oxford university phd creative writing

Creative Writing

There are plenty of opportunities to get involved in creative writing whilst a student within the Faculty and a number of our academics are also published authors. Oxford's English Faculty also has some of the country's leading poets among its lecturers. Our academics, the Professor of Poetry and other invited guests give regular lectures and workshops at the Faculty. Browse recent events below.

Creative Writing Workshops & Lectures

Anna Deavere Smith playwrighting workshop: Causing a Scene/Scene-ing a Cause

Professor Smith held two workshops for University of Oxford students entitled ‘Causing a Scene/Scene-ing a Cause’.The workshops were designed to bring short scenes conceived by student playwrights into performance. 

Jeanette Winterson workshop

"Generous and candid, Jeanette had the room enraptured for two hours, as she discussed everything from stalking your characters home, to writing with your whole body." 

Rachel Cusk workshop

"Rachel’s candour and eloquence – and sometimes astounding capacity for truth-telling – sent everyone spiralling into almost palpable coils of thought."

Alan Hollinghurst workshop

"For those of us who had a first encounter with a creative writing ‘class’, we could not have chosen a more amicable and supportive environment."

Alice Oswald postal poetry workshop

Prof Oswald invited participants to anonymously write and send a poem to another workshop participant.

Zadie Smith lecture on 'Conscience and Consciousness' at the Oxford Literary Festival

Following a talk at the Oxford Literary Festival, Zadie Smith joined English Faculty students at a formal dinner.

Professor of Poetry lectures

The current Professor of Poetry is A.E. Stallings. She will be giving one lecture each term for the four years of her tenure. You can watch and/or listen to previous Professor of Poetry talks by A.E Stallings and Alice Oswald by clicking on the links below. Visit the Professor of Poetry page for more information.

A Lament for the Earth

In Sleep A King

Sidelong Glances

On Behalf of a Pebble

Interview with Water

Useful links.

The Oxford Centre for Life-Writing

The Oxford Centre for Life-Writing is committed to outreach, collaboration, and fostering research into life-writing. It promotes a lively, cross-disciplinary dialogue on the full range of life-writing, including biography, memoir and social media forms.

Authors at the Faculty

Hermione lee.

Elleke Boehmer

Bart van Es

Hannah Sullivan

Sally Bayley

Matthew Reynolds

• Faculty Issues
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‘Red Wedding’: Storied Stanford Creative Writing Program Laying Off Lecturers

The university says creative writing faculty recommended returning its Jones Lectureships to their “original intent” as short-term teaching appointments for talented writers. A lecturer of 20 years said he thinks there’s a “peasants and lords issue” in the program.

By  Ryan Quinn

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Stanford University is laying off its current Jones Lecturers.

Some Stanford University lecturers are likening it to the “red wedding” in Game of Thrones —a massacre of characters by their supposed allies amid what had been billed as a celebratory feast.

Last Wednesday, a dean, a senior associate dean and a co-director of Stanford’s storied and popular creative writing program held a Zoom meeting with the program’s 23 Jones Lecturers, according to some of those lecturers, who were chosen from the ranks of those who have held the university’s prestigious Stegner Fellowship for writers.

The university leaders complimented the Jones Lecturers over Zoom. “They praised us to the moon,” Tom Kealey, a lecturer for two decades, told Inside Higher Ed . “Endlessly” praised was how Edward Porter, a lecturer of eight years, put it.

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Then, Kealey said, the leaders announced they would all be losing their jobs within the next two academic years. “The worst part is to be praised while you’re being fired,” Porter said. According to notes he took of the meeting, Nicholas Jenkins, the program’s co-director, said something to the effect of “you’re excellent, but others will be excellent in the future.”

There was an added sense of betrayal. The deans—Debra Satz, dean of the School of Humanities and Sciences, and Gabriella Safran, senior associate dean of humanities and arts—said this wasn’t their decision, according to Kealey. In Medium posts on the ordeal, he wrote that they said it came from “the senior professors of creative writing.”

