creative writing course distance learning

7 Distance Learning Course Degrees in Creative Writing 2024

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Amazon No.1 Best Selling Author System Course

The internet business school.

• Bethersden, United Kingdom

Join us for a one-day intensive live training event and learn how to write, publish and market a No.1 Amazon Best Selling Book.

Becoming a More Effective Writer: Clarity and Organization

The poynter institute.

• Saint Petersburg, USA

This course is for anyone who wants to tell powerful, clearly organized stories — on deadline. Whether you write breaking news alerts, meeting summaries, scientific papers, or business plans, you will come away from this four-week, intensive online course with the tools you need to deliver what your audience wants.

Courses in Progress Your Poetry Workshop (Advanced)

Morley college.

• South Bank, United Kingdom

Have you been writing poetry for some time? An opportunity to discuss work and examine progress in a workshop environment, led by a contemporary poet. Poems will be read and discussed in class.

Courses in Spoken Word writing and Performance 1 - Online

This is a course for anyone interested in developing their writing and turning it into a performance.

Creative Writing Course

Escuela de escritores.

• Spain Online, Spain

Writing is a trade that can be learned. If you want to write, you can, but first you must know the techniques of a trade as old as the man: the storyteller. Because a story can take many forms: that of a story or a novel, yes, but also that of a conference, an advertisement or a biography.

Itinerary Novel Course

Distance Learning, On-Campus

The Novel Itinerary is a teaching program designed specifically for the training of novelists. Throughout this program, students will learn the method proposed by Escuela de Escritores to conceive, structure and write a novel from the initial idea to its last correction.

Start Writing Fiction Course - The Open University

Futurelearn.

Get started with your own fiction writing, focusing on the central skill of creating characters, with this hands-on course.

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Distance Learning Course Degrees in Creative Writing

Many creative writing programs supplement classroom instruction with interactive hands-on events, so students can see writing in action. Students are encouraged to attend theater performances, poetry readings, film screenings and prose performances throughout the surrounding community.

Online learning refers to use of electronic media and information and communication technologies (ICT) in education. With online learning one has the flexibility to access their studies at any time and from anywhere they can log on.

• Academics /

Creative Writing and Literature Master’s Degree Program

Unlock your creative potential and hone your unique voice.

Online Courses

11 out of 12 total courses

On-Campus Experience

One 1- or 3-week residency in summer

$3,220 per course

Program Overview

Through the master’s degree in creative writing and literature, you’ll hone your skills as a storyteller — crafting publishable original scripts, novels, and stories.

In small, workshop-style classes, you’ll master key elements of narrative craft, including characterization, story and plot structure, point of view, dialogue, and description. And you’ll learn to approach literary works as both a writer and scholar by developing skills in critical analysis.

Program Benefits

Instructors who are published authors of drama, fiction, and nonfiction

A community of writers who support your growth in live online classes

Writer's residency with agent & editor networking opportunities

Personalized academic and career advising

Thesis or capstone options that lead to publishable creative work

Harvard Alumni Association membership upon graduation

Customizable Course Curriculum

As you work through the program’s courses, you’ll enhance your creative writing skills and knowledge of literary concepts and strategies. You’ll practice the art of revision to hone your voice as a writer in courses like Writing the Short Personal Essay and Writing Flash Fiction.

Within the creative writing and literature program, you will choose between a thesis or capstone track. You’ll also experience the convenience of online learning and the immersive benefits of learning in person.

11 Online Courses

• Primarily synchronous
• Fall, spring, January, and summer options

Writers’ Residency

A 1- or 3-week summer master class taught by a notable instructor, followed by an agents-and-editors weekend

Thesis or Capstone Track

• Thesis: features a 9-month independent creative project with a faculty advisor
• Capstone: includes crafting a fiction or nonfiction manuscript in a classroom community

The path to your degree begins before you apply to the program.

First, you’ll register for and complete 2 required courses, earning at least a B in each. These foundational courses are investments in your studies and count toward your degree, helping ensure success in the program.

Getting Started

We invite you to explore degree requirements, confirm your initial eligibility, and learn more about our unique “earn your way in” admissions process.

A Faculty of Creative Writing Experts

Studying at Harvard Extension School means learning from the world’s best. Our instructors are renowned academics in literary analysis, storytelling, manuscript writing, and more. They bring a genuine passion for teaching, with students giving our faculty an average rating of 4.7 out of 5.

Bryan Delaney

Playwright and Screenwriter

Talaya Adrienne Delaney

Lecturer in Extension, Harvard University

Elisabeth Sharp McKetta

Our community at a glance.

80% of our creative writing and literature students are enrolled in our master’s degree program for either personal enrichment or to make a career change. Most (74%) are employed full time while pursuing their degree and work across a variety of industries.

Download: Creative Writing & Literature Master's Degree Fact Sheet

Average Age

Course Taken Each Semester

Work Full Time

Would Recommend the Program

Professional Experience in the Field

Pursued for Personal Enrichment

Career Opportunities & Alumni Outcomes

Graduates of our Creative Writing and Literature Master’s Program have writing, research, and communication jobs in the fields of publishing, advertising/marketing, fundraising, secondary and higher education, and more.

Some alumni continue their educational journeys and pursue further studies in other nationally ranked degree programs, including those at Boston University, Brandeis University, University of Pennsylvania, and Cambridge University.

Our alumni hold titles as:

• Marketing Manager
• Director of Publishing
• Senior Research Writer

Our alumni work at a variety of leading organizations, including:

• Little, Brown & Company
• New York University (NYU)
• Bentley Publishers

Career Advising and Mentorship

Whatever your career goals, we’re here to support you. Harvard’s Mignone Center for Career Success offers career advising, employment opportunities, Harvard alumni mentor connections, and career fairs like the annual on-campus Harvard Humanities, Media, Marketing, and Creative Careers Expo.

Your Harvard University Degree

Upon successful completion of the required curriculum, you will earn the Master of Liberal Arts (ALM) in Extension Studies, Field: Creative Writing and Literature.

Expand Your Connections: the Harvard Alumni Network

As a graduate, you’ll become a member of the worldwide Harvard Alumni Association (400,000+ members) and Harvard Extension Alumni Association (29,000+ members).

Harvard is closer than one might think. You can be anywhere and still be part of this world.

Tuition & Financial Aid

Affordability is core to our mission. When compared to our continuing education peers, it’s a fraction of the cost.

After admission, you may qualify for financial aid . Typically, eligible students receive grant funds to cover a portion of tuition costs each term, in addition to federal financial aid options.

What can you do with a master’s degree in creative writing and literature?

A master’s degree in creative writing and literature prepares you for a variety of career paths in writing, literature, and communication — it’s up to you to decide where your interests will take you.

You could become a professional writer, editor, literary agent, marketing copywriter, or communications specialist.

You could also go the academic route and bring your knowledge to the classroom to teach creative writing or literature courses.

Is a degree in creative writing and literature worth it?

The value you find in our Creative Writing and Literature Master’s Degree Program will depend on your unique goals, interests, and circumstances.

The curriculum provides a range of courses that allow you to graduate with knowledge and skills transferable to various industries and careers.

How long does completing the creative writing and literature graduate program take?

Program length is ordinarily anywhere between 2 and 5 years. It depends on your preferred pace and the number of courses you want to take each semester.

For an accelerated journey, we offer year round study, where you can take courses in fall, January, spring, and summer.

While we don’t require you to register for a certain number of courses each semester, you cannot take longer than 5 years to complete the degree.

What skills do you need prior to applying for the creative writing and literature degree program?

