solely on the quality of an applicant’s writing. Each year, applicants have their work judged blind by a noted author who remains anonymous until the selection process has been completed. Through the process of blind selection, the Hemingway Fellowship Fund fulfills its mission of giving the Fellow the time they need to complete a substantial draft of a manuscript.

Writing in the Wild

This annual fellowship gives two MFA students the opportunity to work in Idaho’s iconic wilderness areas. The fellowship fully supports one week at either the McCall Outdoor Science School (MOSS), which borders Payette Lake and Ponderosa State Park, or the Taylor Wilderness Research Station, which lies in the heart of the Frank Church River of No Return Wilderness Area. Both campuses offer year-round housing. These writing retreats allow students to concentrate solely on their writing. Because both locations often house researchers, writers will also have the opportunity to interface with foresters, geologists, biologists, and interdisciplinary scholars.

Program History

Idaho admitted its first class of seven MFA students in 1994 with a faculty of four: Mary Clearman Blew, Tina Foriyes, Ron McFarland (founder of Fugue), and Lance Olsen. From the beginning, the program was conceived as a three-year sequence of workshops and techniques classes. Along with offering concentrations in writing fiction and poetry, Idaho was one of the first in the nation to offer a full concentration in creative nonfiction. Also from its inception, Idaho not only allowed but encouraged its students to enroll in workshops outside their primary genres. Idaho has become one of the nation’s most respected three-year MFA programs, attracting both field-leading faculty and students. In addition to the founders of this program, notable distinguished faculty have included Kim Barnes, Robert Wrigley, Daniel Orozco, Joy Passanante, Tobias Wray, Brian Blanchfield, and Scott Slovic, whose collective vision, rigor, grit, and care have paved the way for future generations committed to the art of writing.

The Palouse

Situated in the foothills of Moscow Mountain amid the rolling terrain of the Palouse (the ancient silt beds unique to the region), our location in the vibrant community of Moscow, Idaho, boasts a lively and artistic local culture. Complete with independent bookstores, coffee shops, art galleries, restaurants and breweries, (not to mention a historic art house cinema, organic foods co-op, and renowned seasonal farmer’s market), Moscow is a friendly and affordable place to live. Outside of town, we’re lucky to have many opportunities for hiking, skiing, rafting, biking, camping, and general exploring—from nearby Idler’s Rest and Kamiak Butte to renowned destinations like Glacier National Park, the Snake River, the Frank Church River of No Return Wilderness Area, and Nelson, BC. As for more urban getaways, Spokane, Washington, is only a ninety-minute drive, and our regional airline, Alaska, makes daily flights to and from Seattle that run just under an hour.

For upcoming events and program news, please visit our calendar .

For more information about the MFA program, please contact us at:  [email protected]

Department of English University of Idaho 875 Perimeter Drive MS 1102 Moscow, ID 83844-1102 208-885-6156

Creative Writing (MFA)

Program description.

The MFA Program in Creative Writing consists of a vibrant community of writers working together in a setting that is both challenging and supportive. This stimulating environment fosters the development of talented writers of poetry, fiction, and creative nonfiction. The program is not defined by courses alone, but by a life built around writing.

Through innovative literary outreach programs, a distinguished public reading series, an exciting public student reading series, special literary seminars with visiting writers, and the production of a high-quality literary journal, students participate in a dynamic literary community actively engaged in all aspects of the literary arts—writing, reading, teaching, publishing and community outreach. Students also have the opportunity to enjoy America's most literary terrain; New York University is situated in the heart of Greenwich Village, a part of the city that has always been home to writers.

The MFA in Creative Writing is designed to offer students an opportunity to concentrate intensively on their writing. This program is recommended for students who may want to apply for creative writing positions at colleges and universities, which often require the MFA degree. The MFA program does not have a foreign language requirement.

All applicants to the Graduate School of Arts and Science (GSAS) are required to submit the  general application requirements , which include:

• Academic Transcripts
• Test Scores  (if required)
• Applicant Statements
• Résumé or Curriculum Vitae
• Letters of Recommendation , and
• A non-refundable  application fee .

See Creative Writing for admission requirements and instructions specific to this program.

Program Requirements

Special project, program information.

Taken in four separate semesters. Students are required to take workshops in the genre in which they were admitted to the program.

Craft courses may be repeated provided they are taught by different instructors.

With the permission of that department and of the director of the CWP. 

Additional Program Requirements

A creative special project in poetry, fiction, or creative nonfiction consisting of a substantial piece of writing—a novel, a collection of short stories or essays, a memoir, a work of literary nonfiction, or a group of poems—to be submitted in the student’s final semester. The project requires the approval of the student’s faculty adviser and of the director of the CWP.

The MFA degree may also be earned through the Low Residency MFA Writers Workshop in Paris. Under this model, degree requirements remain the same, although Craft courses and Workshops take the form of intensive individualized courses of study with the faculty, including three substantial packet exchanges of student work per semester. All students earning the MFA degree through the low-residency program must also participate in five ten-day residencies in Paris, which involve a diverse series of series of craft talks, lectures, readings, special events, faculty mentorship meetings, and professional development panels.

Sample Plan of Study

Please note : The following is a sample plan of study for a student enrolled in the poetry track. Fiction and creative nonfiction plans of study would parallel the below, substituting the Workshop requirements accordingly (i.e., Workshop in Fiction or Workshop in Creative Nonfiction, respectively).

Learning Outcomes

Upon successful completion of the program, graduates will have achieved the following learning outcomes:

• Graduate students in the Creative Writing Program at NYU work intensively with faculty mentors in writing workshops and individual conferences to learn and master the basic elements of the craft of fiction, creative nonfiction, or poetry.
• Students are expected to read widely and deeply, and to acquire a broad practitioner’s knowledge of literature in their declared concentration (poetry, creative nonfiction, or fiction).
• Students are taught to read carefully and critically, and in doing so learn to read as writers. By studying great novels, poems, and works of literary nonfiction by other writers, students learn how to write their own.
• The two-year program of intensive study culminates in the completion of a creative thesis— a novel, a collection of stories or essays, or a collection of poems. The thesis manuscript, ideally, is a working draft of a first book. Many program alumni go on to publish books and win awards for their writing.

Grading and GPA Policy

Nyu policies, graduate school of arts and science policies, program policies.

To qualify for the degree, a student must have a GPA of at least 3.0, must complete a minimum of 24 points with a grade of B or better, and may offer no more than 8 points with a grade of C (no more than 4 points with a grade of C in creative writing workshops). A student may take no more than 36 points toward the degree.

University-wide policies can be found on the New York University Policy pages .

Academic Policies for the Graduate School of Arts and Science can be found on the Academic Policies page . 

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Creative Writing

Stanford’s Creative Writing Program--one of the best-known in the country--cultivates the power of individual expression within a vibrant community of writers. Many of our English majors pursue a concentration in creative writing, and the minor in Creative Writing is among the most popular minors on campus. These majors and minors participate in workshop-based courses or independent tutorials with Stegner Fellows, Stanford’s distinguished writers-in-residence.

English Major with a Creative Writing Emphasis

The English major with a Creative Writing emphasis is a fourteen-course major. These fourteen courses comprise eight English courses and six Creative Writing courses.

English majors with a Creative Writing emphasis should note the following:

All courses must be taken for a letter grade.

Courses taken abroad or at other institutions may not be counted towards the workshop requirements.

Any 190 series course (190F, 190G, etc.), 191 series course (191T, etc.), or 192 series course (192V, etc.) counts toward the 190, 191, or 192 requirement.

PWR 1 is a prerequisite for all creative writing courses.

Minor in Creative Writing

The Minor in Creative Writing offers a structured environment in which students interested in writing fiction or poetry develop their skills while receiving an introduction to literary forms. Students may choose a concentration in fiction, poetry.

In order to graduate with a minor in Creative Writing, students must complete the following three courses plus three courses in either the prose or poetry tracks. Courses counted towards the requirements for the minor may not be applied to student's major requirements. 30 units are required. All courses must be taken for a letter grade.

Prose Track

Suggested order of requirements:

English 90. Fiction Writing or English 91. Creative Nonfiction

English 146S Secret Lives of the Short Story

One 5-unit English literature elective course

English 190. Intermediate Fiction Writing or English 191. Intermediate Creative Nonfiction Writing

English 92. Reading and Writing Poetry

Another English 190, 191, 290. Advanced Fiction, 291. Advanced Nonfiction, or 198L. Levinthal Tutorial

Poetry Track

English 92.Reading and Writing Poetry

English 160. Poetry and Poetics

English 192. Intermediate Poetry Writing

Another English 192, or 292.Advanced Poetry or 198L.Levinthal Tutorial

Creative Writing minors should note the following:

To declare a Creative Writing minor, visit the Student page in Axess. To expedite your declaration, make sure to list all 6 courses you have taken or plan to take for your minor.

Any 190 series course (190F, 190G, etc.), 191series course (191T, etc.), or 192 series course (192V, etc.) counts toward the 190, 191, or 192 requirement.

For more information, visit the Stanford Creative Writing Program.

• Enroll & Pay
• Prospective Undergraduate Students
• Prospective Graduate Students
• Current Students

Ph.D. Creative Writing

Ph.d. in creative writing.

A rigorous program that combines creative writing and literary studies, the Ph.D. in Creative Writing prepares graduates for both scholarly and creative publication and teaching. With faculty guidance, students admitted to the Ph.D. program may tailor their programs to their goals and interests.

The creative writing faculty at KU has been widely published and anthologized, winning both critical and popular acclaim. Faculty awards include such distinctions as the Nebula Award, Hugo Award, Osborn Award, Shelley Memorial Award, Gertrude Stein Award, the Kenyon Review Prize, the Kentucky Center Gold Medallion, and the Pushcart Prize.

Regarding admission to both our doctoral and MFA creative writing programs, we will prioritize applicants who are interested in engaging with multiple faculty members to practice writing across genres and forms, from speculative fiction and realism to poetry and playwriting/screenwriting, etc.

The University of Kansas' Graduate Program in Creative Writing also offers an  M.F.A degree .

Opportunities

A GTA appointment includes a tuition waiver for ten semesters plus a competitive stipend. In the first year, GTA appointees teach English 101 (first year composition) and English 102 (a required reading and writing course). Creative Writing Ph.D. students may have the opportunity to teach an introductory course in creative writing after passing the doctoral examination, and opportunities are available for a limited number of advanced GTAs to teach in the summer.

Department Resources

• Graduate Admissions
• Graduate Contacts
• Master of Fine Arts (M.F.A.)

Affiliated Programs

• LandLocked Literary Magazine
• The Project on the History of Black Writing
• Center for the Study of Science Fiction
• Ad-Hoc African/Americanists and Affiliates

Degree Requirements

• At least 24 hours of credit in appropriate formal graduate courses beyond the M.A. or M.F.A. At least 15 hours (in addition to ENGL 800 if not taken for the M.A.) of this course work must be taken from among courses offered by the Department of English at the 700-level and above. English 997 and 999 credits cannot be included among the 24 hours. Students may petition to take up to 6 hours outside the Department.
• ENGL 800: Methods, Theory, and Professionalism (counts toward the 24 required credit hours).
• The ENGL 801/ENGL 802 pedagogy sequence (counts toward the 24 required credit hours).
• Two seminars (courses numbered 900 or above) offered by the Department of English at the University of Kansas, beyond the M.A. or M.F.A. ENGL 998 does not fulfill this requirement.
• ENGL 999, Dissertation (at least 12 hours).

If the M.A. or M.F.A. was completed in KU’s Department of English, a doctoral student may petition the DGS to have up to 12 hours of the coursework taken in the English Department reduced toward the Ph.D.

For Doctoral students,  the university requires completion of a course in responsible scholarship . For the English department, this would be ENGL 800, 780, or the equivalent). In addition, the Department requires reading knowledge of one approved foreign language: Old English, French, German, Spanish, Italian, Russian, Japanese, Greek, Latin, or Hebrew. Upon successful petition, a candidate may substitute reading knowledge of another language or research skill that is studied at the University or is demonstrably appropriate to the candidate’s program of study.

Doctoral students must fulfill the requirement  before  they take their doctoral examination, or be enrolled in a reading course the same semester as the exam. Students are permitted three attempts at passing each foreign language or research skill. Three methods of demonstrating reading knowledge for all approved languages except Old English are acceptable:

• Presenting 16 hours, four semesters, or the equivalent of undergraduate credit, earned with an average of C or better.
• Passing a graduate reading course at the University of Kansas or peer institution (e.g., French 100, German 100, etc.) with a grade of C or higher. In the past, some of these reading courses have been given by correspondence; check with the Division of Continuing Education for availability.
• Passing a translation examination given by a designated member of the English Department faculty or by the appropriate foreign language department at KU. The exam is graded pass/fail and requires the student to translate as much as possible of a representative text in the foreign language in a one-hour period, using a bilingual dictionary.
• Passing a translation examination given by the appropriate foreign language department at the M.A.-granting institution. Successful completion must be reflected either on the M.A. transcript or by a letter from the degree-granting department.

To fulfill the language requirement using Old English, students must successfully complete ENGL 710 (Introduction to Old English) and ENGL 712 (Beowulf).

Post-Coursework Ph.D. students must submit, with their committee chair(s), an annual review form to the DGS and Graduate Committee.

Doctoral students must take their doctoral examination within three semesters (excluding summers) of the end of the semester in which they took their final required course. If a student has an Incomplete, the timeline is not postponed until the Incomplete is resolved. For example, a student completing doctoral course work in Spring 2018 will need to schedule their doctoral exam no later than the end of Fall semester 2019. Delays may be granted by petition to the Graduate Director in highly unusual circumstances. Failure to take the exam within this time limit without an approved delay will result in the student’s falling out of good standing. For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices.

A student may not take their doctoral exam until the university’s Research Skills and Responsible Scholarship requirement is fulfilled (ENGL 800 or equivalent and reading knowledge of one foreign language or equivalent).