“These are literally our teaching colleagues of the last five to 15 years,” Kealey wrote. “And they decided in a previous secret meeting to fire all 23 of their junior colleagues.” In another post, he wrote that “it was only the MALE professors who voted to fire us.” ( Inside Higher Ed reached out Tuesday to some of the male creative writing professors on Tuesday, but received no responses.)

In an unsigned announcement last Wednesday on the university’s website, Stanford said it is returning to the “original intent of the Jones Lectureships: one-year appointments with the possibility of renewal for a limited term.” That announcement said the recommendation came from faculty members on a “Working Group of Creative Writing Academic Council faculty,” but it didn’t name them.

Satz, Safran and Jenkins said in an emailed joint statement to Inside Higher Ed that "this change will again allow Stegner Fellows the opportunity to apply to be Jones Lecturers once they have completed their fellowships. Jones Lecturers will have one-year appointments with the possibility of renewal for up to four additional years."

While it’s no longer rare for non-tenure-track faculty members to be laid off by higher education institutions facing budget woes, Stanford is a wealthy institution and creative writing is, by its own admission, a popular program.

“We have a large number of fully enrolled classes, many with significant waitlists and some where the waitlists are longer than the enrollment roster,” Jenkins said in a February 2023 article on the university’s website. He also said, “We’re in a remarkable period of hiring during which we’re fortunate enough to be bringing to campus an extraordinarily talented array of significant artists and teachers.”

But the lecturers say they’re the ones teaching most of the creative writing classes for undergraduates, and that their years of experience improve teaching. Kealey said some lecturers teach five classes a year; others teach four. He wrote on Medium of the senior creative writing professors that “the 10 of them … taught 13 undergraduate classes last year (and 19 overall, less than two classes taught per professor).”

The leaders said during the Zoom meeting the decision wasn’t about money, according to Porter. “It’s maddening to have outstanding enrollment and be phased out anyway,” he said. While the university has said it wants to simply return the Jones Lectureships to the short stints they used to be, Kealey suggests the tenured professors in his department had other motives.

“I think there’s a peasants and lords issue here,” Kealey said.

A Long Time Coming?

In 1946, Wallace Stegner, who would go on to win the Pulitzer Prize for fiction for Angle of Repose , founded Stanford’s creative writing program. The Stegner Fellowships are named in his honor.

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E. H. Jones, who had an oil fortune, funded the fellowships and also established the connected Jones Lectureships, according to the university’s announcement from last week. It said these were meant to be “limited, fixed-year teaching appointments, allowing exceptional Stegner Fellows some time and support to prepare a manuscript for publication, hone their teaching skills and transition to a longer-term teaching career elsewhere.”

But “over time this framework of term-limited appointments was not followed,” the university said. It did not say when that change occurred. It might have had something to do with Eavan Boland.

Boland, an Irish poet, led the creative writing program for 20 years until her sudden death in 2020. “Eavan was just a fierce defender of the program,” Kealey said. He said her death “was a great loss to all of us.”

When Boland joined the program, Kealey said, it had maybe 20 or 25 classes. But Boland wanted every student who so desired to be able to take a creative writing class. Kealey said lecturers went to residence halls in early years to speak with students about the program. Over about 15 years, Kealey said, the program grew to offer about 120 classes.

Porter said Boland “developed a large cadre of about 20 to 25 lecturers.” Even though they were on one-year contracts, Porter said, they kept getting renewed. He said it’s true that Boland did move the lectureships away from their original intent—but that it was beneficial for students, teaching and the program.

“There are a lot of human skills to playing this game, and those don’t come in a year,” Porter said. “We have letters, testimonials from students about how much we’ve meant to them. We’re also very available to them—we talk to them outside of class, there’s a sense of continuing mentorship if they want it.”