Harvard Extension School does not require any specific skills prior to applying, but in general, it’s helpful to have solid reading, writing, communication, and critical thinking skills if you are considering a creative writing and literature master’s degree.

Initial eligibility requirements can be found on our creative writing and literature master’s degree requirements page .

Harvard Division of Continuing Education

The Division of Continuing Education (DCE) at Harvard University is dedicated to bringing rigorous academics and innovative teaching capabilities to those seeking to improve their lives through education. We make Harvard education accessible to lifelong learners from high school to retirement.

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Online Postgraduate Courses in Creative Writing - 35 Courses

Bath spa university school of creative industries.

• Writing for Young People MA

University of Birmingham Department of Film and Creative Writing

• Creative Writing Doctor of Philosophy - PhD

Bournemouth University Department of Communication and Journalism

• Creative Writing and Publishing MA

University of East Anglia UEA School of Literature, Drama and Creative Writing

• Creative Writing Crime Fiction MA

Kingston University Humanities

• Creative Writing (distance learning) MA

Lancaster University English Literature and Creative Writing

• Creative Writing (Distance Learning) MA

Manchester Metropolitan University English

• Creative Writing MA Master of Fine Arts - MFA (PG)

Central Film School London Film Studies

• Screenwriting (online) MA

University of Exeter English and Creative Writing

• Creative Writing Doctor of Philosophy - PhD Master of Philosophy - MPhil

Falmouth University The School of Communication

• Comedy Writing (Online) MA

University of the Highlands and Islands (UHI) Humanities, Education and Gaelic

• Orkney and Shetland Studies MLitt

University of Huddersfield Applied Sciences - General (SAPPS)

• All Doctorates at Huddersfield Doctor of Philosophy - PhD
• MA by Research at Huddersfield MA (Res)
• MSc by Research at Huddersfield MSc (Res)

University of Hull Faculty of Arts, Cultures and Education

• MA Creative Writing (Online) MA

University of Leeds School of Fine Art, History of Art and Cultural Studies

• Creative Writing Master of Fine Arts - MFA (PG)

Middlesex University Media

• Novel Writing (Distance Education) Master of Arts - MA (PG)

Northeastern University London English

• Contemporary Creative Writing MA
• Contemporary Creative Writing (Online) MA

Open University The Open University

• Creative Writing (F71) MA

University of York Centre for Lifelong Learning

• Creative Writing Postgraduate Diploma - PgDip

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Explore Our courses

Creative writing creativity & arts.

Have you always wanted to write, but never quite had the time or courage to start? Perhaps you already write, but want to develop your skills? Our Creative Writing online course will improve your technique and boost your confidence.

If you’re looking for a Creative Writing online course that’s broad and far-reaching, then this course will test your existing skills and challenge you to take your writing in new, creative directions.

From novels, play-writing and poetry, to short stories, non-fiction and autobiographies, you’ll cover a myriad of genres. With the support of an expert tutor, you’ll develop your knowledge of different mediums and techniques, as  you put theory into practice through a series of creative writing assignments.

Enrol today and work at your own pace to discover your writing strengths, a creative path and how to help others improve their work as you gain more experience and enjoy lots of creative writing practice!

Why study Creative Writing?

Our Creative Writing online course packs a vast amount of learning into its ten topics. You’ll gain a sound understanding of creative writing, across a broad range of themes, including play-writing, novels, short stories, younger readers and non-fiction.

You’ll complete 11 tutor-marked assignments to evaluate your progress. Throughout each topic, you’ll have 24/7, flexible access to high quality online resources, written by experts and designed to encourage you to explore and develop your own creative writing style.

Our Creative Writing online course is ideal if you:

• Have a passion for writing and want to develop your skills.
• Are looking for a broader course, covering a wider range of key techniques and genres
• Are starting out as a writer and want to explore the best way to approach your writing.
• Would like to study a subject that’s both pleasurable and enjoyable that fits around your other life commitments.
• Want to boost your confidence in writing and communicating your creative ideas.

Future opportunities

• Studying one of our Writing Short Stories or Writing for a Living courses or English Literature or English Language at GCSE, A level or degree level.
• Writing your own stories to pitch to media outlets, or to self publish.
• A wide range of rewarding career paths in areas such as journalism, publishing, editing and proofreading.

Course content

Unit 1: Autobiography

• Autobiographical writing
• Journals and letters

Unit 2: Short stories

• Developing an idea
• Preparing an outline
• Dialogue and viewpoints

Unit 3: Novels

• Reading before, during and after writing
• Looking at published novels
• Novels: what other writers say

Unit 4: Younger readers

• Remembering
• Starting a story
• Action writing
• Poetry for younger readers

Unit 5: Genre

• What genre means
• Gothic horror
• Science fiction
• Magical realism

Unit 6: Play writing

• Listening to people
• Choosing your subject
• Constructing plays

Unit 7: Poetry

• Observation
• Word pictures
• The sound of poetry

Unit 8: Non-fiction

• Types of non-fiction writing
• Travel writing

Unit 9: Articles

• Types and style of article
• Finding and recording the facts
• Interviewing
• Going public

Unit 10: Reviews

• Being a critic
• Book reviews
• Getting your enthusiasm across
• Points of view
• Consumer reviews

Study Creative Writing with us and benefit from:

• Flexible learning
• Support from a personal tutor by email, phone or Skype
• Any time enrolment
• Assignments with tutor feedback
• Ongoing support from Student Support
• Forums to discuss your course with other students

Choose when and where you access your course, using learn@nec our 24/7 learning platform.

This easy-to-use learning platform includes interactive checkpoints, quizzes and activities to help you evaluate your progress.

You’ll have access to support from a personal tutor. All NEC tutors are subject experts, with experience of supporting online learners.

Meet Ann who is just one of our first-class Creative Writing tutors:

“Creative writing has excited me for as many years as I can remember. I studied creative writing with the Open University. I have had flash fiction and short stories published. I subscribe to many writing magazines and follow a wide range of authors online. I have always been an avid reader and book group member. I attend Cambridge and Hay Literary Festivals every year and in addition to bestselling authors, I listen to debut authors, cover designers and e-publishers who keep me up-to-date with information to support my learners’ development as writers.”

What you need to know

• Online learning with support from a personal tutor

Entry requirements

• A good level of basic English is required for this course
• An ability to read and write in English
• Complete at your own pace
• Approx. 60 study hours, plus time for completing assignments

Assignments

• 11 assignments
• No additional set texts required

Requirements

• Internet access
• Computer operating system and browser to support learn@nec

What's included?

Our course fees are open and honest  to help you plan for any additional costs.

Your course fee includes:

• Access to learn@nec
• All the course materials you need to complete the course
• Support from a personal tutor for up to 12 months from your date of enrolment
• Assignment marking
• NEC’s guide to study skills: How to Succeed as an Independent Learner
• Spelling, punctuation and grammar guide
• Time planner to help you plan your study timetable

Related blog posts

Top five writing tips

What’s the point in poetry?

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Would you like to talk to our Course Advice Team about the best route for you? Visit our Contact Us  page, fill in the form and a member of the team will get back to you!

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Course fees £395.

It’s your choice: you can pay in full at the point of enrolment, or you can spread the cost over monthly instalments with our finance offer. We offer a choice of six or 12 month repayment plans, with 0% APR as standard.

To pay in instalments you will need to enrol by telephone.

Representative example: Course fee: £395 Deposit: £39.50  Amount of credit: £355.50  Monthly payment: £59.25 Duration of agreement: 6 months Total repayable: £395  Rate of interest: 0% (fixed) 0% APR representative.