Requirements for Doctoral Exams

Reading Lists: 

All students are required to submit three reading lists, based on the requirements below, to their committee for approval. The doctoral exam will be held on a date at least twelve weeks after the approval from the whole committee is received. To facilitate quick committee approval, students may copy the graduate program coordinator on the email to the committee that contains the final version of the lists. Committee members may then respond to the email in lieu of signing a printed copy. Students should work with their committee chair and graduate program coordinator to schedule the exam at the same time as they finalize the lists.

During the two-hour oral examination (plus an additional 15-30 minutes for a break and committee deliberation), a student will be tested on their comprehension of a literary period or movement, including multiple genres and groups of authors within that period or movement. In addition, the student will be tested on two of the following six areas of study:

• An adjacent or parallel literary period or movement,
• An author or group of related authors,
• Criticism and literary theory,
• Composition theory, and
• English language.

No title from any field list may appear on either of the other two lists. See Best Practices section for more details on these six areas. See below for a description of the Review of the Dissertation Proposal (RDP), which the candidate takes the semester after passing the doctoral exam. 

While many students confer with the DGS as they begin the process of developing their lists, they are also required to submit a copy of their final exam list to the DGS. Most lists will be left intact, but the DGS might request that overly long lists be condensed, or extremely short lists be expanded.

Review of Literature

The purpose of the Review of Literature is to develop and demonstrate an advanced awareness of the critical landscape for each list. The student will write an overview of the defining attributes of the field, identifying two or three broad questions that animate scholarly discussion, while using specific noteworthy texts from their list ( but not all texts on the list ) as examples.

The review also must accomplish the following:

• consider the historical context of major issues, debates, and trends that factor into the emergence of the field
• offer a historical overview of scholarship in the field that connects the present to the past
• note recent trends and emergent lines of inquiry
• propose questions about (develop critiques of, and/or identify gaps in) the field and how they might be pursued in future study (but not actually proposing or referencing a dissertation project)

For example, for a literary period, the student might include an overview of primary formal and thematic elements, of the relationship between literary and social/historical developments, of prominent movements, (etc.), as well as of recent critical debates and topics.

For a genre list, the Review of Literature might include major theories of its constitution and significance, while outlining the evolution of these theories over time.

For a Rhetoric and Composition list, the review would give an overview of major historical developments, research, theories, methods, debates, and trends of scholarship in the field.

For an English Language Studies (ELS) list, the review would give an overview of the subfields that make up ELS, the various methodological approaches to language study, the type of sources used, and major aims and goals of ELS. The review also usually involves a focus on one subfield of particular interest to the student (such as stylistics, sociolinguistics, or World/Postcolonial Englishes).

Students are encouraged to divide reviews into smaller sections that enhance clarity and organization. Students are not expected to interact with every text on their lists.

The review of literature might be used to prepare students for identifying the most important texts in the field, along with why those texts are important to the field, for the oral exam. It is recommended for students to have completed reading the bulk of (if not all) texts on their lists before writing the ROL.

The Reviews of Literature will not be produced in an exam context, but in the manner of papers that are researched and developed in consultation with all advisors/committee members,  with final drafts being distributed within a reasonable time for all members to review and approve in advance of the 3-week deadline . While the Review of Literature generally is not the focus of the oral examination, it is frequently used as a point of departure for questions and discussion during the oral examination.

Doctoral Exam Committee

Exam committees typically consist of 3 faculty members from the department—one of whom serves as the Committee Chair—plus a Graduate Studies Representative.  University policy dictates the composition of exam committees . Students may petition for an exception for several committee member situations, with the exception of  the Graduate Studies Representative .

If a student wants to have as a committee member a person outside the university, or a person who is not in a full-time tenure-track professorship at KU, the student must contact the Graduate Secretary as early as possible. Applications for special graduate faculty status must be reviewed by the College and Graduate Studies. Requests for exam/defense approval will not be approved unless all committee members currently hold either regular or special graduate faculty status

Remote participation of committee members via technology

Students with committee members who plan to attend the defense via remote technology must be aware of  college policy on teleconferencing/remote participation of committee members .

A majority of committee members must be physically present for an examination to commence; for doctoral oral examinations this requirement is 2 of the 4 members, for master’s oral examinations the requirement is 2 of the 3 members. In addition, it is required that the student being examined, the chair of the committee, and the Graduate Studies Representative all be physically present at the examination or defense. Mediated attendance by the student, chair and Grad Studies Rep is prohibited.

The recommended time between completion of coursework and the doctoral examination is two semesters.

Final exam lists need to be approved and signed by the committee at least 12 weeks prior to the prospective exam date. This includes summers/summer semesters. The lists should then be submitted to the Graduate Program Coordinator. Reviews of Literature need to be approved and signed by the committee at least 3 weeks prior to the exam date. Failure to meet this deadline will result in rescheduling the exam. No further changes to lists or Reviews of Literature will be allowed after official approval. The three-week deadline is the faculty deadline--the last date for them to confirm receipt of the ROLs and confer approval--not necessarily the student deadline for submitting the documents to the faculty. Please keep that timing in mind and allow your committee adequate time to review the materials and provide feedback.

Students taking the Doctoral Exam are allowed to bring their text lists, the approved Reviews of Literature, scratch paper, a writing utensil, and notes/writing for an approximately 5-minute introductory statement to the exam. (This statement does not need to lay out ideas or any aspect of the dissertation project.)

Each portion of the oral examination must be deemed passing before the student can proceed to the Review of the Dissertation Proposal. If a majority of the committee judges that the student has not answered adequately on one of the three areas of the exam, the student must repeat that portion in a separate oral exam of one hour, to be taken as expeditiously as possible.  Failure in two areas constitutes failure of the exam and requires a retake of the whole.  The doctoral examining committee will render a judgment of Satisfactory or Unsatisfactory on the entire examination. A student who fails the exam twice may, upon successful petition to the Graduate Committee, take it a third and final time.

Students cannot bring snacks, drinks, treats, or gifts for committee members to the exam. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student exams but not others.

The doctoral oral examination has the following purposes:

• To establish goals, tone, and direction for the pursuit of the Ph.D. in English for the Department and for individual programs of study;
• To make clear the kinds of knowledge and skills that, in the opinion of the Department, all well-prepared holders of the degree should have attained;
• To provide a means for the Department to assess each candidate’s control of such knowledge and skills in order to certify that the candidate is prepared to write a significant dissertation and enter the profession; and
• To enable the Department to recommend to the candidate areas of strength or weakness that should be addressed.

In consultation with the Graduate Director, a student will ask a member of the Department’s graduate faculty (preferably their advisor) to be the chairperson of the examining committee. The choice of examination committee chair is very important, for that person’s role is to assist the candidate in designing the examination structure, preparing the Review of Literature (see below), negotiating reading lists and clarifying their purposes, and generally following procedures here outlined. The other three English Department members of the committee will be chosen in consultation with the committee chair. (At some point an additional examiner from outside the Department, who serves as the Graduate School representative, will be invited to join the committee). Any unresolved problems in negotiation between a candidate and their committee should be brought to the attention of the Graduate Director, who may choose to involve the Graduate Committee. A student may request a substitution in, or a faculty member may ask to be dismissed from, the membership of the examining committee. Such requests must be approved, in writing, by the faculty member leaving the committee and by the Graduate Director.

Reading Lists

Copies of some approved reading lists and Reviews of Literature are available from the Graduate Secretary and can be found on the U: drive if you are using a computer on campus. Despite the goal of fairness and equity, some unavoidable unevenness and disparity will appear in the length of these lists. It remains, however, the responsibility of the examining committee, and especially the student’s chair, to aim toward consonance with the most rigorous standards and expectations and to insure that areas of study are not unduly narrow.

To facilitate quick committee approval, students may copy the graduate secretary on the email to the committee that contains the final version of the lists and reviews of literature. Committee members may then respond to the email in lieu of signing a printed copy.

Comprehension of a literary period (e.g., British literature of the 18th century; Romanticism; US literature of the 19th century; Modernism) entails sufficient intellectual grasp of both the important primary works of and secondary works on the period or movement to indicate a student’s ability to teach the period or movement and undertake respectable scholarship on it.

Comprehension of an author or group of related authors (e.g., Donne, the Brontës, the Bloomsbury Group, the Black Mountain Poets) entails knowledge, both primary and secondary, of a figure or figures whose writing has generated a significant body of interrelated biographical, historical, and critical scholarship.

Comprehension of one of several genres (the short story, the lyric poem, the epistolary novel). To demonstrate comprehension of a genre, a student should possess sufficient depth and breadth of knowledge, both primary and secondary, of the genre to explain its formal characteristics and account for its historical development.

Comprehension of criticism and literary theory entails a grasp of fundamental conceptual problems inherent in a major school of literary study (e.g., historicist, psychoanalytic, feminist, poststructuralist, etc.). To demonstrate comprehension of that school of criticism and literary theory, a student should be able to discuss changes in its conventions and standards of interpretation and evaluation of literature from its beginning to the present. Students will be expected to possess sufficient depth and breadth of theoretical knowledge to bring appropriate texts and issues to bear on questions of literary study.

Comprehension of composition theory entails an intellectual grasp of fundamental concepts, issues, and theories pertaining to the study of writing. To demonstrate comprehension of composition theory, students should be able to discuss traditional and current issues from a variety of perspectives, as well as the field’s historical development from classical rhetoric to the present.

Comprehension of the broad field of English language studies entails a grasp of the field’s theoretical concepts and current issues, as well as a familiarity with significant works within given subareas. Such subareas will normally involve formal structures (syntax, etc.) and history of the English language, along with other subareas such as social linguistics, discourse analysis, lexicography, etc. Areas of emphasis and specific sets of topics will be arranged through consultation with relevant faculty.

Ph.D. candidates must be continuously enrolled in Dissertation hours each Fall and Spring semester from the time they pass the doctoral examination until successful completion of the final oral examination (defense of dissertation).

• Students enroll for a minimum of 6 hours each Fall and Spring semester until the total of post-doctoral exam Dissertation hours is 18. One hour each semester must be ENGL 999. In order to more quickly reach the 18-hour minimum, and to be sooner eligible for GRAships, it is highly recommended that students enroll in 9 hours of Dissertation in the Spring and Fall semesters. 
• Once a student has accumulated 18 post-doctoral exam  hours, each subsequent enrollment will be for a number of hours agreed upon as appropriate between the student and their advisor, the minimal enrollment each semester being 1 hour of ENGL 999.
• A student must be enrolled in at least one hour of credit at KU during the semester they graduate. Although doctoral students must be enrolled in ENGL 999 while working on their dissertations, per current CLAS regulations, there is no absolute minimum number of ENGL 999 hours required for graduation.
• Students who live and work outside the Lawrence area may, under current University regulations, have their fees assessed at the Field Work rate, which is somewhat lower than the on-campus rate. Students must petition the College Office of Graduate Affairs before campus fees will be waived.

Please also refer to  the COGA policy on post-exam enrollment  or the  Graduate School’s policy .

As soon as possible following successful completion of the doctoral exam, the candidate should establish their three-person core dissertation committee, and then expeditiously proceed to the preparation of a dissertation proposal.  Within the semester following completion of the doctoral exam , the student will present to their core dissertation committee a written narrative of approximately  10-15 pages , not including bibliography, of the dissertation proposal. While the exam schedule is always contingent on student progress, in the first two weeks of the semester in which they intend to take the review , students will work with their committee chair and the graduate program coordinator to schedule the 90-minute RDP. Copies of this proposal must be submitted to the members of the dissertation committee and Graduate Program Coordinator no later than  three weeks prior  to the scheduled examination date.

In the proposal, students will be expected to define: the guiding question or set of questions; a basic thesis (or hypothesis); how the works to be studied or the creative writing produced relate to that (hypo)thesis; the theoretical/methodological model to be followed; the overall formal divisions of the dissertation; and how the study will be situated in the context of prior scholarship (i.e., its importance to the field). The narrative section should be followed by a bibliography demonstrating that the candidate is conversant with the basic theoretical and critical works pertinent to the study. For creative writing students, the proposal may serve as a draft of the critical introduction to the creative dissertation. Students are expected to consult with their projected dissertation committee concerning the preparation of the proposal.

The review will focus on the proposal, although it could also entail determining whether or not the candidate’s knowledge of the field is adequate to begin the composition process. The examination will be graded pass/fail. If it is failed, the committee will suggest areas of weakness to be addressed by the candidate, who will rewrite the proposal and retake the review  by the end of the following semester . If the candidate abandons the entire dissertation project for another, a new RDP will be taken. (For such a step to be taken, the change would need to be drastic, such as a move to a new field or topic. A change in thesis or the addition or subtraction of one or even several works to be examined would not necessitate a new proposal and defense.)  If the student fails to complete the Review of the Dissertation Proposal within a year of the completion of the doctoral exams, they will have fallen out of departmental good standing.  For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices.

After passing the Review of the Dissertation Proposal, the student should forward one signed copy of the proposal to the Graduate Program Coordinator. The RDP may last no longer than 90 minutes.

Students cannot bring snacks, drinks, treats, or gifts for committee members to the review. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student exams but not others.

The Graduate Catalog states that the doctoral candidate “must present a dissertation showing the planning, conduct and results of original research, and scholarly creativity.” While most Ph.D. candidates in the Department of English write dissertations of a traditional, research-oriented nature, a creative writing candidate may elect to do a creative-writing dissertation involving fiction, poetry, drama or nonfiction prose.  Such a dissertation must also contain a substantial section of scholarly research related to the creative writing.  The precise nature of the scholarly research component should be determined by the candidate in consultation with the dissertation committee and the Graduate Director. Candidates wishing to undertake such a dissertation must complete all Departmental requirements demanded for the research-oriented Ph.D. degree.