Now, Porter said, “there is at least the appearance” of the university creating “artificial scarcity,” suggesting there’s no room for the new, younger Stegner Fellows writers to get a leg up by becoming Jones Lecturers “because these crusty old folks are hogging up all the real estate.” Safran, the senior associate dean, said, per Porter’s meeting notes, that “in some years few or no Stegners were able to advance.”

Kealey said, “There’s no shortage of space for new Stegner Fellows to be hired into the Jones Lectureships, but, I don’t know, the professors wanted to do a scorched earth with this, and that’s what they’ve done.”

The lecturers said they pushed for, and received, raises from the university in September 2023. “Exactly a year later we’re all fired,” so “connect the dots here,” Kealey said. “I think the lords didn’t like that—didn’t like the peasants speaking up.”

Porter talked about “balancing one set of values against the other.” He said the tenured or tenure-track “creative writing faculty doesn’t teach many classes and many of them are not involved—they don’t care about the undergraduates. It’s not their job to care; it’s their job to write books, be famous and raise money, and that’s very necessary.”

And part of the purpose of the Jones Lectureship program is to give new writers a step up. But Porter worries about the other side of the equation being lost. “It’s our job to care about the undergrads,” he said.

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Top Tips for Academic Writing from PhD Candidates

20 Mar, 2024 | Blog Articles , Get the Edge

Faissal, DPhil Clinical Neurosciences

“When it comes to writing for your academic project, remember that staying organised is super important! You’ll have to record, research and cite your sources, which you definitely don’t want to do in one go at the end. Using a reference manager like Paperpile or Zotero will help you keep track of your sources and cite them properly in your papers.

Instead of trying to write perfect sentences right away, you might find it useful to start by making a rough outline with bullet points. Then, add in facts, quotes and other information from your research to build your paper.

Also, don’t forget to separate the writing process from editing. Focus on getting your ideas down on paper first, and you can work on making your writing sound better and fixing any mistakes later.

Good luck with your writing!”

Alejandro, DPhil International Relations

“My number one tip for academic writing, whatever your level? Be concise .

Very often, students are led to think that good academic writing means using the most sophisticated, advanced vocabulary they can find. To make a piece of work more professional, it can be tempting to look for elaborate synonyms and use them in place of simple words.

However, doing this can actually prevent your reader from understanding the arguments and ideas you’re trying to put forward, and you might even get lost in your own sentences! Try to go for the simplest language, and the fewest words needed, to express an idea. Use short sentences, don’t be vague, and avoid overly complex language. Remember that academic writing is not about sounding a certain way, but about expressing your ideas clearly. Being concise, for me, is the essential first step to good academic writing.

P.S.: Don’t forget to proofread your work.”

Academic writing is always a work in progress, and your style and voice will develop and evolve throughout your studies. It also won’t be possible to apply all of these tips, all of the time, but experiment with those that appeal to you, and use them as you develop your own writing.

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Creative Writing, MFA

Small, intensive and supportive, merging a playful approach to contemporary experimentation with an ambitious exploration of literary traditions, Miami University's MFA program draws students from across the country and beyond to classes in creative nonfiction, poetry, fiction, multimedia and performance writing.

Practice-Oriented

The program’s core consists of four practice-oriented workshops focused on student writing. MFA writers also take seminars in literature (usually in contemporary British and American literature) and a course devoted to questions of theory and practice. Every aspect of the program - especially the close mentorship of faculty writers - is designed to nurture the composition of a publishable full-length work of fiction, poetry, or creative nonfiction by the end of the second year of study.

Miami’s graduate creative writing alumni enjoy successful writing careers (recent graduates have sold first books to Alfred A. Knopf, Random House and Harcourt) as well as careers in university teaching, public service, editing and publishing.

Funding Opportunities

All students admitted to the MFA program in Creative Writing hold generous Graduate Assistantships, teaching first-year composition in Miami’s renowned rhetoric and composition program. Non-teaching assistantships may also be available. Students teach creative writing during the second year.