The National Extension College (NEC) work with finance company Deko. For more information on our relationship with Deko and repayment plans click here .

learn@nec is our virtual learning environment, the gateway to your course and the NEC community. All the resources you need to study are here and you have the flexibility to access them wherever you want, whenever you want

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As part of NEC’s mission to widen participation our team is happy to discuss payment options unavailable online. Please contact our team on 0800 389 2839 or email [email protected]

Exams and assessment

One of the biggest challenges for independent learners can be where to sit their exams. So when you enrol with NEC you’ll be guaranteed a place at one of our partnership exam centres.

Fee information Easy payment options

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• MA Creative Writing

Creative Writing

Join our community of internationally renowned, award-winning writers at the Manchester Writing School, where collaboration and experimentation are at the heart of what we do.

Course overview

At the heart of the Manchester Writing School are our masters programmes in Creative Writing, available to study on campus in Manchester and also from anywhere in the world via online distance learning. 

On our Master of Arts (MA) Creative Writing programme, you will explore and practice techniques and styles of modern and contemporary writing and apply these through the development of your own creative work. You will undertake a taught element blending writing workshops with reading units and option units, and then complete your studies through submission of an extended piece of writing from a proposed full-length book or script. 

You will specialise in one of the following routes: Novel (including Short Fiction), Poetry, Writing for Children & Young Adults, Scriptwriting ...

What you need to know

• When does the course start? September 2024 January 2025

1 year full-time (campus) 2 years part-time (campus or online)

Students can begin studying in January or September.

• Where will I study this course? Manchester , Online

Features and benefits

"One of the greatest pleasures of my working life continues to be the Manchester Writing School at Manchester Metropolitan University, a department with a real sense of family, achievement and celebration, and an ethos of nurturing and innovation." Professor Carol Ann Duffy DBE – Creative Director of the Manchester Writing School

Course Information

At the heart of the Manchester Writing School are our masters programmes in creative writing, available to study on campus in Manchester, and also from anywhere in the world via online distance learning.

MA Creative Writing can be tailored to suit your writing preferences by following a specialist route in novel (including short fiction), poetry, writing for children & young adults, scriptwriting (for stage, screen or radio) or creative non-fiction. Watch our playlist to find out more about each route.

This MA blends writing workshops, where you produce and develop your own work-in-progress with regular feedback from tutors and fellow students, with reading courses, which look at the techniques, forms and styles used by a range of writers in modern and contemporary literature. All students also take 30 credits of optional units and can choose from a range of creative writing units or options from courses across arts and humanities subjects. The final piece of work for the MA is the dissertation – an extended piece of creative writing from a proposed full-length book or script. 

The MA is available to complete in one year full-time or two years part-time. The novel and poetry routes are available to study on campus (full-time or part-time) or online (part-time only). The writing for children and creative non-fiction routes are online (part-time) only. The scriptwriting route is available to study on campus only.  We have intakes to the programme in September and January each year. 

Visit the Manchester Writing School website for more information, including profiles of staff and published students, news, events and projects.

Please visit our scholarships page for information on funding opportunities .

The programme leader for this course is James Draper . 

Classes for core Workshop and Reading units take place in the evenings (6-8pm UK time) during the autumn and spring semesters. Full-time students take all of their units in a single year and usually have classes two evenings per week. Part-time students spread these units over two years (study pattern may vary depending on specialist route) and usually have classes one evening per week. All students also take 30 credits of optional units and can choose from a range of creative writing units or options from courses across arts and humanities subjects. The MA concludes with the submission of the Creative Dissertation, completed through independent study with one-to-one support from a Dissertation Supervisor.

Creative Dissertation

This unit will build on and progress material produced during the Workshop units. You will compile and edit your creative writing into a substantial, continuous extract from a proposed longer work-in-progress and provide a Genesis Document: an account of the origins of and inspirations for your writing.

Reading Unit 1

This route-specific unit looks at the forms, themes, styles and techniques used by a range of writers in literature. Outstanding writing is considered in terms of composition, process and presentation, and its relevance to your own work-in-progress. 

The Workshop

Workshops are led by established practitioners in the specialist literary field (Novel, Poetry, Writing for Children/Young Adults, Scriptwriting or Creative Non-Fiction), giving you a committed editorial readership of professionals and peers, and generating and developing material for a proposed full-length book or script. It is expected that the creative work generated will eventually contribute to your Creative Dissertation.

Option units

Creative project.

On this unit, you will be asked to devise, scope, plan, conduct, report and reflect on a creative project of your own choosing. The project should involve a significant stretch from your core work on the programme and explore a new practice. This can be either working in a writing discipline different to your main route through the course, or by adapting or applying your work in a new context.

Green Writing

This unit will explore how creative writers can engage with ecological emergency during a time of crisis. The unit will examine different approaches to writing about nature, ecology and the environment, and demonstrate ways to respond creatively to contemporary climate science. You will study key texts in the field and produce your own original creative work using techniques drawn from those materials, learning how to bring traditionally ‘non-fiction’ perspectives into the realm of fiction.

Reading Unit 2 (30 credits)

Remaking games: creativity, play and communication.

This unit explores the theory and practice of hacking and making games as a research method and mode of creative practice. It considers the intersection between creative writing and game design. In the unit we introduce students to reading and making games as a new methodology that combines creative and critical thinking with public engagement and impact at the point of research. For creative writers, the unit helps develop new ways to explore narrative and storytelling through interactive fiction, videogames and analogue games. You will develop new communication skills as part of the research process, creating games to share with other students and wider audiences as a way of engaging the public with your research.  

Teaching Creative Writing

This unit introduces techniques for developing and delivering creative writing workshops in a range of settings and considers how to encourage would-be participants to produce original writing in a variety of styles and genres. Consideration of key pedagogic theories and analyses of demonstrations will offer background context and enable critical reflection on workshop practice.

The Industry (30 credits)

You will learn and acquire practical information about various aspects of the publishing, literary, arts and related industries through seminars and Q&A sessions with guest speakers. These may include agents, editors, publishers, publicists, booksellers, directors, producers, broadcasters, filmmakers, freelancers, performers, artists and illustrators. This unit is designed to give you a broad overview of the state of the industry, as well as some specialist knowledge about opportunities available for those working in your specialist area, as you complete your manuscript.

Writing About Relationships

This course unit explores writing about love and partnership and is designed to help you gain confidence, avoid cliché and improve the quality of your prose style as you write about human relationships and intimacy. 

Study and assessment breakdown

10 credits equates to 100 hours of study, which is a combination of lectures, seminars and practical sessions, and independent study. A masters qualification typically comprises of 180 credits, a PGDip 120 credits, a PGCert 60 credits and an MFA 300 credits. The exact composition of your study time and assessments for the course will vary according to your option choices and style of learning, but it could be:

• Full-time 34% lectures, seminars or similar; 0% placement; 66% independent study
• Part-time 34% lectures, seminars or similar; 0% placement; 66% independent study
• Full-time 100% coursework; 0% practical; 0% examination
• Part-time 100% coursework; 0% practical; 0% examination

Placement options

The Manchester Writing School is one of the UK's leading schools of creative writing. It is also home to ground-breaking outreach activities, international writing competitions, a series of city-wide literary events, innovative publishing projects, the Manchester Children's Book Festival , and Manchester Poetry Library . These activities provide you with many opportunities to get involved and develop your experience in a number of exciting directions.

Whether you've already made your decision about what you want to study, or you're just considering whether postgraduate study is right for you, there are lots of ways you can meet us and find out more about postgraduate student life at Manchester Met.

• a virtual experience campus tour
• chats with current students

Taught by Experts

Your studies are supported by a department of committed and enthusiastic teachers and researchers, experts in their chosen field.