Scholarly Research Component (SRC)

The Scholarly Research Component (SRC) of the creative-writing dissertation is a separate section of the dissertation than the creative work. It involves substantial research and is written in the style of academic prose. It should be 15-20 pages and should cite at least 20 sources, some of which should be primary texts, and many of which should be from the peer-reviewed secondary literature. The topic must relate, in some way, to the topic, themes, ideas, or style of the creative portion of the dissertation; this relation should be stated in the Dissertation Proposal, which should include a section describing the student’s plans for the SRC. The SRC may be based on a seminar paper or other work the student has completed prior to the dissertation; but the research should be augmented, and the writing revised, per these guidelines. The SRC is a part of the dissertation, and as such will be included in the dissertation defense.

The SRC may take two general forms:

1.) An article, publishable in a peer-reviewed journal or collection, on a specific topic related to an author, movement, theoretical issue, taxonomic issue, etc. that has bearing on the creative portion. The quality of this article should be high enough that the manuscript could be submitted to a peer-reviewed publication, with a plausible chance of acceptance.

2.) A survey . This survey may take several different forms:

• A survey of a particular aspect of the genre of the creative portion of the dissertation (stylistic, national, historical, etc.)
• An introduction to the creative portion of the dissertation that explores the influences on, and the theoretical or philosophical foundations or implications of the creative work
• An exploration of a particular technical problem or craft issue that is salient in the creative portion of the dissertation
• If the creative portion of the dissertation includes the results of research (e.g., historical novel, documentary poetry, research-based creative nonfiction), a descriptive overview of the research undertaken already for the dissertation itself
• A combination of the above, with the prior approval of the student’s dissertation director.

The dissertation committee will consist of at least four members—two “core” English faculty members, a third faculty member (usually from English), and one faculty member from a different department who serves as the Graduate Studies representative. The committee may include (with the Graduate Director’s approval) members from other departments and, with the approval of the University’s Graduate Council, members from outside the University. If a student wants to have a committee member from outside the university, or a person who is not in a full-time tenure-track professorship at KU, the student must contact the Graduate Secretary as early as possible. Applications for special graduate faculty status must be reviewed by the College and the Office of Graduate Studies. Requests for defense approval will not be approved unless all committee members currently hold either regular or special graduate faculty status.

The candidate’s preferences as to the membership of the dissertation committee will be carefully considered; the final decision, however, rests with the Department and with the Office of Graduate Studies. All dissertation committees must get approval from the Director of Graduate Studies before scheduling the final oral exam (defense). Furthermore, any changes in the make-up of the dissertation committee from the Review of the Dissertation Proposal committee must be approved by the Director of Graduate Studies.

Once the dissertation proposal has passed and the writing of the dissertation begins, membership of the dissertation committee should remain constant. However, under extraordinary circumstances, a student may request a substitution in, or a faculty member may ask to be dismissed from, the membership of the dissertation committee. Such requests must be approved, in writing, by the faculty member leaving the committee and by the Graduate Director.

If a student does not make progress during the dissertation-writing stage, and accumulates more than one “Limited Progress” and/or “No Progress” grade on their transcript, they will fall out of good standing in the department. For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices

Final Oral Exam (Dissertation Defense)

When the dissertation has been tentatively accepted by the dissertation committee (not including the Graduate Studies Representative), the final oral examination will be held, on the recommendation of the Department. While the exam schedule is always contingent on student progress, in the first two weeks of the semester in which they intend to defend the dissertation, students should work with their committee chair and graduate program coordinator to schedule it.

Although the dissertation committee is responsible for certification of the candidate, any member of the graduate faculty may be present at the examination and participate in the questioning, and one examiner—the Graduate Studies Representative—must be from outside the Department. The Graduate Secretary can help students locate an appropriate Grad Studies Rep. The examination normally lasts no more than two hours. It is the obligation of the candidate to advise the Graduate Director that they plan to take the oral examination; this must be done at least one month before the date proposed for the examination.

At least three calendar weeks prior to the defense date, the student will submit the final draft of the dissertation to all the committee members (including the GSR) and inform the Graduate Program Coordinator. Failure to meet this deadline will necessitate rescheduling the defense.  The final oral examination for the Ph.D. in English is, essentially, a defense of the dissertation. When it is passed, the dissertation itself is graded by the dissertation director, in consultation with the student’s committee; the student’s performance in the final examination (defense) is graded by the entire five-person committee

Students cannot bring snacks, drinks, treats, or gifts for committee members to the defense. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student defenses but not others

These sets of attributes are adapted from the Graduate Learner Outcomes that are a part of our Assessment portfolio. “Honors” should only be given to dissertations that are rated “Outstanding” in all or most of the following categories:

• Significant and innovative plot/structure/idea/focus. The writer clearly places plot/structure/idea/focus in context.
• Thorough knowledge of literary traditions. Clear/flexible vision of the creative work produced in relation to those literary traditions.
• Introduction/Afterword is clear, concise, and insightful. A detailed discussion of the implications of the project and future writing projects exists.
• The creative dissertation reveals the doctoral candidate’s comprehensive understanding of poetics and/or aesthetic approach. The application of the aesthetic approach is innovative and convincing.
• The creative dissertation represents original and sophisticated creative work.
• The creative dissertation demonstrates thematic and/or aesthetic unity.

After much discussion about whether the “honors” designation assigned after the dissertation defense should be for the written product only, for the defense/discussion only, for both together, weighted equally, or eradicated altogether, the department voted to accept the Graduate Committee recommendation that “honors” only apply to the written dissertation. "Honors" will be given to dissertations that are rated "Outstanding" in all or most of the categories on the dissertation rubric.

Normally, the dissertation will present the results of the writer’s own research, carried on under the direction of the dissertation committee. This means that the candidate should be in regular contact with all members of the committee during the dissertation research and writing process, providing multiple drafts of chapters, or sections of chapters, according to the arrangements made between the student and each faculty member. Though accepted primarily for its scholarly merit rather than for its rhetorical qualities, the dissertation must be stylistically competent. The Department has accepted the MLA Handbook as the authority in matters of style. The writer may wish to consult also  the Chicago Manual of Style  and Kate L. Turabian’s  A Manual for Writers of Dissertations, Theses, and Term Papers .

Naturally, both the student and the dissertation committee have responsibilities and obligations to each other concerning the submitting and returning of materials. The student should plan on working steadily on the dissertation; if they do so, they should expect from the dissertation committee a reasonably quick reading and assessment of material submitted.

Students preparing their dissertation should be showing chapters to their committee members as they go along, for feedback and revision suggestions. They should also meet periodically with committee members to assess their progress. Prior to scheduling a defense, the student is encouraged to ask committee members whether they feel that the student is ready to defend the dissertation. Ideally, the student should hold the defense only when they have consulted with committee members sufficiently to feel confident that they have revised the dissertation successfully to meet the expectations of all committee members.

Students should expect that they will need to revise each chapter at least once. This means that all chapters (including introduction and conclusion) are shown to committee members once, revised, then shown to committee members again in revised form to assess whether further revisions are needed, prior to the submitting of the final dissertation as a whole. It is not unusual for further revisions to be required and necessary after the second draft of a chapter; students should not therefore simply assume that a second draft is necessarily “final” and passing work.

If a substantial amount of work still needs to be completed or revised at the point that the dissertation defense is scheduled, such a defense date should be regarded as tentative, pending the successful completion, revision, and receipt of feedback on all work. Several weeks prior to the defense, students should consult closely with their dissertation director and committee members about whether the dissertation as a whole is in a final and defensible stage. A project is ready for defense when it is coherent, cohesive, well researched, engages in sophisticated analysis (in its entirety or in the critical introduction of creative dissertations), and makes a significant contribution to the field. In other words, it passes each of the categories laid out in the Dissertation Rubric.

If the dissertation has not clearly reached a final stage, the student and dissertation director are advised to reschedule the defense.

Prior Publication of the Doctoral Dissertation

Portions of the material written by the doctoral candidate may appear in article form before completion of the dissertation. Prior publication does not ensure the acceptance of the dissertation by the dissertation committee. Final acceptance of the dissertation is subject to the approval of the dissertation committee. Previously published material by other authors included in the dissertation must be properly documented.

Each student beyond the master’s degree should confer regularly with the Graduate Director regarding their progress toward the doctoral examination and the doctorate.

Doctoral students may take graduate courses outside the English Department if, in their opinion and that of the Graduate Director, acting on behalf of the Graduate Committee, those courses will be of value to them. Their taking such courses will not, of course, absolve them of the responsibility for meeting all the normal departmental and Graduate School requirements.

Doctoral students in creative writing are strongly encouraged to take formal literature classes in addition to forms classes. Formal literature classes, by providing training in literary analysis, theory, and/or literary history, will help to prepare students for doctoral exams (and future teaching at the college level).

FALL SEMESTER            

• GTAs take 2 courses (801 + one), teach 2 courses; GRAs take 3 courses.
• Visit assigned advisor once a month to update on progress & perceptions. 1st-year advisors can assist with selecting classes for the Spring semester, solidifying and articulating a field of specialization, advice about publishing, conferences, professionalization issues, etc.

SPRING SEMESTER

• GTAs take 2 courses (780/800/880 + one), teach 2 courses. GTAs also take ENGL 802 for 1 credit hour. GRAs take 3 courses.
• Visit assigned advisor or DGS once during the semester; discuss best advisor choices for Year 2.

SUMMER SEMESTER

• Enroll in Summer Institute if topic and/or methodology matches interests.
• Consider conferences suited to your field and schedule; choose a local one for attendance in Year 2 and draft an Abstract for a conference paper (preferably with ideas/materials/ writing drawn from a seminar paper).  Even if abstract is not accepted, you can attend the conference without the pressure of presenting.
• Attend at least one conference to familiarize yourself with procedure, network with other grad students and scholars in your field, AND/OR present a paper.

FALL SEMESTER

• Take 2 courses, teach 2 courses.
• Visit advisor in person at least once during the semester.

WINTER BREAK

• Begin revising one of your seminar papers/independent study projects/creative pieces for submission to a journal; research the journals most suited to placement of your piece.
• Begin thinking about fields and texts for comprehensive examinations.
• Choose an advisor to supervise you through the doctoral examination process.
• Visit assigned 1st-year advisor in person at least once during the semester (at least to formally request doctoral exam supervision OR to notify that you are changing advisors).
• Summer teaching, if eligible.
• Continue revising paper/creative writing for submission to a journal.
• Begin reading for comprehensive exams.
• Attend one conference and present a paper. Apply for one-time funding for out-of-state travel  from Graduate Studies .
• Teach 2 courses; take 997 (exam prep).
• Finalize comps list by end of September; begin drafting rationales.
• Circulate the draft of your article/creative piece to your advisor, other faculty in the field, and/or advanced grad students in the field for suggestions.
• Revise article/creative piece with feedback from readers.
• Teach 2 courses; take 997 or 999 (dissertation hours). Enroll in 999 if you plan to take your comps this semester, even if you don’t take them until the last day of classes.
• Take comps sometime between January and May.
• Summer teaching, if available.
• Submit article/creative work for publication.
• Continuous enrollment after completing doctoral exam (full policy on p. 20)
• Research deadlines for grant applications—note deadlines come early in the year.
• Attend one conference and present a paper.
• Teach 2 courses, take 999.
• Compose dissertation proposal by November.
• Schedule Review of Dissertation Proposal (RDP—formerly DPR).
• Apply for at least one grant or fellowship, such as a departmental-level GRAship or dissertation fellowship. (Winning a full-year, non-teaching fellowship can cut down your years-to-degree to 5 ½, or even 5 years.)
• Conduct research for and draft at least 1 dissertation chapter.
• Conduct research and complete a draft of at least 1 dissertation chapter.
• Revise & resubmit journal article, if necessary.
• Attend 1st round of job market meetings with Job Placement Advisor (JPA) to start drafting materials and thinking about the process.
• Research and complete a draft of at least 1 dissertation chapter, if teaching (1-2 chapters if not).
• Visit dissertation chair  and  committee members in person at least once during the semester.
• Research and complete a draft of at least 1 dissertation chapter (1-2 chapters if not teaching).
• Apply for a departmental grant or fellowship, or, if already held, try applying for one from outside the department, such as those offered by KU’s Hall Center for the Humanities or the Office of Graduate Studies. For  a monthly list of funding opportunities , visit the Graduate Studies website.
• Research and complete a draft of at least 1 dissertation chapter.
• Attend job market meetings with JPA in earnest.
• Apply for external grants, research fellowships, postdoctoral positions with fall deadlines (previous fellowship applications, your dissertation proposal, and subsequent writing should provide a frame so that much of the application can be filled out with the “cut & paste” function).
• Research and complete a draft of at least 1 dissertation chapter (1-2 if not teaching).
• Visit dissertation chair and committee members in person at least once during the semester.
• Polish dissertation chapters.
• Apply for grants and fellowships with spring deadlines.
• Defend dissertation.

Creative Writing Faculty

• Associate Professor

• Professor of English & Environmental Studies

• Assistant Professor

Graduate Student Handbook

Zalaznick Reading Series

Upcoming zalaznick readings, reading by elisa gabbert, freund prize for creative writing alumni reading, reading by rowan ricardo phillips, mfa in creative writing first-year reading series, reading by sigrid nunez.

Barbara and David Zalaznick’s generous endowment makes it possible for the Creative Writing Program to invite several writers, who range from debut poets and novelists to nationally and internationally renowned writers, to campus each semester. In the selection, we consider how writers would impact our curriculum, faculty, and our graduate and undergraduate literature and writing students. Consequently, the reading series has become an integrated and valuable part of our students' education. It is also beneficial to the artistic community at large, since the readings are free and open to the public. A book signing and reception follow each reading, at which the audience has the opportunity to meet the visiting writer. MFA and PhD students are invited to a separate informal gathering with the visiting writer. Writers may also be asked to visit classes or participate in events involving various student groups.

Past writers have included late Cornell alumna and Nobel Prize winner Toni Morrison (MA ’55); MacArthur Fellow, poet, and playwright Claudia Rankine; Pulitzer Prize winner and cultural critic Viet Thanh Nguyen; Man Booker Prize winner Marlon James; former U.S. poets laureate Billy Collins and Charles Simic; Irish poets Eavan Boland and Nobel Prize winner Seamus Heaney; and novelists Salman Rushdie and Margaret Atwood. The program has also included former Cornell MFA graduates: Julie Schumacher (MFA ’86), the first woman to have won the Thurber Prize for American Humor; National Book Award winner Susan Choi (MFA ’95); National Book Award finalist and Orange Prize winner Téa Obreht (MFA ’09); and Man Booker Prize finalist NoViolet Bulawayo (MFA ’10).

The Zalaznick Reading Series endowment is also able to supplement our other endowed series, including the Robert Chasen Memorial Poetry Reading , the Richard Cleaveland Memorial Reading , and the Eamon McEneaney Memorial Reading .

To be added to the email list for announcements of upcoming readings, please email [email protected] .

To view past Zalaznick Reading Series recordings, visit our YouTube page .

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Experimental Writing: Anne Boyer in Conversation with Hari Kunzru

Thursday, September 26, 7pm

A reading by Anne Boyer  followed by a conversation/Q&A with Hari Kunzru  and a reception/signing.  Co-sponsored with NYU's XE: Experimental Humanities and Social Engagement.

Open to the public. All attendees are required to RSVP in advance;  please click here

The Lillian Vernon Creative Writers House is not currently wheelchair accessible. 

NYU has ended COVID-19 related restrictions and policies, but we continue to remind and recommend to members of the NYU community that they stay up-to-date on their boosters, they stay home if they feel sick, and masks are always welcome.  

Poet and essayist Anne Boyer was born and raised in Kansas. She earned a BA from Kansas State University and an MFA from Wichita State University. Her works include The Romance of Happy Workers ( 2006) , My Common Heart  (2011) , Garments Against Women ( 2015, 2016), which Maureen McLane described as “a sad, beautiful, passionate book that registers the political economy of literature and of life itself,” and Handbook of Disappointed Fate (2018). According to critic Chris Strofollino, Boyer’s work “widens the boundaries of poetry and memoir as we know them.” She was the inaugural winner of the 2018 Cy Twombly Award for Poetry from the Foundation for Contemporary Arts and winner of the 2018 Whiting Award in nonfiction/poetry. She was also awarded the Windham-Campbell Literature Prize in early 2020 and the Pulitzer Prize for General Nonfiction for her book The Undying: Pain, Vulnerability, Mortality, Medicine, Art, Time, Dreams, Data, Exhaustion, Cancer, and Care . Boyer lives in Kansas City, Missouri, where since 2011 she has been a professor at the Kansas City Art Institute.

Photo by Silvina Frydlewsky/Ministerio de Cultura de la Nación

Hari Kunzru is the author of seven novels, Blue Ruin , Red Pill, White Tears, Gods Without Men, My Revolutions, Transmission, and The Impressionist . He is a regular contributor to The New York Review of Books and writes the “Easy Chair” column for Harper’s Magazine . He is an Honorary Fellow of Wadham College Oxford, a Fellow of the Royal Society of Literature, and has been a Cullman Fellow at the New York Public Library, a Guggenheim Fellow, and a Fellow of the American Academy in Berlin. He teaches in the Creative Writing Program at New York University and is the host of the podcast Into the Zone , from Pushkin Industries. He lives in Brooklyn.

Photo by Maria Spann/The Observer

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• Creative Writing Concentration

Recommended Reading

This is not, by any means, a comprehensive list, but one that covers a wide range of genres, styles, and approaches to writing craft. Some of these books will be familiar to you, others will be wholly new; all have something to offer serious young writers eager to place themselves within a long and glorious literary tradition.

Books on Craft

The craft of poetry.

• Fussell, Paul: Poetic Meter, Poetic Form
• Gudding, Gabriel “Dung in an Age of Empire: An Defense of A Defense of Poetry”; online essay
• Hirsch, Edward: How to Read a Poem and Fall in Love with Poetry
• Hirschfield, Jane: Nine Gates: Entering the Mind of Poetry
• Howe, Susan: The Birth-mark: Unsettling the Wilderness in American Literary History, My Emily Dickinson
• Koch, Kenneth: Making Your Own Days: The Pleasures of Reading and Writing Poetry
• Longenbach, James: The Resistance to Poetry
• Oliver, Mary: Rules for the Dance
• Pound, Ezra: The ABC of Reading
• Padgett, Ron, ed.: Handbook of Poetic Forms
• Shapiro, Alan: The Last Happy Occasion
• Shelley, Percy B.: In Defense of Poetry
• Rich, Adrienne: What Is Found There: Notebooks on Poetry and Politics
• Zukofsky, Louis: A Test of Poetry

Prose Craft

• Baxter, Charles. Burning Down the House: Essays on Fiction
• Bernays, Anne. and Pamela Painter. What If? Writing Exercises for Fiction Writers.
• Burroway: Writing Fiction
• Dillard, Annie: The Writing Life
• Gardner, John: The Art of Fiction, On Becoming a Novelist
• Gerard, Philip: Creative Nonfiction: Researching and Crafting Stories of Real Life
• Heilbrun, Carolyn: Writing a Woman’s Life
• Hills, Rust: Writing in General and the Short Story in Particular
• Johnston, Bret Anthony: Naming the World
• King, Stephen: On Writing
• Kundera, Milan: The Art of the Novel
• Lamott, Anne: Bird by Bird: Some Instructions on Writing and Life
• Lott, Brett: Before We Get Started: A Practical Memoir of a Writer’s Life
• Mamet, David: Writing in Restaurants
• O’Connor, Flannery: Mystery and Manners
• Stern, Jerome: Making Shapely Fiction
• Woolf, Virginia: A Room of One’s Own
• Yeats, W.B.: Essays and Introductions
• Ashbery, John: Selected Poems (Penguin Poets)
• Becker, Robin: The Horse Fair
• Bernstein, Charles: My Way: Speeches and Poems
• Bishop, Elizabeth: Poems, Prose and Letters (LOA edition)
• Dickinson, Emily: The Poems of Emily Dickinson, (ed. by R. V. Franklin)
• Eady, Cornelius: Brutal Imagination
• Estrada, Álvaro: María Sabina: Her Life and Chants
• Fulton, Alice: Cascade Experiment: Selected Poems
• Gay, Ross: Against Which
• Gilbert, Jack: The Great Fires, Refusing Heaven
• Ginsberg, Allen: Howl
• Gluck, Louise: The Wild Iris, The Seven Ages
• Groff, David: The Theory of Devolution
• Hacker, Marilyn: Love, Death, and the Changing of the Seasons
• Hall, Donald: Without
• Hoagland, Tony: What Narcissus Means to Me
• Jabes, Edmond: From the Book to the Book: An Edmond Jabes Reader
• Jordan, A. Van: Quantum Lyrics: Poems
• Justice, Donald: Collected Poems
• Kenyon, Jane: Otherwise
• Koch, Kenneth: Selected Poems: American Poets Project
• Komunyakaa, Yusef: Pleasure Dome: New and Collected Poems
• Levertov, Denise: Selected Poems
• Levine, Philip: New Selected Poems
• Levis, Larry: The Selected Levis
• Lorde, Audre: The Selected Poems of Audre Lorde
• Matthews, Sebastian: We Generous
• Matthews, William: Search Party: Selected Poems
• Merwin, W.S.: Four Books of Poems: The Moving Target, The Lice, The Carrier of Ladders, Writings to an Unfinished Accompaniment
• Nelson, Marilyn: The Fields of Praise: New and Selected Poems
• Olds, Sharon: Strike Sparks: Selected Poems
• Oliver, Mary: Thirst, Red Bird, or any collection
• Parker, Alan Michael: Elephants and Butterflies
• Pound, Ezra: The Cantos
• Rich, Adrienne: The Dream of a Common Language
• Roethke, Theodore: Any poetry collection
• Rosal, Patrick: Uprock, Headspin, Scramble and Dive, My American Kundiman
• Shelley, Percy B.: Poetical Works
• Simic, Charles: Sixty Poems
• Spahr, Juliana: Response
• Spicer, Jack: The Collected Books of Jack Spicer
• Stern, Gerald: This Time: New and Selected Poems
• Stevens, Wallace: Collected Poems
• Stewart, Susan: Columbarium
• Thomas, Dylan: Collected Poems
• Trethewey, Natasha: Bellocq’s Ophelia
• Voigt, Ellen Bryant: Messenger: New and Selected Poems
• Weiner, Hannah: Little Books, Indians
• Whitman, Walt: Leaves of Grass, Poetry and Prose, Library of America College Edition
• Williams, C.K.: Collected Poems
• Wilner, Eleanor: Reversing the Spell
• Winters, Anne: The Displaced of Capital
• Wright, Charles: The World of the Ten Thousand Things: Poems 1980 – 1990
• Yeats, W.B. Yeats: Collected Poems

Plays, Drama

• Albee, Edward: Who’s Afraid of Virginia Woolf?, The Goat: Or Who is Sylvia?
• Durang, Christopher: Sister Mary Ignatius Explains It All For You, The Marriage of Bette and Boo
• Fuller, Charles: A Soldier’s Play
• Guare, John: Six Degrees of Separation, The House of Blue Leaves
• Hansberry, Lorraine: A Raisin in the Sun
• Hellman, Lillian: Little Foxes, The Children’s Hour
• Henley, Beth: Crimes of the Heart
• Howe, Tina: Coastal Disturbances, Painting Churches
• Hwang, David Henry: M Butterfly
• Inge, William: Picnic, Come Back, Little Sheba
• Kushner, Tony: Angels in America
• Mamet, David: American Buffalo, Glengarry Glen Ross
• McDonough, Martin: The Pillowman, The Beauty Queen of Leenane
• McNally, Terrence: Master Class, Love! Valour! Compassion!
• Miller, Arthur: The Crucible, Death of a Salesman
• Norman, Marsha: ‘night, Mother
• O’Neill, Eugene: Long Day’s Journey Into Night, Morning Becomes Electra
• Parks, Suzan-Lori: Topdog/Underdog
• Pinter, Harold: Betrayal, The Homecoming
• Shange, Ntozake: For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf
• Shepard, Sam: True West, Buried Child
• Stoppard, Tom: The Real Thing, Rosencrantz and Guildenstern are Dead, Travesties
• Strindberg, August: Miss Julie
• Vogel, Paula: How I Learned to Drive
• Wasserstein, Wendy: Uncommon Women, The Heidi Chronicles
• Williams, Tennessee: A Streetcar Named Desire, Cat on a Hot Tin Roof, Summer and Smoke
• Wilson, August: Fences, Ma Rainey’s Fat Bottom, The Piano Lesson
• Wilson, Doug: I Am My Own Wife

Short Fiction

• Anderson, Sherwood: Winesburg, Ohio
• Barrett, Andrea: Servants of the Map
• Barthelme, Donald: any of his short story collections
• Bausch, Richard: The Stories of Richard Bausch
• Bloom, Amy: Come to Me
• Boyle, T.C.: T.C. Boyle Stories
• Butler, Robert Olen: A Good Scent From a Strange Mountain
• Buzatti, Dino: Restless Nights
• Bynum, Sarah Shun-lien: Madeleine is Sleeping
• Carver, Raymond: Cathedral, What We Talk About When We Talk About Love
• Colwin, Laurie: The Lone Pilgrim,
• Diaz, Junot: Drown
• Dinasen, Isak: Winter Tales
• Gurganus, Alan: White People
• Haslett, Adam: You Are Not A Stranger Here
• Hempl, Amy: Reasons to Live
• Hijuelos, Oscar: The Mambo Kings Play Songs of Love
• Jen, Gish: Who’s Irish?
• Jin, Ha: The Bridegroom
• Johnston, Bret Anthony: Corpus Christi
• Joyce, James: The Dubliners
• Lahiri, Jhumpa: Interpreter of Maladies
• Link, Kelly: Magic for Beginners
• Malamud, Bernard: The Magic Barrel
• Millhauser, Steven: In the Penny Arcade
• McPherson, James Alan: Elbow Room
• Moore, Lorrie: Like Life, Birds of America, Self-Help
• Munro, Alice: Runaway, or any of her short story collections
• O’Brien, Tim: The Things They Carried
• O’Connor, Flannery: A Good Man is Hard to Find, Everything that Rises Must Converge
• Richter, Stacey: My Date with Satan
• Saunders, George: Civil War Land in Bad Repair
• Smiley, Jane: The Age of Grief
• Trevor, William: After Rain
• Welty, Eudora: A Curtain of Green, Collected Stories