We often link up with external professionals too, helping to enhance your learning and build valuable connections to the working world.

Entry Requirements

Application is by submission of an online form including a personal statement, and a sample of your own creative work. Your application should be tailored to one of our specialist routes: Novel, Poetry, Writing for Children & YA, Scriptwriting or Creative Non-Fiction. You can apply online here: mmu.ac.uk/study/postgraduate/apply/postgraduate-taught-course.

Please indicate at the top of your personal statement which specialist route you are applying for. You should use the rest of the statement to tell us a bit about yourself, give a good overview of your reading and writing interests, and a sense of what has led you to apply for our course and any ideas you have for what you’d like to write with us. Personal statements should be approximately 500 words long.

For the creative sample , applicants to the Novel, Children's & YA and Creative Non-Fiction routes should submit up to 2,000 words of prose; poetry applicants should submit up to 15 poems; and scriptwriting applicants should submit up to 15 minutes running time of script. The work submitted can be a complete piece, or an extract, or a number of extracts from a longer work or works, but must all be within the chosen specialist route.

We have intakes into the programme in September and January each year. For application deadlines, please see the 'How to Apply section'. 

In each application assessed we will be looking for evidence of:

A very high standard of written English; 

Control of form, style and technique; 

• Substantial reading of contemporary work within the relevant field; 

Commitment to the craft of writing and willingness to engage with the editorial process of receiving feedback and redrafting work-in-progress;  

Experience of the development of writing skills through workshops, supervision, mentoring or previous study.

Applicants whose first language is not English are required to produce evidence of English Language proficiency. Overseas applicants will require IELTS with an overall score of 6.5, with no sub-component below 5.5, or an equivalent accepted English qualification. Accepted English qualifications can be viewed  here .

If your application meets these criteria, a tutor may contact you to arrange a telephone or face-to-face interview at a mutually convenient time.

Fees and Funding

Uk and channel island students.

Full-time fee: £9,500 per year. Tuition fees will remain the same for each year of your course providing you complete it in the normal timeframe (no repeat years or breaks in study).

Part-time fee: £1584 per 30 credits studied per year. Tuition fees will remain the same for each year of your course providing you complete it in the normal timeframe (no repeat years or breaks in study).

Distance learning fee: £1584 per 30 credits studied per year. Tuition fees will remain the same for each year of your course providing you complete it in the normal timeframe (no repeat years or breaks in study).

EU and Non-EU International Students

Full-time fee: £18,500 per year. Tuition fees will remain the same for each year of your course providing you complete it in the normal timeframe (no repeat years or breaks in study).

Part-time fee: £3084 per 30 credits studied per year. Tuition fees will remain the same for each year of your course providing you complete it in the normal timeframe (no repeat years or breaks in study).

Distance learning fee: £3084 per 30 credits studied per year. Tuition fees will remain the same for each year of your course providing you complete it in the normal timeframe (no repeat years or breaks in study).

Additional Information

A masters qualification typically comprises 180 credits, a PGDip 120 credits, a PGCert 60 credits, and an MFA 300 credits. Tuition fees will remain the same for each year of study provided the course is completed in the normal timeframe (no repeat years or breaks in study).

Additional Costs

Specialist costs.

Compulsory estimate : £300

Optional estimate : £2200

Books (novels, poetry collections, children/young adult books, scripts in print, or books of creative non-fiction depending on the specialist route of study) for study on Reading units (up to 10 books per unit for two units). Costs spread across years one and two for part-time students. There is also a list of additional, optional recommended reading for each unit. Students can access much of this via the Manchester Met library (either by loaning books or via the e-book system). All students will require access to a computer in order to undertake their studies (accessing online resources, forums and communication systems). Students can loan laptops on campus. Students will also need access to broadband internet. While most students choose to purchase these for home use, computers with internet access are available to use on campus. While most assessed work will be submitted and completed electronically, students taking the dissertation or manuscript units will be asked to submit printed and bound copies of their work.

placement Costs

Compulsory estimate : £100

There is an optional summer school each year, where students are invited to spend two full days on campus for a suite of masterclass workshops, talks and social activities. Attendance at the school is free of charge, but students are asked to make their own arrangements for travel, accommodation and food. Students undertaking units which involve creating artwork, producing objects, or travelling to conduct research or interviews etc. will need to cover the costs of any materials used and also make arrangements for accommodation, travel and food. Students based outside of Manchester, including distance learners, who wish to attend on-campus or in-person events, activities, or classes are asked to cover the costs of accommodation, food, travel and tuition for these.

other Costs

Optional estimate : £500

Students may be invited to take part in optional public events (e.g. reading from their own work), or attend meetings for extra-curricular projects (e.g. the Rosamond Prize) and are expected to cover the costs of travel, accommodation and food.

Career Prospects

More than 100 of our students and graduates have embarked upon publishing careers, launching first books, with many more achieving publication in journals and magazines, winning writing awards and prizes, and setting up small presses and anthologies. Our alumni include winners of the Costa First Novel Award, Forward Poetry Prize and Yale Windham-Campell Prize, and a long-listing for the Man Booker Prize. 

Our School plays a leading role in establishing Manchester as a city of writers with a commitment to finding diverse new voices and creating opportunities for writer development, enabling new writing and building audiences for the next generation of talent. Manchester has been designated a UNESCO City of Literature in recognition of its thriving live literature scene, with a year-round programme of author events, writers’ forums, networking opportunities and open mic nights. 

We are home to a suite of ground-breaking outreach projects including the Manchester Children’s Book Festival and Mother Tongue Other Tongue , an international multilingual poetry competition that celebrates cultural diversity and the many languages spoken in schools in the UK. Our Manchester Poetry Library holds over 12,000 books and recordings that can be explored through our online catalogue, in person and through our annual events programme. Our School has a strong Manchester presence, with links to many of the city’s major cultural and arts organisations, and also a global reach with students and alumni based across the UK and continental Europe, and in the Americas, Africa, Asia and Australasia.

Our strong partnerships and innovative projects mean that you will have plenty of opportunities to develop your industry experience and network.  

On completion of this course you may decide to pursue PhD study, or to develop a career in bookselling, agenting, publishing, editing, the media, or in teaching creative writing. You will have access to the Careers and Employability Hub located in the Business School at Manchester Met, offering a host of information resources, one-to-one careers support, and employability events throughout the year. This service is also available for up to three years after you graduate. 

The Power of Words Led by Professor Carol Ann Duffy DBE (UK Poet Laureate 2009-2019), the Manchester Writing School is the beating literary heart of a city alive with culture. Find out more about its prestigious past, present and future by watching our video, 'The Power of Words'.   Watch the video Manchester Writing School

Want to know more

Register your interest, got a question.

Please contact our course enquiries team.

Please remember to tailor your application to one of our specialist routes (Novel, Poetry, Writing for Children, Scriptwriting or Creative Non-Fiction) and to include a creative sample relevant to that chosen route.

Please upload your creative sample under the 'Degree Transcript' section of the application portal. 

The novel and poetry routes are available to study on campus (full-time or part-time) or online (part-time only). The writing for children and creative non-fiction routes are online (part-time) only. The scriptwriting route is available to study on campus only.

Get advice and support on making a successful application.

You can review our current Terms and Conditions before you make your application. If you are successful with your application, we will send you up to date information alongside your offer letter.

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Programme Review Our programmes undergo an annual review and major review (normally at 6 year intervals) to ensure an up-to-date curriculum supported by the latest online learning technology. For further information on when we may make changes to our programmes, please see the changes section of our Terms and Conditions .