Memoir, Essays & Other Creative Non-fiction

• Allison, Dorothy: Bastard Out of Carolina
• Baldwin, James: The Fire Next Time
• Barthes, Roland: Camera Lucida: Reflections on Photography
• Beard, Jo Ann: Boys of My Youth
• Brown, Claude: Manchild in the Promised Land
• Burroway, Janet: Writing Fiction
• Capote, Truman: In Cold Blood
• Daum, Megan: My Misspent Youth
• Dericotte, Toi: The Black Notebooks: An Interior Journey
• Didion, Joan: The White Album, Slouching Towards Bethlehem, The Year of Magical Thinking
• Dillard, Annie: The Writing Life, Pilgrim at Tinker Creek
• Dinasen, Isak: Out of Africa
• Eggers, Dave: A Heartbreaking Work of Staggering Genius
• Fadiman, Anne: Ex Libris: Confessions of a Common Reader
• Fraser, Joelle: Territory of Men
• Grealy, Lucy: Autobiography of a Face
• Guibert, Herve: Ghost Image
• Lewis, C.S.: Surprised by Joy
• Markham, Beryl: West with the Night
• Nabokov, Vladimir: Speak, Memory
• O’Connor, Flannery: The Habit of Being
• Patchett, Ann: Truth and Beauty
• Roethke, Theodore: Straw for the Fire
• Sanders, Scott Russell: A Private History of Awe
• Scalapino : Zither & Autobiography
• Sedaris, David: Me Talk Pretty One Day, Naked
• Sontag, Susan: Against Interpretation, Illness as Metaphor
• Thomas, Lewis: Lives of a Cell, The Medusa and the Snail
• Thompson, Hunter S.: Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream
• Vowell, Sarah: Partly Cloudy Patriot
• Walls, Jeannette: The Glass Castle
• Williams, Terry Tempest: Refuge
• Wolff, Tobias: This Boy’s Life
• Woolf, Virginia: A Room of One’s Own
• Wright, Richard: Black Boy
• Yeats, W.B.: Autobiographies
• Atwood, Margaret: The Handmaid’s Tale, The Blind Assassin
• Bechard, D.Y.: Vandal Love
• Bloom, Amy: Away
• Byatt, A.S.: Possession
• Cain, James M.: The Postman Always Rings Twice, Double Indemnity, Mildred Pierce
• Cary, Joyce: The Horse’s Mouth
• Chabon, Michael: The Mysteries of Pittsburgh, Wonder Boys
• Chopin, Kate: The Awakening
• Coetzee, J.M.: Disgrace, Waiting for the Barbarians
• Colwin, Laurie: Happy All the Time
• Crace, Jim: Being Dead
• Cunningham, Michael: The Hours, A Home at the End of the World
• Dalton, John: Heaven Lake
• Danticat, Edwidge: The Farming of Bones
• DeLillo, Don: Mao II, White Noise, Underworld
• Diaz, Junot: The Brief and Wondrous Life of Oscar Wao
• Doctorow, E.L.: Ragtime, The March
• Early, Tony: Jim the Boy
• Eugenides, Jeffrey: Middlesex, The Virgin Suicides
• Faulks, Sebastian: Birdsong
• Flagg, Fannie: Fried Green Tomatoes
• Flaubert, Gustav: Madame Bovary
• Gibbons, Kaye: Ellen Foster
• Gordimer, Nadine: The House Gun, July’s People, The Conservationist, Get a Life
• Gruen, Sarah: Water For Chocolate
• Hagedorn, Jessica: The Dogeaters
• Haruf, Kent: Plainsong
• Hosseini, Khaled: The Kite Runner
• Hulme, Keri: The Bone People
• Hurston, Zora Neale: Their Eyes were Watching God
• Jones, Edward P.: The Known World
• Kundera, Milan: The Book of Laughter and Forgetting, The Unforgettable Lightness of Being
• Kennedy, William: Ironweed (or any of the Albany Trilogy)
• Kingsolver, Barbara: The Poisonwood Bible
• Lahiri, Jhumpa: The Namesake
• Livesey, Margot: Eva Moves the Furniture, Criminals, The House on Fortune Street
• McCarthy, Cormac: The Road, Blood Meridian, No Country for Old Men
• McDermott, Alice: Charming Billy, That Night
• McEwan, Ian: Atonement, The Child in Time, Enduring Love
• Miller, Henry: Tropic of Cancer
• Millhauser, Steven: Martin Dressler
• Min, Katherine: Secondhand World
• Mitchell, David: Cloud Atlas, Black Swan Green
• Morrison, Toni: Beloved, Song of Solomon
• Nabokov, Vladimir: Lolita
• Oates, Joyce Carol: Them
• O’Brien, Flann: At-Swim-Two-Birds
• Ondaatje, Michael: The English Patient
• O’Neill, Joseph: Netherland
• Patchett, Ann: Bel Canto, The Magician’s Assistant
• Petersen, Per: Out Stealing Horses
• Robinson, Marilyn: Housekeeping, Gilead
• Russo, Richard: Empire Falls
• Salter, James: A Sport and a Pastime
• Saramago, Jose: Blindness
• Saterstrom, Selah: The Pink Institution
• Schutt, Christine: Florida
• Sebold, W.G.: Austerlitz
• Sharpe, Matthew: The Sleeping Father
• Shields, Carol: The Stone Diaries
• Smith, Lee: Fair and Tender Ladies, Oral History
• Spencer, Scott: A Ship Made of Paper
• Stegner, Wallace: Angle of Repose
• Stephens, James: The Crock of Gold
• Strout, Elizabeth: Amy and Isabelle
• Styron, William: Sophie’s Choice
• Tan, Amy: The Kitchen God’s Wife
• Trevor, William: Any of his books
• Truong, Monique: The Book of Salt
• Updike, John: The Centaur, Rabbit Run
• Vonnegut, Kurt: Slaughterhouse Five
• Walker, Alice: The Color Purple
• Warren, Robert Penn: All the King’s Men
• West, Nathaniel: The Day of the Locust, Miss Lonelyhearts
• Woolf, Virginia: Mrs. Dalloway, To the Lighthouse
• Yates, Richard: Revolutionary Road

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Creative Writing Graduate Programs

About the Program and Placement Record

• Faculty Research Areas
• Teaching Assistantships

Creative Writing M.A.

• Admission Requirements
• Degree and Graduation Requirements
• Master's Essay
• Master's Thesis

Creative Writing Ph.D.

• Doctoral Dissertation
• Foreign Language Requirement
• Ph.D. Comprehensive Examination

One of the first universities in the country to offer a Ph.D. in Creative Writing, Ohio University continues as home to a thriving, widely respected graduate program with concentrations in poetry, fiction, and creative nonfiction.

Small by design, our graduate program offers a comprehensive curriculum, an award-winning faculty and the intimacy of small classes.

Placement Record

Over the past three years, seven of our nine graduating creative writing Ph.D. students have landed tenure-track jobs, post-doctorates, or prestigious visiting writer posts. Our MA graduates go on to study in the top MFA and Ph.D. programs.

• English M.A. Placements
• English Ph.D. Placements

Students in the Creative Writing M.A. and Ph.D. programs enjoy:

• Graduate stipends, up to $15,000 per year, with opportunities to teach a wide range of courses, including creative writing workshops
• Generous graduate student travel funding
• Editorial fellowships on New Ohio Review , Quarter after Eight , and Brevity
• Opportunities to interact with distinguished visiting writers

M.A. candidates complete two years of study and write a thesis of creative work in their genre. Doctoral candidates complete five years of study, comprehensive exams, a major critical essay, and a creative dissertation.

Literary Journals

The department and its students publish three literary journals:

• New Ohio Review , a national literary journal
• Quarter After Eight , a prose journal edited by graduate students
• Sphere , an undergraduate journal

Annual Events

The department hosts several annual events including an ambitious Spring Literary Festival that brings five nationally distinguished writers to campus for three-days of readings, craft talks, and student discussion. Recent visitors have included Tony Hoagland, Kathryn Harrison, Barry Lopez, Francine Prose, Peter Ho Davies, Kim Addonizio, David Shields, Robert Hass, Charles Simic, Yusef Komunyakaa, and Marilynne Robinson.

Visiting writers engage with our program year-round as well, appearing in both undergraduate and graduate classes, meeting one-on-one with select students, and offering evening readings in the intimate Galbreath Chapel.

In addition to a regular Dogwood Bloom reading series for our graduate students, the creative writing program hosts an annual Writers' Harvest benefit reading for the Southeastern Ohio Food Bank?s Second Harvest, a food distribution program serving Athens, Hocking, Perry, Vinton, Jackson, Gallia, Meigs, Morgan and Washington counties.

Postgraduate Advanced Clinical Education (PACE) study support guide: 6.1 Academic writing

• 1. University jargon-buster
• 2. Library resources
• 3. Literature searching
• 4. Plagiarism
• 5.1 Using EndNote
• 6.1 Academic writing
• 6.2 Reflective practice & writing
• 6.3 Understanding feedback
• 6.4 Presentations
• 6.5 Preparing for exams and OSCEs

Academic vs professional writing

• Similarities
• Differences

Things to avoid in academic writing

• Writing in bullet points
• Having paragraphs of only one or two lines
• Forgetting to reference fully
• Making statements that are not backed by evidence
• Selecting the first piece of evidence that seems roughly related, thinking ‘that will do’
• Including irrelevant information or wandering from the point
• Neglecting to redraft and proof-read carefully

Academic writing shares some commonality with professional writing, they both:

• follow specific criteria
• have their own layout and formatting conventions
• are written in a formal style
• are need to be well presented and should be thoroughly proof-read
• must meet stated deadlines

It can be helpful to think of academic writing as a different genre with different conventions, style and expectations. Being aware of these differences can help you adapt your writing for an academic audience:

Writing for an academic audience	Writing for a professional audience
Written to demonstrate your learning and meet marking criteria	Written with a specific purpose and audience in mind (e.g. patients, healthcare professionals, managers)
Written in continuous prose with complete paragraphs and full sentences	Can  be written using bullet points and very short paragraphs of a few lines
Explores ideas	Presents information Developing your ideas and arguments Generating ideas Writing strategies Developing a coherent argument and position in academic writing is often done in the stages before   and  after you start writing. Planning helps prevent your ideas from wandering, and redrafting can help identify and sharpen up your argument, so it is good to allow enough time for these stages in longer pieces of work. If you are finding it difficult to work out what you think in the midst of all the views of other people, try asking yourself questions about the validity of the evidence that others are basing their views upon:  Do you agree or disagree with their standpoint and, importantly,  what is making you agree or disagree?   A questioning attitude is the basis of critical thinking…and critical thinking is not just something we do when writing academically.  The Critical analysis guide produced by the University's Study Advice Team gives tips on critical thinking, reading and writing: Critical Analysis: Thinking, Reading, and Writing Good assignment planning starts with ideas generation and identifying what you know and what you want to find out. Before readin g This is a really valuable stage which many people miss out, but it makes your reading and planning much easier. Before rushing into your reading, note down your initial thoughts about the question/topic - an essay plan, spider diagram or mind map are all good techniques for this. The kinds of things to note briefly are: What you already know about the topic  - from professional experience, lectures, seminars, general knowledge Things you do not know about the topic -  but need to find out in order to answer the question Initial responses or answers to the question  - what you think your conclusion might be at the start This helps you start formulating your argument and direction for answering the question. It also helps you focus your reading, as you can pinpoint what you need to find out and go straight to the parts of books, chapters, articles that will be most relevant. After reading After your reading, it is often good to summarise all your findings on a page – again, a spider diagram or mind map can help with this. Bringing together the key points from your reading helps clarify what you have found out, and helps you find a pathway through all the ideas and issues you have encountered. If you include brief details of authors and page nos. for key information, it can act as a quick at-a-glance guide for finding the evidence you need to support your points later. It also helps you see how your initial response to the question might have changed or become more sophisticated in light of the reading you've done. It leads into planning your essay structure which can be done in any way that suits you best: A bullet point list, spider diagram, short summary. It does not matter as long as you have a ‘road map’ to keep you on track when writing. If you are finding it hard to get started, or there are certain aspects of your academic writing you’d like to develop, try some of these quick writing strategies: Get over the initial blank page Stop deleting or over-editing Overcome perfectionism Get the ideas in your head down on paper Set a timer for a short amount of time (say 5 or 10 mins) then start writing. The aim is to write continuously for that time without deleting, searching for references or saying it is rubbish. If you don’t know something write ‘I don’t know’ and carry on. Identify your own argument Keep a coherent thread throughout the assignment Develop your own voice See the bigger picture Can you summarise your overall answer to your assignment question in a paragraph? Try writing a short summary of your argument and refer to it to help ensure you are bringing this out clearly throughout your writing Get started Identify your key points Write a lot in one go Write an assignment from start to finish If you are used to writing in bullet points, use this to help develop your structuring. Make a bullet point list of your main points for the assignment, then treat these as sub-headings (you can always remove them later if your marker doesn’t like headings). Then start to write the detail and fill in each section more fully under each bullet point. Ensure your argument is clear Form well-structured paragraphs Stop your paragraphs from wandering  Use a highlighter and go through your first draft highlighting the first and last lines of each paragraph. Do they all link to your main argument? Does the first line act as the introduction to the paragraph and the last line act as the conclusion? Is the paragraph long enough – are there more than just two lines? Does the paragraph deal with one main point or does it wander about?  Stay relevant to the question Ensure you are analysing critically Ensure there is a good balance to each paragraph Use a highlighter and highlight the pieces of evidence you use in your first draft – check that each piece of evidence is relevant and supports your point (not just loosely based on the same topic). Check that you have enough evidence and that you are analysing it, not just presenting it. Your argument/position You can think of the argument running through a piece of academic writing like a river. Sometimes it is only possible to identify your argument clearly once you have written your first draft, as the act of writing helps clarify your thoughts. We often do not know what our position is on an issue until we have expressed what we think. The redrafting stage is a good time to identify that argument and draw it out fully. You can do this by making sure that there is a consistent message (or river) running from your introduction to your conclusion, and that every paragraph has a role to play in advancing this message Skip to  45 seconds in  on this short video for an explanation of the idea of an argument as a river, or feel free to watch the whole video for more on Structuring your Essay.  If you are unable to view this video on YouTube it is also available on YuJa - view the Structuring your essay video on YuJa (University username and password required) Try this writing strategy What's my argument? Can you summarise your overall answer to your assignment question in a paragraph? Try writing a short summary of your argument and refer to it to help ensure you are bringing this out clearly throughout your writing. For more writing strategies to help develop your academic writing see the ‘Writing strategies’ page in this guide. Structuring your work and paragraphing Paragraph model Using evidence Writing concisely Proof reading Structure is important in academic writing because it helps to make your ideas clear, guides the reader's comprehension and can strengthen your arguments. Some academic writing, such as scientific reports, have a given structure or template. In this case, you should find out what is required under each heading and adhere to this; it is most likely mapped to the marking criteria so you will lose marks for not following a stated structure. Other writing might require you to select and organise the material you are writing yourself and so develop a structure from scratch.  Usually, in the introduction you should set out the structure so that the reader knows what to expect and the order in which it will be presented. The order in which information is presented should be logical so that the reader can follow your ideas and research, ideally write your structure with just one point/argument/idea per paragraph. In addition, the ideas should flow or be linked so that the reader is drawn through an explanation or argument, rather than stopping and starting at each new point.  The conclusion to the piece should draw together all the points or ideas and come to a conclusion. Whether you are following a template or devising your own structure, paragraphs in academic writing can be thought of like a ‘mini-essay’ with an introduction, main body and conclusion. The first line introduces the point being made, the main body presents and discusses the evidence to support the point and the final line concludes the point and links it back to the assignment title. Other useful guides Grammar Supporting information on grammar, including nouns and sentences Punctuation Supporting informaton on punctuation including commas, semi-colons, colons and apostrophes. When presenting a point of view, such as a line of argument for an essay, decide on the main points that you want to communicate. A paragraph can be planned (like a mini-essay) using the PEEL format: What is the main topic of your paragraph? What evidence is there to support this point? How and why does the evidence support the point? What contribution does this point make to your overall argument? Like any model, not all your paragraphs will fit neatly into this framework, but it is a useful guide to check the balance of your paragraphs: Do you have a clear point? Does the end of the paragraph link to the beginning? Have you interpreted your evidence not just left it there to ‘speak for itself’? Also it is helpful to think of the length of your paragraphs. If they are only a few lines long, it is unlikely you are interpreting your evidence fully. If they are over a page in length, it is likely you have more than one main point and need to separate them out. Skip to  5 minutes in  on this video tutorial for an explanation and example of the model paragraph or feel free to watch the whole video for more on Targeted Reading and Use of Evidence. If you are unable to view this video on YouTube it is also available on YuJa - view the Targeted reading and use of evidence video on YuJa (University username and password required) You do not have to refer to each piece of evidence in the same depth. Sometimes you need to show that you understand the wider context of the issue, and a short summary of the key issues and key researchers is all that is needed. For example: Many studies have investigated household accidents caused by cheese. These studies disagree about the most significant reasons for cheese-based injury with some arguing that choking on cheese poses the highest risk (1-3). Other studies claim that burns from melted cheese are more hazardous (4,5), whilst a minority of recent studies have identified slipping on cheese as a growing danger (6). A significant amount of reading and in-depth understanding of the field is demonstrated in those sentences above even though the individual mentions of the evidence are quite short. The summary maps out the state of current research and the positions taken by the key researchers, and despite being short it has taken careful reading, grouping, identification, and understanding of the issues. Sometimes you need to go into greater depth and refer to some sources in more detail in order to interrogate the methods and standpoints expressed by these researchers. For example: A recent study introduces a new model for assessing the relative dangers of cheese related-injuries, identifying the overall total damage done as more important than the frequency of injuries (1). However, this model does not adequately take into account the theory of 'Under-reporting' which states that people are less likely to report frequently occurring small accidents until a critical mass of injuries are reached (2). Even in this more analytical piece of writing, only the relevant points of the study and the theory are mentioned briefly - but you need a confident and thorough understanding to refer to them so concisely. If you find it challenging to integrate evidence into your paragraphs, have a look at: Academic Phrasebank Use this site for examples of linking phrases and ways to refer to sources. See also this video from the University's Study Advice Team on effective paraphrasing for postgraduates: If you are unable to view this video on YouTube it is also available on YuJa - view the Effective paraphrasing for postgraduates video on YuJa (University username and password required) Do not be tempted to use complex language or expressions that are not your own, just to make your writing appear "academic". Use straightforward language. Your reader needs to understand the information or ideas that you are conveying. Communicate succinctly without losing vital information or meaning. It is often easier to write fluently and then to edit out unnecessary words and phrases. Some academic writing, such as scientific informatoin, needs to be especially precise. A reader may need to have all the information required to understand exact conditions of a scientific study and to replicate it. Using simple sentences can be helpful. Avoid using non-quantifiable descriptions, such as: The company's production rate was high <--replace with--> The company produced 16,00 units per week. The wind was strong <--replace with--> The wind measured 6 on the Beaufort scale. Editing tips to reduce word count Cross out unnecessary words Go through a paragraph that you have written and cross out any words, or phrases or even a sentence that may be unnecessary. (Or 'grey it out' – change the text colour of the words you might remove to light grey.) Read it again to see if you have lost anything essential to the information or meaning. If you have not, then delete it permanently. Replace phrases with single words meaning the same The researcher wanted to find out <--replace with--> The researcher enquired Summarise each paragraph in a sentence Try writing one sentence which sums up each paragraph. Then read through and rank in importance to your overall answer to the question. Take out the paragraphs that are least important. Your written work may be interesting, well structured and informed. Yet it may still make a bad impression because of poor proof reading. Part of your assessment will usually relate to the standard of your written English. It's important to pay attention to things like tenses, gender, plurals and the structure of your sentences, especially if you have rewritten or moved sections of your work. It's easy to lose marks - but it's also easy to make sure you don't. Below are ten brief tips to help you to proof read your work as effectively as possible. Use of editorial and proof reading services The University policy on the use of proof reading and editorial services Top tips for effective proof reading Print it off  - it's much more difficult to read onscreen and there's always the temptation to start doing major rewrites. Leave it a day -  if you can, leave some time between finishing your full draft and proof reading. It's easier to read critically when it's not so fresh in your mind. Read aloud - s mall errors of expression and punctuation are more likely to become obvious if you read aloud. Punctuate your reading  - put pauses in for punctuation when you read, timed differently for different punctuation marks - so take a breath for commas, come to a halt for full stops. This is a good way to see if your sentences are too long or too short. Take it slowly -  if you have time to do a really thorough proofing, first read each sentence in a paragraph one at a time to make sure each makes sense. Then read the whole paragraph. Finally, when you've read all the paragraphs, read the whole essay through. Take care with cut and paste  - if you decide to move things about, don't forget to check the whole sentence again afterwards to make sure all the tenses, genders and plurals agree. Using the grammar check tool in Microsoft Word can help to prevent any errors. Learn punctuation rules  - make sure you know how to use commas, apostrophes, colons and semi-colons. For more on this, see the  page in this guide on Punctuation . Check your referencing  - always check your course handbook for preferred conventions - if you have to reference something that's not covered there, be consistent. Get another view  - ask a friend to read through your work and tell you if it makes sense (NOT correct it for you). Offer to do the same for them. Especially good if you can't leave time between writing and proofing - another pair of eyes will be fresher. Use your feedback  - always read and learn from your academic feedback. Use it to make a list of the things you often get wrong. Look out for these especially. They should start to disappear as you get used to doing them right. Writing at level 7 Tips for writing at level 7 Accuracy and complexity When at studying level 7 (Masters Level), your academic writing must reflect the level of critical analysis, synthesis and application to practice commensurate with this level of study.   Studying at level 7 means developing your studying practices from those suited to being an independent  learner  to those suited to being an independent  practitioner . You will be working at a more complex and sophisticated level, with a need for broader and more independently sourced resources. You will need not only to evaluate what other people have found but also to put your own knowledge and research into context. You will be expected to be meticulous and professional and show higher standards of scholarship. The advice on this page aims to explain some of the differences between undergraduate and Masters level study. The full marking criteria for taught postgraduate study can be found at the link below, the information in this section of the guide interprets this information to the context in which you are doing your studies. Assessment handbook Guidance on the requirements for assessments are included in the individual module handbooks.  Some overarching principles will apply across all the assessments for all practitioners: Consider how you can  analyse  what you are writing to critique your role, the evidence and/or the outcome to show self-awareness of the implications to your practice Avoid simple descriptions and presentation of ideas; try questioning each step in the process, and then use these questions to challenge your practice When analysing situations ensure you consider the opinions of others, either through your workplace-based learning communication and/or the available evidence to produce an outcome i.e. an argument for what you perceive happened/should happen Consider the accuracy, relevance, validity and contribution of evidence i.e. critically appraise the evidence Ensure you bring in reflective elements to your writing, especially in your reflective accounts, remembering these sections should usually be written in the first person When writing reflectively consider how your history/experiences have shaped your career and professional values i.e. how have you been influenced by the circumstances you are describing Think about how you can show critical awareness of current problems and/or new insights in  professional practice Key concepts of level 7 writing Achievement of level 7 study includes: ability to deal with complex problems, integrating theory to professional practice make sound judgements and communicating your conclusions clearly demonstrating self-direction in problem-solving acting autonomously, using own initiative and taking personal responsibility for professional practice critical awareness of professional practice, including self-reflection Accurate and appropriate use of language in your writing is one way of demonstrating academic rigour. You will need to be more thoughtful about the way you use language.  Remember that the best writing style is clear and accurate, not unnecessarily complicated.  If English is not your first language, there is more specialised support and advice available from the University's International Study and Language Institute website (link below). At level 7 you cannot get away with writing about something that you only vaguely understand, or squeezing in a theory in the hope it will gain extra marks - your markers will be able to tell, and this does not demonstrate the accuracy or professionalism of a researcher. Imagine you write the sentence: "Freudian psychoanalysis demonstrates how our personalities are developed from our childhood experiences." At level 7, the word 'demonstrates' becomes very loaded and potentially inaccurate. This is because you are expected to interrogate the assumptions, boundaries, and way in which knowledge is constructed in your subject. With this in mind, the sentence above raises a lot of contextual questions: To what extent could Freud's theory of psychoanalysis really be said to 'demonstrate' the origins of our personalities? What part of Freud's many theories are you referring to when you write 'psychoanalysis'? What about the developments in psychoanalysis that have happened since Freud, and the many arguments against his theories? Your writing needs to take these questions into account, and at least be aware of them, even if you don't address all of them. Do not just stop at discussing the pros and cons of a debate; academics rarely agree on interpretations of theories or ideas, so academic knowledge is more like a complex network of views than two clear sides. International Study and Language Institute (ISLI) Courses and resources to support the learning of English as a second language. Writing at level 6 Communicating your ideas Being original When studying at level 6 (Bachelor's level) you will be aware that you need to develop your academic writing for higher education - but how? Will you need to use a lot of long words and complicated sentences? Will you be expected to include some original idea that no-one else has ever written about to get good marks? Actually neither of these are what good academic writing is about. Rather you will need to be able to communicate complicated ideas clearly, know how to support the things you say with evidence, and explain your thinking. Academic rigour means checking and testing information to assess whether it is free of errors and is backed by accurate and appropriate evidence. It needs to be strong so that it can support your arguments - like making sure foundations will hold a building up.  