Important Notice This online prospectus provides an overview of our programmes of study and the University. We regularly update our online prospectus so that our published course information is accurate. Please check back to the online prospectus before making an application to us to access the most up to date information for your chosen course of study.

Confirmation of Regulator The Manchester Metropolitan University is regulated by the Office for Students (OfS). The OfS is the independent regulator of higher education in England. More information on the role of the OfS and its regulatory framework can be found at officeforstudents.org.uk .

All higher education providers registered with the OfS must have a student protection plan in place. The student protection plan sets out what students can expect to happen should a course, campus, or institution close. Access our current Student Protection Plan .

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To find out more details about the transfer to The Open University see A New Chapter for OCA .

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Degree and foundation-level creative writing distance learning courses.

The study of creative writing supports the discovery of your own voice as a writer.

It can help you on your way to become an effective writing practitioner, in your favourite literary form. Whether it’s poetry, scriptwriting, novels, life writing, short fiction, or even writing for children, our range of online creative writing courses can open up the possibilities for you to enhance your writing style and choices.

What are online creative writing university courses?

Online creative writing courses offer you exactly the same programme of study you would enjoy attending an in-person college or university. This includes the support of dedicated experts in the field of creative writing to mentor you throughout your course as well as the benefit of a group of online peers to share the experience with.

If you’re interested in becoming a professional writer or simply looking to pursue your passion for creative writing while continuing to work or manage your caring or parental responsibilities – distance learning creative writing courses provide the flexibility you need.

Study at one of the UK’s few specialist online arts colleges

OCA’s creative offer students the opportunity to complete a bachelor’s or foundation degree at their own pace – leaving with a wide range of new skills as well as a recognised qualification from one of the best creative arts colleges offering distance learning.

Whether you choose to specialise in creative writing or want to study the craft of writing alongside other creative pursuits, you can find out more about our creative writing courses below to get started with creative writing!

BA (Hons) Creative Writing

If you feel you were born to write, or are committed to becoming a writer, the BA (Hons) Creative Writing degree programme is the place to start.

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The BA (Hons) Creative Arts degree will allow you to combine your writing with another creative practice, maybe illustration or photography, and create something unique.

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If you’re not sure about embarking straight onto a degree, why not take a look at our Foundations in Creative Writing.

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French Journal of English Studies

Home Numéros 59 1 - Tisser les liens : voyager, e... 36 Views of Moscow Mountain: Teac...

36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau

L'auteur américain Henry David Thoreau est un écrivain du voyage qui a rarement quitté sa ville natale de Concorde, Massachusetts, où il a vécu de 1817 à 1862. Son approche du "voyage" consiste à accorder une profonde attention à son environnement ordinaire et à voir le monde à partir de perspectives multiples, comme il l'explique avec subtilité dans Walden (1854). Inspiré par Thoreau et par la célèbre série de gravures du peintre d'estampes japonais Katsushika Hokusai, intitulée 36 vues du Mt. Fuji (1830-32), j'ai fait un cours sur "L'écriture thoreauvienne du voyage" à l'Université de l'Idaho, que j'appelle 36 vues des montagnes de Moscow: ou, Faire un grand voyage — l'esprit et le carnet ouvert — dans un petit lieu . Cet article explore la philosophie et les stratégies pédagogiques de ce cours, qui tente de partager avec les étudiants les vertus d'un regard neuf sur le monde, avec les yeux vraiment ouverts, avec le regard d'un voyageur, en "faisant un grand voyage" à Moscow, Idaho. Les étudiants affinent aussi leurs compétences d'écriture et apprennent les traditions littéraires et artistiques associées au voyage et au sens du lieu.

Index terms

Keywords: , designing a writing class to foster engagement.

1 The signs at the edge of town say, "Entering Moscow, Idaho. Population 25,060." This is a small hamlet in the midst of a sea of rolling hills, where farmers grow varieties of wheat, lentils, peas, and garbanzo beans, irrigated by natural rainfall. Although the town of Moscow has a somewhat cosmopolitan feel because of the presence of the University of Idaho (with its 13,000 students and a few thousand faculty and staff members), elegant restaurants, several bookstores and music stores, and a patchwork of artsy coffee shops on Main Street, the entire mini-metropolis has only about a dozen traffic lights and a single high school. As a professor of creative writing and the environmental humanities at the university, I have long been interested in finding ways to give special focuses to my writing and literature classes that will help my students think about the circumstances of their own lives and find not only academic meaning but personal significance in our subjects. I have recently taught graduate writing workshops on such themes as "The Body" and "Crisis," but when I was given the opportunity recently to teach an undergraduate writing class on Personal and Exploratory Writing, I decided to choose a focus that would bring me—and my students—back to one of the writers who has long been of central interest to me: Henry David Thoreau.

2 One of the courses I have routinely taught during the past six years is Environmental Writing, an undergraduate class that I offer as part of the university's Semester in the Wild Program, a unique undergraduate opportunity that sends a small group of students to study five courses (Ecology, Environmental History, Environmental Writing, Outdoor Leadership and Wilderness Survival, and Wilderness Management and Policy) at a remote research station located in the middle of the largest wilderness area (the Frank Church River of No Return Wilderness) in the United States south of Alaska. In "Teaching with Wolves," a recent article about the Semester in the Wild Program, I explained that my goal in the Environmental Writing class is to help the students "synthesize their experience in the wilderness with the content of the various classes" and "to think ahead to their professional lives and their lives as engaged citizens, for which critical thinking and communication skills are so important" (325). A foundational text for the Environmental Writing class is a selection from Thoreau's personal journal, specifically the entries he made October 1-20, 1853, which I collected in the 1993 writing textbook Being in the World: An Environmental Reader for Writers . I ask the students in the Semester in the Wild Program to deeply immerse themselves in Thoreau's precise and colorful descriptions of the physical world that is immediately present to him and, in turn, to engage with their immediate encounters with the world in their wilderness location. Thoreau's entries read like this:

Oct. 4. The maples are reddening, and birches yellowing. The mouse-ear in the shade in the middle of the day, so hoary, looks as if the frost still lay on it. Well it wears the frost. Bumblebees are on the Aster undulates , and gnats are dancing in the air. Oct. 5. The howling of the wind about the house just before a storm to-night sounds extremely like a loon on the pond. How fit! Oct. 6 and 7. Windy. Elms bare. (372)

3 In thinking ahead to my class on Personal and Exploratory Writing, which would be offered on the main campus of the University of Idaho in the fall semester of 2018, I wanted to find a topic that would instill in my students the Thoreauvian spirit of visceral engagement with the world, engagement on the physical, emotional, and philosophical levels, while still allowing my students to remain in the city and live their regular lives as students. It occurred to me that part of what makes Thoreau's journal, which he maintained almost daily from 1837 (when he was twenty years old) to 1861 (just a year before his death), such a rich and elegant work is his sense of being a traveler, even when not traveling geographically.

Traveling a Good Deal in Moscow

I have traveled a good deal in Concord…. --Henry David Thoreau, Walden (1854; 4)

4 For Thoreau, one did not need to travel a substantial physical distance in order to be a traveler, in order to bring a traveler's frame of mind to daily experience. His most famous book, Walden , is well known as an account of the author's ideas and daily experiments in simple living during the two years, two months, and two days (July 4, 1845, to September 6, 1847) he spent inhabiting a simple wooden house that he built on the shore of Walden Pond, a small lake to the west of Boston, Massachusetts. Walden Pond is not a remote location—it is not out in the wilderness. It is on the edge of a small village, much like Moscow, Idaho. The concept of "traveling a good deal in Concord" is a kind of philosophical and psychological riddle. What does it mean to travel extensively in such a small place? The answer to this question is meaningful not only to teachers hoping to design writing classes in the spirit of Thoreau but to all who are interested in travel as an experience and in the literary genre of travel writing.