Whether you are writing about someone else's ideas or your own, you will be expected to support the points you wish to make with evidence, perhaps from your own primary research or observations, or from your reading. When this evidence is taken from someone else's work (a book, journal article or website, for instance), you need to provide a reference or citation to show the source. The full marking criteria for bachelor's study can be found at the link below, the information in this section of the guide interprets this information to the context in which you are doing your studies. Assessment handbook - marking See Annex 1 and 2 for detailed marking and assessment criteria for undergraduate and postgraduate work. See Annex 1 for detailed marking and assessment criteria for undergraduate work. N.B. for all CIPPET modules offered at level 6, the pass mark is 50% not 40%. In higher education, you are going to be asked to think about, explain and discuss a complex range of ideas and arguments. You may be bringing together ideas from a number of different scholars that you have read, for instance: or showing what the results of your own primary research mean in the context of a particular problem. In either case, it's important to write clearly so that your reader can be certain that they understand what you're saying, and that you understand what you're writing about. How is this different from your previous study? The ideas you're expressing will be more complex than those you have been used to working with, so you may need to spend more time thinking about what you want to say before you start writing.  You may need to use specialist terms - if you do, it will be important that you understand what they mean and use them appropriately. You will need to be more careful and rigorous in your writing: to make sure that your words and phrases convey exactly what you mean to say. You will have longer assignments and being accurate will be more important, so you'll need to give yourself plenty of time for proof-reading. Avoid long, complex sentences...  You are less likely to lose track of what you are trying to say if you write in shorter sentences. If you need to link a number of ideas together in a sentence, make sure you separate them with appropriate punctuation: commas, semi-colons, colons and parentheses. More on how to use punctuation. Longer words don't make your writing more academic...  A good piece of advice is to 'write to express, not to impress'. You are looking for words that will best communicate your ideas. Sometimes these will be long complicated words and sometimes they will be shorter. What you need is the most appropriate words for the job they have to do. Give your reader signposts...  If you tell your reader what you are going to say, they will know what to look out for. Include a few sentences in your introduction on how you are going to answer the question: something like, "This essay will discuss the proposition that Brown's thesis is flawed. The proposition will be examined by first considering x, then looking at y, and finally z. Conclusions will then be drawn about the validity of Brown's thesis." Then start each of your sections with a topic sentence (or sub-heading, in a report) that shows what it is you are going to be discussing. Watch out for informality and vagueness...  You are trying to reduce any possibility of your reader misunderstanding what you are trying to say, so aim to avoid the kind of language that might be interpreted differently by different readers. More on writing formally: Communicating your ideas clearly Try these exercises on writing style to get you thinking about the way you write. Academic writing guide Guide to what you need to know about writing appropriately and correctly for UK higher education, including information on effective proof-reading. It is confusing when you are told you need to be original in your thinking - but then you are told that you need more references to other people's work too. In higher education, being original is rarely about having a brilliant idea that no-one has ever had before. Rather it means that you will be expected to take different sources of information and think about how they fit (or do not fit) together so that you can work out your own interpretation and understanding of the topic.   Always start from your own ideas…  so that you are less likely to fall into the trap of uncritically believing the first scholar you read. Before you start doing detailed research, take what you know already about the topic, and use it to make an educated guess about the answer to the question or main message about the topic you are researching. Then test that idea against your reading or research. Your conclusion is for summing up…  not for adding speculative ideas with no evidence to support them. If you have a brilliant original idea and can show how you worked it out and how it fits into the evidence you have, then include it in the main body of your work. Do not worry!...  your work will naturally be original if you always think critically and have a bit of confidence in your own interpretations and evaluations. If you and your best friend both read the same books and articles, attended the same lectures, and wrote an answer to the same question, they would still both be different and original, provided you do your own thinking and don't uncritically believe other people's ideas. Practise original thinking Try this exercise to see how two people can come up with different arguments, even when they're using the same material. << Previous: 6. Assignment guidance Next: 6.2 Reflective practice & writing >> Last Updated: Aug 27, 2024 2:32 PM URL: https://libguides.reading.ac.uk/pace You are using an outdated browser. Please upgrade your browser to improve your experience. University of Reading Cookie Policy We use cookies on reading.ac.uk to improve your experience. Find out more about our cookie policy . By continuing to use our site you accept these terms, and are happy for us to use cookies to improve your browsing experience. Continue using the University of Reading website Subjects A-B Agriculture Ancient History Anthropology Archaeology Architectural Engineering Architecture Biochemistry Biological Sciences Biomedical Engineering Biomedical Sciences Bioveterinary Sciences Building and Surveying Business and Management Subjects C-E Classics and Classical Studies Climate Science Computer Science Construction Management Consumer Behaviour and Marketing Creative Writing Criminology Engineering English Language and Applied Linguistics English Literature Environment Subjects F-G Film & Television Foundation programmes Graphic Communication and Design Subjects H-M International Development International Foundation Programme (IFP) International Relations Languages and Cultures Linguistics Mathematics Medical Sciences Meteorology and Climate Microbiology Museum Studies Subjects N-T Pharmacology Physician Associate Studies Politics and International Relations Real Estate and Planning Speech and Language Therapy Surveying and Construction Theatre & Performance Subjects U-Z Wildlife Conservation Subjects A-C Business (Post-Experience) Business and Management (Pre-Experience) Classics and Ancient History Construction Management and Engineering Consumer Behaviour Creative Enterprise Subjects D-G Data Science Digital Business Energy and Environmental Engineering Environmental Sciences Film, Theatre and Television Food and Nutritional Sciences Geography and Environmental Science Graphic Design Subjects H-P Information Technology International Development and Applied Economics Physician Associate Project Management Public Policy Subjects Q-Z Social Policy Strategic Studies Teacher training Typography and Graphic Communication War and Peace Studies BA Creative Writing and Film UCAS code WW86 A level offer BBB Year of entry 2025/26 See 2024/25 entry Course duration Full Time:  3 Years Develop and hone your creative writing while building a breadth of film knowledge and analytical skills with our BA Creative Writing and Film course. Taught jointly by the Department of English Literature and the Department of Film, Theatre and Television , on this course you will: explore your creative writing in small peer groups examine film in its various contexts: as popular entertainment, theoretical discipline and art form have the opportunity to develop your practical filmmaking skills. Creative writing and film complement each other perfectly. Exploring cinematic material and analysing creative choices will support the development of your own creative writing. Optional practical work will enhance your ability to create compelling characters and narratives. Creative writing Creative writing allows you to explore your creativity from all angles: creating characters, shaping poems, drawing on your imagination.  We offer a specially curated group of English literature modules that are designed to complement your creative writing. You’ll gain knowledge of a variety of literary, dramatic and film texts, from a range of different periods. This course aims to foster your independent thinking, using the close reading and analytical skills that are fundamental to both English literature and film. We place a strong emphasis on small-group learning within a friendly and supportive environment. Workshops are central to our creative writing community, helping you to form relationships with your peers and feel more confident about your work. In the latest National Student Survey, 100% of our students said teaching staff are good at explaining things (National Student Survey 2024, responders from the Department of English Literature). Your learning environment Modules are taught by practising, published authors who have strong links with professional writing communities. We regularly invite published authors to read from their work and participate in teaching. We’ll help you develop your creative writing skills in a variety of settings: lectures concentrate on specific, practical issues such as how to construct a character or tackle a specific literary form seminars involve small group discussions, led by one of the teaching team, with short practical writing exercises workshops allow you to explore and develop your writing in small peer groups. Creative community The Department of English Literature fosters a creative writing community that is friendly, cohesive and committed. As well as learning from lecturers, you’ll learn from each other by sharing your work-in-progress. Outside the classroom, you can share your ideas with the University’s creative writing group, Scribblers, which is run by students from across the University. You will also have the opportunity to publish your work – and gain experience in editing and publishing – by participating in our online creative writing magazine . On your film modules, you’ll pursue your passion for film with leading academics and visiting practitioners, and apply what you’ve learned through practical filmmaking modules. Experience the theoretical study of film from the late nineteenth century to the modern day, including world cinema, avant-garde and experimental filmmaking. Explore the cinema of classical and contemporary Hollywood, together with new forms of digital entertainment and video art. You can also investigate television from its origins in the mid-twentieth century to contemporary engagements with new media and digital platforms. You’ll have the opportunity to participate in group-based practical work, which will help you develop your creativity, storytelling and practical skills. You will develop your creative writing skills in the context of film and television, culminating in a creative research project or a dissertation in your final year. Film facilities Combine the study of ground-breaking theory with practical application, using our purpose-built £11m Minghella Studios facilities that feature: three theatre spaces a multi-camera film and TV studio a digital cinema dedicated recording studio and mixing suite. Placements and study abroad with BA Creative Writing and Film Throughout your degree you will be thinking about the career choices that will enable you to thrive after graduation: we will help you put in place the skills and experience that you need to launch that career. You also have the opportunity to undertake a Professional Placement Year in the third year of our degree. You will be assisted by our Placement Team , which will support you to secure a placement and prepare for the year. Placements give you a fantastic opportunity to explore potential future careers and to put your academic learning to work in a professional context. In your second year, you can spend a semester studying abroad at one of our partner institutions in the USA, Canada, Australia, or countries across Europe. To find out more, visit our Study Abroad site . Entry requirements A Level BBB Select Reading as your firm choice on UCAS and we'll guarantee you a place even if you don't quite meet your offer. For details, see our firm choice scheme .   Our typical offers are expressed in terms of A level, BTEC and International Baccalaureate requirements. However, we also accept many other qualifications. Typical offer BBB including a grade B in English Literature or a related subject. Related subjects include: English Language, English Language and Literature, Drama and Theatre Studies, and Creative Writing. International Baccalaureate 30 points overall including 5 in English at higher level. Extended Project Qualification In recognition of the excellent preparation that the Extended Project Qualification (EPQ) provides to students for University study, we can now include achievement in the EPQ as part of a formal offer. BTEC Extended Diploma DDM (Modules taken must be comparable to subject specific requirement) English language requirements IELTS 7.0, with no component below 6.0 For information on other English language qualifications, please visit our international student pages . Alternative entry requirements for International and EU students For country specific entry requirements  look at entry requirements by country . Pre-sessional English language programme If you need to improve your English language score you can take a pre-sessional English course prior to entry onto your degree. Find out the English language requirements for our courses and our pre-sessional English programme Compulsory modules Introduction to creative writing. Develop your skills in creative writing across a range of genres. You will develop an understanding of how to compose, criticise, revise, and polish your work through workshop discussions and the completion of a critical essay.   Poetry in English From the Renaissance to the present, uncover the history of poetry as you explore key genres related to love, politics, pastoral, elegy, satire, the sonnet, the ode, and the dramatic monologue. You’ll study poems drawn from the wider English-speaking world including Ireland, the Caribbean and North America, encountering the diversity of voices found in gender and sexuality.  Approaches to Television Gain a critical understanding of central issues in television texts and fiction and non-fiction programming. You’ll examine television forms and narratives, industrial contexts, digital platforms and new delivery technologies, as well as the role of the audience and public service broadcasting. Approaches to Film  Critically interpret film texts and discover the conventions of fiction and non-fiction cinema. Explore cinema as a diverse, global and transcultural medium, focusing on historical and cultural contexts. Optional modules Introduction to drama. Discover the genre of drama as you explore a historical range of texts from the early modern periods. You’ll focus on four plays as you explore comedy, tragedy, form, structure, and the elements of change and continuity found within the genre.  Become acquainted with English literature’s material dimension and how writers, both past and present, have depicted the library as a symbol. As you study, you'll interpret poems, novels and plays, and investigate books and other archival documents as physical objects.  Modern American Culture and Counterculture Discover American countercultures in work, from 1950s Beat poetry to fiction responding to the Black Lives Matter movement. You’ll study the perspectives of African-American, Native American and white American creatives in a variety of genres: poetry, short stories, YA fiction, science fiction, drama, songs, films, war reportage and the graphic novel.  Comedy on Stage and Screen Gain insights into how comedy intersects with film, theatre and television through a series of case studies. You’ll learn how humour highlights critical issues such as identity politics (gender, sexuality, race, ethnicity, disability), taboo, embarrassment, cult, cancel or outrage culture, and explore relevant production, industrial and socio-cultural contexts. Radical Forms in Theatre and Performance Discover the history, traditions, practices, and theoretical and analytical perspectives of radical theatre-making and experimental performance practice. You’ll learn to appreciate the cultural, political, and aesthetic significance of radical experimentation in theatre and performances, and express critical understanding of creative practice and risk-taking. Thinking Translation: History and Theory Learn about the current thinking on translation by exploring some specific case studies. The historical approach to translation will allow you to develop a critical awareness of the role played by: genres, readership, institutional influences, market constraints, gender attitudes and discourses, purpose. In seminars, you will explore the challenges facing translators when dealing with literary, scientific, philosophical and political texts What is Comparative Literature?  Learn about the major critical and theoretical issues in the study of Comparative Literature, as well as the important methodologies for studying literature in a comparative context. Approach a cluster of texts from different cultural and historical traditions, you'll be be encouraged to reflect on the practices and consequences of reading transnationally. Optional Language Modules  Learn one of 10 languages offered by the University at a level appropriate for you.  These are the modules that we currently offer for 2024/25 entry. They may be subject to change as we regularly review our module offerings to ensure they’re informed by the latest research and teaching methods. Please note that the University cannot guarantee that all optional modules will be available to all students who may wish to take them. You can also  register your details  with us to receive information about your course of interest and study and life at the University of Reading. Film Forms and Cultures Discover the rich variety of film forms and explore critical and conceptual issues of form, including theoretical perspectives, questions of form, and form’s meaning and politics. Creative Writing: Creative Non-fiction Study memoirs, essays, blog posts, long-form journalism, biography and auto-fiction as you explore the exciting and ever-evolving contemporary genre. As you study these texts, you’ll write your own piece of creative non-fiction and support others with creative feedback. Myth, Legend and Romance: Medieval Storytelling Explore storytelling in medieval England as you take in the fantastical tales of ancient heroes, drama that blends comedy and religious devotion, and magic and supernatural beings. You’ll consider the stark contrast of narrative structure, character development and language use by medieval writers in contrast to our own.   Creative Writing: The Short Story Explore the process of the creative cycle, from reading literature to writing it. You’ll engage critically with a range of short stories as you encounter key debates about the form and write your own short fiction in response.  Victorian Literature Victorian literature consists of a period where authors began to consider people’s place in the world with God, the workings of the mind, and the role of class and gender in the construction of identity. You’ll engage with these ideas as you consider some of the greatest works of the period – from Dickens and Hardy to Tennyson and Elizabeth Barrett Browning.   Contemporary Fiction Study a selection of fiction from the 1980s to the present day, exploring the formal, thematic and cultural diversity of Anglophone fiction produced in this period. You’ll consider these texts within a number of social, political and historical contexts, such as multiculturalism, feminism and globalisation.  Placement and Employment Skills This module provides you with an opportunity for reflective learning and intensive research through an industry role of your choice. You’ll reflect critically on your career development and acquire transferable skills for future employment. Documentary Develop skills to critically analyse and produce non-fiction films and television through close analysis of texts and engagement with various industrial and technological contexts. You’ll engage with critical debates and conceptual issues and put ideas into practice. You’ll understand documentary-makers’ creative decision-making and their connection to ideological concerns. Writing in the Public Sphere Study literature designed to prompt social and political change as you examine speeches, pamphlets, tracts and political posters from the early modern period to the present. Consider how such literature shapes debates on race, class, religion, nationality and women’s rights across Britain and Ireland.  