5 Much of Walden is an exercise in deftly establishing a playful and intellectually challenging system of synonyms, an array of words—"economy," "deliberateness," "simplicity," "dawn," "awakening," "higher laws," etc.—that all add up to powerful probing of what it means to live a mindful and attentive life in the world. "Travel" serves as a key, if subtle, metaphor for the mindful life—it is a metaphor and also, in a sense, a clue: if we can achieve the traveler's perspective without going far afield, then we might accomplish a kind of enlightenment. Thoreau's interest in mindfulness becomes clear in chapter two of Walden , "Where I Lived, and What I Lived For," in which he writes, "Morning is when I am awake and there is a dawn in me. To be awake is to be alive. I have never yet met a man who was quite awake. How could I have looked him in the face?" The latter question implies the author's feeling that he is himself merely evolving as an awakened individual, not yet fully awake, or mindful, in his efforts to live "a poetic or divine life" (90). Thoreau proceeds to assert that "We must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn…. I know of no more encouraging fact than the unquestionable ability of man to elevate his life by a conscious endeavor" (90). Just what this endeavor might be is not immediately spelled out in the text, but the author does quickly point out the value of focusing on only a few activities or ideas at a time, so as not to let our lives be "frittered away by detail." He writes: "Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; … and keep your accounts on your thumb nail" (91). The strong emphasis in the crucial second chapter of Walden is on the importance of waking up and living deliberately through a conscious effort to engage in particular activities that support such awakening. It occurs to me that "travel," or simply making one's way through town with the mindset of a traveler, could be one of these activities.

6 It is in the final chapter of the book, titled "Conclusion," that Thoreau makes clear the relationship between travel and living an attentive life. He begins the chapter by cataloguing the various physical locales throughout North America or around the world to which one might travel—Canada, Ohio, Colorado, and even Tierra del Fuego. But Thoreau states: "Our voyaging is only great-circle sailing, and the doctors prescribe for diseases of the skin merely. One hastens to Southern Africa to chase the giraffe; but surely that is not the game he would be after." What comes next is brief quotation from the seventeenth-century English poet William Habbington (but presented anonymously in Thoreau's text), which might be one of the most significant passages in the entire book:

Direct your eye sight inward, and you'll find A thousand regions in your mind Yet undiscovered. Travel them, and be Expert in home-cosmography. (320)

7 This admonition to travel the mysterious territory of one's own mind and master the strange cosmos of the self is actually a challenge to the reader—and probably to the author himself—to focus on self-reflection and small-scale, local movement as if such activities were akin to exploration on a grand, planetary scale. What is really at issue here is not the physical distance of one's journey, but the mental flexibility of one's approach to the world, one's ability to look at the world with a fresh, estranged point of view. Soon after his discussion of the virtues of interior travel, Thoreau explains why he left his simple home at Walden Pond after a few years of experimental living there, writing, "It is remarkable how easily and insensibly we fall into a particular route, and make a beaten track for ourselves" (323). In other words, no matter what we're doing in life, we can fall into a "beaten track" if we're not careful, thus failing to stay "awake."

8 As I thought about my writing class at the University of Idaho, I wondered how I might design a series of readings and writing exercises for university students that would somehow emulate the Thoreauvian objective of achieving ultra-mindfulness in a local environment. One of the greatest challenges in designing such a class is the fact that it took Thoreau himself many years to develop an attentiveness to his environment and his own emotional rhythms and an efficiency of expression that would enable him to describe such travel-without-travel, and I would have only sixteen weeks to achieve this with my own students. The first task, I decided, was to invite my students into the essential philosophical stance of the class, and I did this by asking my students to read the opening chapter of Walden ("Economy") in which he talks about traveling "a good deal" in his small New England village as well as the second chapter and the conclusion, which reveal the author's enthusiasm (some might even say obsession ) for trying to achieve an awakened condition and which, in the end, suggest that waking up to the meaning of one's life in the world might be best accomplished by attempting the paradoxical feat of becoming "expert in home-cosmography." As I stated it among the objectives for my course titled 36 Views of Moscow Mountain: Or, Traveling a Good Deal—with Open Minds and Notebooks—in a Small Place , one of our goals together (along with practicing nonfiction writing skills and learning about the genre of travel writing) would be to "Cultivate a ‘Thoreauvian' way of appreciating the subtleties of the ordinary world."

Windy. Elms Bare.

9 For me, the elegance and heightened sensitivity of Thoreau's engagement with place is most movingly exemplified in his journal, especially in the 1850s after he's mastered the art of observation and nuanced, efficient description of specific natural phenomena and environmental conditions. His early entries in the journal are abstract mini-essays on such topics as truth, beauty, and "The Poet," but over time the journal notations become so immersed in the direct experience of the more-than-human world, in daily sensory experiences, that the pronoun "I" even drops out of many of these records. Lawrence Buell aptly describes this Thoreauvian mode of expression as "self-relinquishment" (156) in his 1995 book The Environmental Imagination , suggesting such writing "question[s] the authority of the superintending consciousness. As such, it opens up the prospect of a thoroughgoing perceptual breakthrough, suggesting the possibility of a more ecocentric state of being than most of us have dreamed of" (144-45). By the time Thoreau wrote "Windy. Elms bare" (372) as his single entry for October 6 and 7, 1853, he had entered what we might call an "ecocentric zone of consciousness" in his work, attaining the ability to channel his complex perceptions of season change (including meteorology and botany and even his own emotional state) into brief, evocative prose.

10 I certainly do not expect my students to be able to do such writing after only a brief introduction to the course and to Thoreau's own methods of journal writing, but after laying the foundation of the Thoreauvian philosophy of nearby travel and explaining to my students what I call the "building blocks of the personal essay" (description, narration, and exposition), I ask them to engage in a preliminary journal-writing exercise that involves preparing five journal entries, each "a paragraph or two in length," that offer detailed physical descriptions of ordinary phenomena from their lives (plants, birds, buildings, street signs, people, food, etc.), emphasizing shape, color, movement or change, shadow, and sometimes sound, smell, taste, and/or touch. The goal of the journal entries, I tell the students, is to begin to get them thinking about close observation, vivid descriptive language, and the potential to give their later essays in the class an effective texture by balancing more abstract information and ideas with evocative descriptive passages and storytelling.

11 I am currently teaching this class, and I am writing this article in early September, as we are entering the fourth week of the semester. The students have just completed the journal-writing exercise and are now preparing to write the first of five brief essays on different aspects of Moscow that will eventually be braided together, as discrete sections of the longer piece, into a full-scale literary essay about Moscow, Idaho, from the perspective of a traveler. For the journal exercise, my students wrote some rather remarkable descriptive statements, which I think bodes well for their upcoming work. One student, Elizabeth Isakson, wrote stunning journal descriptions of a cup of coffee, her own feet, a lemon, a basil leaf, and a patch of grass. For instance, she wrote:

Steaming hot liquid poured into a mug. No cream, just black. Yet it appears the same brown as excretion. The texture tells another story with meniscus that fades from clear to gold and again brown. The smell is intoxicating for those who are addicted. Sweetness fills the nostrils; bitterness rushes over the tongue. The contrast somehow complements itself. Earthy undertones flower up, yet this beverage is much more satisfying than dirt. When the mug runs dry, specks of dark grounds remain swimming in the sunken meniscus. Steam no longer rises because energy has found a new home.