Reworking Shakespeare in Performance Understand Shakespeare as a powerful signifier of culture, explore adaptations of Shakespeare and learn how these relate to broader cultural and political contexts. You’ll learn about the practices and preoccupations that currently affect interpretation of Shakespeare and gain the ability to make connections between social and cultural concerns and their presentation on stage.  Creative Writing: Poetry Engage critically with a range of poems and key debates around form. You’ll write your own poetry in response, experimenting with the possibilities within the genre as you and your peers share constructive feedback.   Modernism in Poetry and Fiction Examine the concepts of modernity, modernism, and the history of early twentieth-century poetry and fiction. You’ll explore experimentation and innovation in poetic and narrative form, and their relation to wider social upheaval and cultural movements in the period.  Enlightenment Revolution and Romanticism Study the political revolutions that shook British society to its core during Age of Enlightenment (c.1680-1790): England’s bloodless ‘Glorious Revolution’ of 1688; the colonial revolution of American independence; and the French Revolution of 1789. The Business of Books  You’ll cover the history and development of modern trade publishing and have focused sessions on some of its key players, including publishers and literary agents. Through a combination of theoretical, methodological, and hands-on teaching sessions and workshops, you’ll study the role and function of books in historical and institutional contexts including libraries, bookshops, publishing houses, and board rooms.  Early Modern Literature Discover the rich and fascinating literary culture of the early modern or Renaissance period. You'll explore the ways that English literature was shaped by, and helped to re-shape, English culture in the years between the Reformation and the Civil Wars. Writing America: Perspectives on the Nation Examine the construction of American national identity in American literature from a range of different perspectives. You’ll study a diversity of American voices and central themes including myths of the frontier, Manifest Destiny, personal and political liberty, and the construction of race, gender and sexuality. Critical Thinking  Approach familiar ideas and issues from unfamiliar angles that prompt you to re-examine the unspoken grounds on which common-sense ways of thinking are based. You’ll take part in exciting and rewarding discussions on issues of language, power, and identity, ideology, gender, and race. Creative Writing Dissertation Develop a sustained piece of independent writing such as a short story, a play, a screen play or a collection of verse. You’ll work closely with a peer community of creative writers to self-organise and conduct workshops as you develop your advanced research and writing skills.  Film Dissertation Apply the knowledge and skills you’ve acquired in the previous modules to a major piece of independent work around an area you are interested in. Independently initiate and develop the project under the guidance of a supervisor. Creative Research Project Apply your previously gained knowledge and skills to a significant research-based project that includes a creative element and critical research and reflection. You’ll develop the project independently under supervision. Creative Writing Masterclass: Poetry Develop and design a short collection of poems with a view to submit to print or an online magazine. Engage with weekly workshops as you elaborate your style and voice, alongside focusing on emerging voices and subject matter.  Creative Writing Masterclass: Prose Deepen your understanding of narrative techniques and sharpen your ability to write prose. You’ll use a range of short stories, narrative non-fiction and novel extracts as a springboard, advancing your knowledge on matters such as structure, characterisation, dialogue and quality. Lyric Voices, 1340-1560 Explore lyric poetry from the Middle Ages and the renaissance. You’ll look at the presentation of themes such as love and longing, grief, and the fear of death, and compare the ways in which authors make use of literary conventions to present such themes.   Literature and Mental Health Discover how literature engaged with mental health in the first half of the twentieth century, a crucial turning point in psychology. You’ll consider the de-stigmatisation of mental health in the wake of World War I, the disciplines of psychiatry and psychology that emerged from it, and how literature engages with trauma, anxiety and obsession. British Black and Asian Voices: 1948 to the Present Examine a range of British texts (poetry, drama, novels, short stories, films) by writers of Black and Asian descent. You’ll read theoretical and historical material as you examine issues of cultural capital, national identity, and minority communities.  Performance and Design Critically explore theatre and performance design by engaging with historical and contemporary scenographic practices. You’ll learn about the role of designers in shaping and reimagining theatre and performance. You’ll advance the ways you read, see and encounter the visual, aural, spatial, material and technological elements of design. Get involved in critical reading and discussions on a diverse range of international designers, methods and performance environments. You’ll gain exposure to professional contexts through visits to archives, talks or masterclasses from visiting designers and/or scholars. Advanced Scriptwriting  Create original scripts and develop your critical understanding of key storytelling issues such as narrative, character, dialogue, and place. Your scriptwriting practice will include both individual and collaborative forms of writing and rewriting, and you'll engage with discourses around scriptwriting emerging from both theatre pedagogy and screenwriting studies, including projects for decolonising stage and screen writing traditions Screen Bodies Discover how diverse bodies move on screen, and how those bodies engage the spectator’s body. You’ll explore how the screen representation of the body is shaped by culturally situated ideas about body and society, and power and desire – including creative traditions, influences, technologies, and innovations. As you examine how the screen body generates meaning, you’ll study access to representation, visibility, marginalisation, and consent. Modern and Contemporary British Poetry Study key trends in poetry's engagement with changing circumstances in England, Wales, and Scotland in the twentieth century and beyond. Consider issues including the aftermaths of modernism, gender and poetry, British poetry and post-war retrenchment, the 'poetry wars' of the 1970s and the perpetuation of 'Movement' ideals down to the present. Children's Literature Explore issues surrounding children’s literature and its criticism. Questions and analyse critical assumptions and formulations around authorship, memory, observation, readership, and identity. Placing Jane Austen Examine the movements of Austen's characters through rooms and houses, the patterns of their dances in assembly halls, the paths of their journeys through town and country. Investigate how these movements sometimes represent changes of heart or class, of mind or fortune and how they are always significant for the carefully drawn lines of her narratives. Writing Women: Nineteenth-Century Poetry Explore writing primarily by (but also about) women in the nineteenth century, including Christina Rossetti's Goblin Market and Elizabeth Barrett Browning's Aurora Leigh. Ask how women found a voice in a predominantly patriarchal society, what subjects were deemed suitable for female poets, and how such poets overcame the limitations of expectation. Decadence and Degeneration: Literature of the 1890s Engage with iconic texts in English literature, including Stoker's Dracula, Stevenson's Jekyll and Hyde, and Wilde's The Picture of Dorian Gray, while exploring what's meant by these terms 'decadence' and 'degeneration', calling, amongst many other things, on portrayals of 1890s' foppishness, Darwinian models of evolution, the emergent New Woman phenomenon, the Wilde trial, and the portrayal of prostitution. From Romance to Fantasy Explore the role played by fantastical or wondrous elements in English literature from the middle ages to the present day. Focus on a range of key narrative structures (such as the quest), persistent motifs such as magical objects, and influential modes, such as the gothic.  The Bloody Stage: Revenge and Death in Renaissance Drama  Explore the representation of revenge and death in revenge tragedies performed on the Renaissance stage. Analyse the staging of death scenes and whether there are differences in the ways that men and women die on stage.  Adaptions across Stage and Screen Develop your knowledge and artistic practice in film, television and theatre through exploration of the processes of adaptation and engagement with critical, cultural and political considerations. You’ll have the opportunity to explore a range of practices, such as page to stage/screen, citation of iconic characters, fanfiction and digital reworkings, docudramas and documentary theatre, intercultural retellings and translations, contemporary retelling of historical narratives, and reworkings of productions in the same media. Musical Theatre  Explore the theories, themes, politics, and practices of contemporary musical theatre. You’ll focus on the research and development (R&D) of musical theatre, its dramaturgy, political context, modes of production, representation, and reception.  Film Festivals and Programming Gain advanced knowledge of modes of programming arthouse, alternative, and experimental venues, as well as organising festivals. Through seminars, workshops and group projects, you’ll explore how festivals (such as Cannes, Venice and Berlin) work as effective filters for wider distribution, and how festivals and programing are key to understanding the kinds of world cinema we watch. New UK/Republic of Ireland students: £9,250 New international students: £25,250 *UK/Republic of Ireland fee changes UK/Republic of Ireland undergraduate tuition fees are regulated by the UK government. These fees are subject to parliamentary approval and any decision on raising the tuition fees cap for new UK students would require the formal approval of both Houses of Parliament before it becomes law. EU student fees With effect from 1 August 2021, new EU students will pay international tuition fees. For exceptions, please read the UK government's guidance for EU students . Additional costs Some courses will require additional payments for field trips and extra resources. You will also need to budget for your accommodation and living costs. See our information on living costs for more details. Financial support for your studies You may be eligible for a scholarship or bursary to help pay for your study. In addition to university-wide scholarships, the department offers the Bulmershe Bursary that supports eligible students with £1,000 towards the costs of university life. It is open to all full-time UK or EU undergraduate students studying degrees offered by Film, Television, and Theatre including our joint honours programmes. Students can apply in semester 1 of each year. Students from the UK may also be eligible for a student loan to help cover costs. See our fees and funding information  for more information on what's available. As a Creative Writing and Film graduate, you will enter the job market with well-developed communication, research and writing skills, together with a high level of cultural literacy and critical sophistication. Our flexible degrees are designed to develop the skills valued by both creative and commercial industries, providing you with a diverse range of career opportunities following graduation. To prepare you for the future, an emphasis on professional skills is built into all of our courses. You will graduate with a breadth of knowledge, as well as many transferable skills for work in a wider range of sectors. 96% of graduates from English Literature are in work or further study within 15 months of graduation (based on our analysis of HESA data © HESA 2024, Graduate Outcomes Survey 2021/22; includes first degree English Literature responders). Past Reading graduates have gained employment with: Bill Kenwright Productions Civil Service Derby Museum Prompt Marketing Anglian Water. (Based on HESA data © HESA 2024, Graduate Outcomes Survey 2021/22; includes past graduates who studied English Literature.) Many of our alumni work in the creative industries, in roles such as: arts administration film producer film director television production Our graduates also go on to work in: commercial marketing and media advertising Ready for more? 350 IMAGES reading one of my creative writing assignments from university LIVE ONLINE Senior Creative Writing Majors’ Reading Creative writing and critical reading: how reading can improve your Creative Writing Reading Series MFA Reading Reflection from Michaela Creative Writing Reading List VIDEO Creative Writing BGSU Creative Writing Reading Series 1/19/23 CM Burroughs Reading || February 23, 2024 a poem Study Music, Relaxation Music for Stress Relief and Healing, Light Music for Sleep, Reading Music Rowing at Reading: Kabir's Story #Shorts COMMENTS MA Creative Writing Develop your flair for writing, with expert guidance and support from published authors, with our MA Creative Writing programme, starting in 2024. Creative Writing Creative writing can take many forms. Whether you write poetry, short stories, drama, or even creative non-fiction, it is a skill which underpins many creative and commercial roles. By undertaking postgraduate studies at the University of Reading, you will learn from award-winning authors and poets who will support, mentor, and challenge you to ... Creative Writing degrees English Literature and Creative Writing are a perfect combination at degree level. English Literature introduces you to important, exciting, diverse writers from across the centuries and the globe, and Creative Writing allows you to explore literary creativity from the inside: creating characters ... Creative Writing degree courses Creative Writing. Take an active role in literature with a creative writing degree from the University of Reading. We offer a number of joint courses that pair creative writing with complementary subjects, including. film, theatre and television. No matter which course you choose, you will learn from prize-winning authors and visiting writers ... Creative Writing, M.A. About Develop your flair for writing, with expert guidance and support from published authors, with the MA Creative Writing programme at the University of Reading. Creative Writing Rankings 2025 SUBJECT LEAGUE TABLE 2025 A Creative Writing degree will let you flex your storytelling abilities and study the work of literary legends.Our university rankings for Creative Writing include Scriptwriting and Poetry Writing. Creative writing and critical reading This free course, Creative writing and critical reading, explores the importance of reading as part of a creative writer's development at the postgraduate (MA) level. You will gain inspiration and ideas from examining other writers' methods, as well as enhancing your critical reading skills. A diverse range of examples will cover the genres ... Creative writing and critical reading This free course, Creative writing and critical reading, explores the importance of reading as part of a creative writer's development at the postgraduate level. You will gain inspiration and ideas from examining other writers' methods, as well as enhancing your critical reading skills. Examples will cover the genres of fiction, creative nonfiction, poetry and scriptwriting. Creative Writing The program allows undergraduates to work with practicing writers to develop their writing skills, learn the possibilities of modern poetry, fiction, nonfiction, screenwriting and translation, and gain a special access to the critical understanding of literature through their involvement in the creative process. Creative Writing Notre Dame's English Department offers graduate and undergraduate degrees with a focus on literature's cultural and interpretive contexts, creative writing, creative reading, film study, and literary history. Creative Writing The vital presence of creative writing in the English Department is reflected by our many distinguished authors who teach our workshops. We offer courses each term in fiction, poetry, nonfiction, screenwriting, playwriting, and television writing. Our workshops are small, usually no more than twelve students, and offer writers an opportunity to focus intensively on one genre. Creative Writing degree courses Creative Writing. Take an active role in literature with a creative writing degree from the University of Reading. We offer a number of joint courses that pair creative writing with complementary subjects, including. film, theatre and television. No matter which course you choose, you will learn from prize-winning authors and visiting writers ... M.F.A. Creative Writing The Master of Fine Arts Creative Writing program at the University of Idaho is an intense, three-year course of study that focuses on the craft of writing. Creative Writing (MFA) Through innovative literary outreach programs, a distinguished public reading series, an exciting public student reading series, special literary seminars with visiting writers, and the production of a high-quality literary journal, students participate in a dynamic literary community actively engaged in all aspects of the literary arts—writing, reading, teaching, publishing and community ... Creative Writing The Minor in Creative Writing offers a structured environment in which students interested in writing fiction or poetry develop their skills while receiving an introduction to literary forms. Students may choose a concentration in fiction, poetry. In order to graduate with a minor in Creative Writing, students must complete the following three ... PhD Creative Writing Ph.D. in Creative Writing. A rigorous program that combines creative writing and literary studies, the Ph.D. in Creative Writing prepares graduates for both scholarly and creative publication and teaching. With faculty guidance, students admitted to the Ph.D. program may tailor their programs to their goals and interests. Zalaznick Reading Series MFA in Creative Writing First-Year Reading Series. Barbara and David Zalaznick's generous endowment makes it possible for the Creative Writing Program to invite several writers, who range from debut poets and novelists to nationally and internationally renowned writers, to campus each semester. In the selection, we consider how writers would ... BA English Literature with Creative Writing English literature and creative writing are a perfect combination at degree level: In your literature modules, you will be introduced to important, exciting, diverse writers from across the centuries and the globe. In creative writing, you will explore literary creativity from the inside: creating characters, shaping poems, and drawing on your imagination. Experimental Writing: Anne Boyer in Conversation with Hari Kunzru A reading by Anne Boyer followed by a conversation/Q&A with Hari Kunzru and a reception/signing. Co-sponsored with NYU's XE: Experimental Humanities and Social Engagement. Open to the public. All attendees are required to RSVP in advance; please click here *** The Lillian Vernon Creative Writers House is not currently wheelchair accessible. Recommended Reading Recommended Reading This is not, by any means, a comprehensive list, but one that covers a wide range of genres, styles, and approaches to writing craft. Some of these books will be familiar to you, others will be wholly new; all have something to offer serious young writers eager to place themselves within a long and glorious literary tradition. Creative Writing Graduate Programs About the Program and Placement Record One of the first universities in the country to offer a Ph.D. in Creative Writing, Ohio University continues as home to a thriving, widely respected graduate program with concentrations in poetry, fiction, and creative nonfiction. Small by design, our graduate program offers a comprehensive curriculum, an award-winning faculty and the intimacy of small ... BA Art and Creative Writing Develop as an artist, curator and writer with the University's BA Art and Creative Writing programme, starting in September 2025. IELTS Reading: gap-fill IELTS Reading: gap-fill. Read the following passage about creative writing. New research, prompted by the relatively high number of literary families, shows that there may be an inherited element to writing good fiction. Researchers from Yale in the US and Moscow State University in Russia launched the study to see whether there was a ... 6.1 Academic writing The Critical analysis guide produced by the University's Study Advice Team gives tips on critical thinking, reading and writing: Critical Analysis: Thinking, Reading, and Writing. See the others tabs in this box for more guidance on generating ideas, writing strategies and redrafting. BA Creative Writing and Film Develop and hone your creative writing while building a breadth of film knowledge and analytical skills with our BA Creative Writing and Film course, starting in September 2025. assignment essay homework paper phd report resume review speech thesis