12 For the grassy lawn, she wrote:

Calico with shades of green, the grass is yellowing. Once vibrant, it's now speckled with straw. Sticking out are tall, seeding dandelions. Still some dips in the ground have maintained thick, soft patches of green. The light dances along falling down from the trees above, creating a stained-glass appearance made from various green shades. The individual blades are stiff enough to stand erect, but they will yield to even slight forces of wind or pressure. Made from several long strands seemingly fused together, some blades fray at the end, appearing brittle. But they do not simply break off; they hold fast to the blade to which they belong.

13 The point of this journal writing is for the students to look closely enough at ordinary reality to feel estranged from it, as if they have never before encountered (or attempted to describe) a cup of coffee or a field of grass—or a lemon or a basil leaf or their own body. Thus, the Thoreauvian objective of practicing home-cosmography begins to take shape. The familiar becomes exotic, note-worthy, and strangely beautiful, just as it often does for the geographical travel writer, whose adventures occur far away from where she or he normally lives. Travel, in a sense, is an antidote to complacency, to over-familiarity. But the premise of my class in Thoreauvian travel writing is that a slight shift of perspective can overcome the complacency we might naturally feel in our home surroundings. To accomplish this we need a certain degree of disorientation. This is the next challenge for our class.

The Blessing of Being Lost

14 Most of us take great pains to "get oriented" and "know where we're going," whether this is while running our daily errands or when thinking about the essential trajectories of our lives. We're often instructed by anxious parents to develop a sense of purpose and a sense of direction, if only for the sake of basic safety. But the traveler operates according to a somewhat different set of priorities, perhaps, elevating adventure and insight above basic comfort and security, at least to some degree. This certainly seems to be the case for the Thoreauvian traveler, or for Thoreau himself. In Walden , he writes:

…not until we are completely lost, or turned round,--for a man needs only be turned round once with his eyes shut in this world to be lost,--do we appreciate the vastness and strangeness of Nature. Every man has to learn the points of compass again as often as he awakes, whether from sleep or any abstraction. Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relations. (171)

15 I could explicate this passage at length, but that's not really my purpose here. I read this as a celebration of salutary disorientation, of the potential to be lost in such a way as to deepen one's ability to pay attention to oneself and one's surroundings, natural and otherwise. If travel is to a great degree an experience uniquely capable of triggering attentiveness to our own physical and psychological condition, to other cultures and the minds and needs of other people, and to a million small details of our environment that we might take for granted at home but that accrue special significance when we're away, I would argue that much of this attentiveness is owed to the sense of being lost, even the fear of being lost, that often happens when we leave our normal habitat.

16 So in my class I try to help my students "get lost" in a positive way. Here in Moscow, the major local landmark is a place called Moscow Mountain, a forested ridge of land just north of town, running approximately twenty kilometers to the east of the city. Moscow "Mountain" does not really have a single, distinctive peak like a typical mountain—it is, as I say, more of a ridge than a pinnacle. When I began contemplating this class on Thoreauvian travel writing, the central concepts I had in mind were Thoreau's notion of traveling a good deal in Concord and also the idea of looking at a specific place from many different angles. The latter idea is not only Thoreauvian, but perhaps well captured in the eighteen-century Japanese artist Katsushika Hokusai's series of woodblock prints known as 36 Views of Mt. Fuji , which offers an array of different angles on the mountain itself and on other landscape features (lakes, the sea, forests, clouds, trees, wind) and human behavior which is represented in many of the prints, often with Mt. Fuji in the distant background or off to the side. In fact, I imagine Hokusai's approach to representing Mt. Fuji as so important to the concept of this travel writing class that I call the class "36 Views of Moscow Mountain," symbolizing the multiple approaches I'll be asking my students to take in contemplating and describing not only Moscow Mountain itself, but the culture and landscape and the essential experience of Moscow the town. The idea of using Hokusai's series of prints as a focal point of this class came to me, in part, from reading American studies scholar Cathy Davidson's 36 Views of Mount Fuji: On Finding Myself in Japan , a memoir that offers sixteen short essays about different facets of her life as a visiting professor in that island nation.

17 The first of five brief essays my students will prepare for the class is what I'm calling a "Moscow Mountain descriptive essay," building upon the small descriptive journal entries they've written recently. In this case, though, I am asking the students to describe the shapes and colors of the Moscow Mountain ridge, while also telling a brief story or two about their observations of the mountain, either by visiting the mountain itself to take a walk or a bike ride or by explaining how they glimpse portions of the darkly forested ridge in the distance while walking around the University of Idaho campus or doing things in town. In preparation for the Moscow Mountain essays, we read several essays or book chapters that emphasize "organizing principles" in writing, often the use of particular landscape features, such as trees or mountains, as a literary focal point. For instance, in David Gessner's "Soaring with Castro," from his 2007 book Soaring with Fidel: An Osprey Odyssey from Cape Cod to Cuba and Beyond , he not only refers to La Gran Piedra (a small mountain in southeastern Cuba) as a narrative focal point, but to the osprey, or fish eagle, itself and its migratory journey as an organizing principle for his literary project (203). Likewise, in his essay "I Climb a Tree and Become Dissatisfied with My Lot," Chicago author Leonard Dubkin writes about his decision, as a newly fired journalist, to climb up a tree in Chicago's Lincoln Park to observe and listen to the birds that gather in the green branches in the evening, despite the fact that most adults would consider this a strange and inappropriate activity. We also looked at several of Hokusai's woodblock prints and analyzed these together in class, trying to determine how the mountain served as an organizing principle for each print or whether there were other key features of the prints—clouds, ocean waves, hats and pieces of paper floating in the wind, humans bent over in labor—that dominate the images, with Fuji looking on in the distance.

18 I asked my students to think of Hokusai's representations of Mt. Fuji as aesthetic models, or metaphors, for what they might try to do in their brief (2-3 pages) literary essays about Moscow Mountain. What I soon discovered was that many of my students, even students who have spent their entire lives in Moscow, either were not aware of Moscow Mountain at all or had never actually set foot on the mountain. So we spent half an hour during one class session, walking to a vantage point on the university campus, where I could point out where the mountain is and we could discuss how one might begin to write about such a landscape feature in a literary essay. Although I had thought of the essay describing the mountain as a way of encouraging the students to think about a familiar landscape as an orienting device, I quickly learned that this will be a rather challenging exercise for many of the students, as it will force them to think about an object or a place that is easily visible during their ordinary lives, but that they typically ignore. Paying attention to the mountain, the ridge, will compel them to reorient themselves in this city and think about a background landscape feature that they've been taking for granted until now. I think of this as an act of disorientation or being lost—a process of rethinking their own presence in this town that has a nearby mountain that most of them seldom think about. I believe Thoreau would consider this a good, healthy experience, a way of being present anew in a familiar place.

36 Views—Or, When You Invert Your Head

19 Another key aspect of Hokusai's visual project and Thoreau's literary project is the idea of changing perspective. One can view Mt. Fuji from 36 different points of views, or from thousands of different perspectives, and it is never quite the same place—every perspective is original, fresh, mind-expanding. The impulse to shift perspective in pursuit of mindfulness is also ever-present in Thoreau's work, particularly in his personal journal and in Walden . This idea is particularly evident, to me, in the chapter of Walden titled "The Ponds," where he writes:

Standing on the smooth sandy beach at the east end of the pond, in a calm September afternoon, when a slight haze makes the opposite shore line indistinct, I have seen whence came the expression, "the glassy surface of a lake." When you invert your head, it looks like a thread of finest gossamer stretched across the valley, and gleaming against the distinct pine woods, separating one stratum of the atmosphere from another. (186)

20 Elsewhere in the chapter, Thoreau describes the view of the pond from the top of nearby hills and the shapes and colors of pebbles in the water when viewed from close up. He chances physical perspective again and again throughout the chapter, but it is in the act of looking upside down, actually suggesting that one might invert one's head, that he most vividly conveys the idea of looking at the world in different ways in order to be lost and awakened, just as the traveler to a distant land might feel lost and invigorated by such exposure to an unknown place.

21 After asking students to write their first essay about Moscow Mountain, I give them four additional short essays to write, each two to four pages long. We read short examples of place-based essays, some of them explicitly related to travel, and then the students work on their own essays on similar topics. The second short essay is about food—I call this the "Moscow Meal" essay. We read the final chapter of Michael Pollan's The Omnivore's Dilemma (2006), "The Perfect Meal," and Anthony Bourdain's chapter "Where Cooks Come From" in the book A Cook's Tour (2001) are two of the works we study in preparation for the food essay. The three remaining short essays including a "Moscow People" essay (exploring local characters are important facets of the place), a more philosophical essay about "the concept of Moscow," and a final "Moscow Encounter" essay that tells the story of a dramatic moment of interaction with a person, an animal, a memorable thing to eat or drink, a sunset, or something else. Along the way, we read the work of Wendell Berry, Joan Didion, Barbara Kingsolver, Kim Stafford, Paul Theroux, and other authors. Before each small essay is due, we spend a class session holding small-group workshops, allowing the students to discuss their essays-in-progress with each other and share portions of their manuscripts. The idea is that they will learn about writing even by talking with each other about their essays. In addition to writing about Moscow from various angles, they will learn about additional points of view by considering the angles of insight developed by their fellow students. All of this is the writerly equivalent of "inverting [their] heads."

Beneath the Smooth Skin of Place

22 Aside from Thoreau's writing and Hokusai's images, perhaps the most important writer to provide inspiration for this class is Indiana-based essayist Scott Russell Sanders. Shortly after introducing the students to Thoreau's key ideas in Walden and to the richness of his descriptive writing in the journal, I ask them to read his essay "Buckeye," which first appeared in Sanders's Writing from the Center (1995). "Buckeye" demonstrates the elegant braiding together of descriptive, narrative, and expository/reflective prose, and it also offers a strong argument about the importance of creating literature and art about place—what he refers to as "shared lore" (5)—as a way of articulating the meaning of a place and potentially saving places that would otherwise be exploited for resources, flooded behind dams, or otherwise neglected or damaged. The essay uses many of the essential literary devices, ranging from dialogue to narrative scenes, that I hope my students will practice in their own essays, while also offering a vivid argument in support of the kind of place-based writing the students are working on.

23 Another vital aspect of our work together in this class is the effort to capture the wonderful idiosyncrasies of this place, akin to the idiosyncrasies of any place that we examine closely enough to reveal its unique personality. Sanders's essay "Beneath the Smooth Skin of America," which we study together in Week 9 of the course, addresses this topic poignantly. The author challenges readers to learn the "durable realities" of the places where they live, the details of "watershed, biome, habitat, food-chain, climate, topography, ecosystem and the areas defined by these natural features they call bioregions" (17). "The earth," he writes, "needs fewer tourists and more inhabitants" (16). By Week 9 of the semester, the students have written about Moscow Mountain, about local food, and about local characters, and they are ready at this point to reflect on some of the more philosophical dimensions of living in a small academic village surrounded by farmland and beyond that surrounded by the Cascade mountain range to the West and the Rockies to the East. "We need a richer vocabulary of place" (18), urges Sanders. By this point in the semester, by reading various examples of place-based writing and by practicing their own powers of observation and expression, my students will, I hope, have developed a somewhat richer vocabulary to describe their own experiences in this specific place, a place they've been trying to explore with "open minds and notebooks." Sanders argues that

if we pay attention, we begin to notice patterns in the local landscape. Perceiving those patterns, acquiring names and theories and stories for them, we cease to be tourists and become inhabitants. The bioregional consciousness I am talking about means bearing your place in mind, keeping track of its condition and needs, committing yourself to its care. (18)

24 Many of my students will spend only four or five years in Moscow, long enough to earn a degree before moving back to their hometowns or journeying out into the world in pursuit of jobs or further education. Moscow will be a waystation for some of these student writers, not a permanent home. Yet I am hoping that this semester-long experiment in Thoreauvian attentiveness and place-based writing will infect these young people with both the bioregional consciousness Sanders describes and a broader fascination with place, including the cultural (yes, the human ) dimensions of this and any other place. I feel such a mindfulness will enrich the lives of my students, whether they remain here or move to any other location on the planet or many such locations in succession.

25 Toward the end of "Beneath the Smooth Skin of America," Sanders tells the story of encountering a father with two young daughters near a city park in Bloomington, Indiana, where he lives. Sanders is "grazing" on wild mulberries from a neighborhood tree, and the girls are keen to join him in savoring the local fruit. But their father pulls them away, stating, "Thank you very much, but we never eat anything that grows wild. Never ever." To this Sanders responds: "If you hold by that rule, you will not get sick from eating poison berries, but neither will you be nourished from eating sweet ones. Why not learn to distinguish one from the other? Why feed belly and mind only from packages?" (19-20). By looking at Moscow Mountain—and at Moscow, Idaho, more broadly—from numerous points of view, my students, I hope, will nourish their own bellies and minds with the wild fruit and ideas of this place. I say this while chewing a tart, juicy, and, yes, slightly sweet plum that I pulled from a feral tree in my own Moscow neighborhood yesterday, an emblem of engagement, of being here.

Bibliography

BUELL, Lawrence, The Environmental Imagination: Thoreau, Nature Writing, and the Formation of American Culture , Harvard University Press, 1995.

DAVIDSON, Cathy, 36 Views of Mount Fuji: On Finding Myself in Japan , Duke University Press, 2006.

DUBKIN, Leonard, "I Climb a Tree and Become Dissatisfied with My Lot." Enchanted Streets: The Unlikely Adventures of an Urban Nature Lover , Little, Brown and Company, 1947, 34-42.

GESSNER, David, Soaring with Fidel: An Osprey Odyssey from Cape Cod to Cuba and Beyond , Beacon, 2007.

ISAKSON, Elizabeth, "Journals." Assignment for 36 Views of Moscow Mountain (English 208), University of Idaho, Fall 2018.

SANDERS, Scott Russell, "Buckeye" and "Beneath the Smooth Skin of America." Writing from the Center , Indiana University Press, 1995, pp. 1-8, 9-21.

SLOVIC, Scott, "Teaching with Wolves", Western American Literature 52.3 (Fall 2017): 323-31.

THOREAU, Henry David, "October 1-20, 1853", Being in the World: An Environmental Reader for Writers , edited by Scott H. Slovic and Terrell F. Dixon, Macmillan, 1993, 371-75.

THOREAU, Henry David, Walden . 1854. Princeton University Press, 1971.

Bibliographical reference

Scott Slovic , “ 36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau ” ,  Caliban , 59 | 2018, 41-54.

Electronic reference

Scott Slovic , “ 36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau ” ,  Caliban [Online], 59 | 2018, Online since 01 June 2018 , connection on 24 April 2024 . URL : http://journals.openedition.org/caliban/3688; DOI : https://doi.org/10.4000/caliban.3688

About the author

Scott slovic.

University of Idaho Scott Slovic is University Distinguished Professor of Environmental Humanities at the University of Idaho, USA. The author and editor of many books and articles, he edited the journal ISLE: Interdisciplinary Studies in Literature and Environment from 1995 to 2020. His latest coedited book is The Routledge Handbook of Ecocriticism and Environmental Communication  (2019).

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