My time at Miami was integral to the process of writing and selling my memoir. The creative writing faculty helped foster my voice and style and find the language I needed to talk about my project and my writing, which gave me an edge when pitching agents and publishers. My cohort provided astute and serious criticism of my writing as well as a community of writers with different writing styles and interests whom I still look to for advice and feedback.

Matt Young, author, Eat the Apple (Bloomsbury, 2018)

Graduate Successes

Faculty and mentors.

Graduate students often work with faculty from across the department, taking advantage of our rich interdisciplinary expertise

MFA Faculty

Joseph bates.

PhD, University of Cincinnati, 2006

Co-Editor of the Miami University Press Associate   Professor of English

Margaret Luongo

MFA, Creative Writing, University of Florida, 2001

Associate Professor of English

Eric Melbye

PhD, Creative Writing, University of Denver, 2001

Associate Professor of English (Middletown Campus)

Areas: Community-Based Learning, Creative Writing, Creative Writing Pedagogy, Exile Studies

PhD, English and American Literature, Cornell, 1995

Professor of English and Affiliate of American Studies, Director of the Miami University Humanities Center

Areas: U.S. Literary and Cultural History Since 1950, Cold War Studies, Postmodernism, Fiction Writing

TaraShea Nesbit

PhD, University of Denver, 2015 Associate   Professor of English

Areas: 20th and 21st Century Fiction and Creative Nonfiction, Historical Fiction, Lyric Essays, Multi-Genre Texts, Creative Writing Pedagogy.

Brian Roley  

JD, University of California, Los Angeles and MFA, Creative Writing, Cornell University, 1998

Professor of English and Affiliate of Global and Intercultural Studies, Director of Creative Writing

Areas: Creative Writing; Film, Theatre and Literature Adaptations; Disability / Medical Narratives; Contemporary and Twentieth Century Literature; Asian American Literature; Literature and the Law

Emily Spencer ,

M.F.A., University of Iowa, Iowa Writers' Workshop B.A., The Ohio State University

Areas: Poetry and Poetics, Creative Writing, Contemporary Poetry

PhD, University of Chicago, 1987

Assistant Professor of English and Co-Editor of the Miami University Press

Areas: Modern and Contemporary British, Irish, American, and Anglophone Literature, Creative and Performance Writing, Poetry and Poetics, Anecdotes and Ephemera, Travel Writing

Cathy Wagner

PhD, University of Utah, 2000 Professor of English

Areas: Creative Writing, Poetry Writing, Contemporary and Modern American Poetry and Poetics, Contemporary and Modern British Poetry and Poetics, Poetry and Politics

Current Creative Writing Grad Students

Creative nonfiction and fiction mfa students, ritika bali.

BA, English Literature, Lady Shri Ram College for Women MBA, Marketing, Institute of Management Technology

Creative interests: prose poem, flash, short stories, magical realism, photo essays, spiritualism, graphic novels, migration literature, journaling, folklore and legends, Indian mythology, historical fiction

Kayla Belser

BA International Business, University of Cincinnati BA Creative Writing, Northern Kentucky University

Chris Bowyer

MA Philosophy, Miami University BA Philosophy, Miami University

David W. Carstens

BA, English, Kenyon College

Creative interests: technology, religion, German, literature, philosophy, social alienation, individualism, game design, the internet, community (and the lack thereof), environmentalism, loneliness, climate change.

Ash Ganderi

BA, Creative Writing & Mass Communication, Miami University

Priyadarshini Oshin Gogoi

BA, MA, University of Delhi

Creative interests: YA and children's fiction, poetry, micro and flash fiction, hybrid genres, memoir, non-fiction writing, and speculative fiction

Joshua Konecke

MA, Kansas State University BA, University of Wisconsin-Green Bay

Molly Moran

MA, Georgetown University BA, Catholic University of America

Tanushree Mukherjee

MA, Journalism and Media Studies, University of Nevada, Las Vegas

Creative Interests: Reading fiction, hope to complete a long-form fiction project

Mary Newton

BA, English/Creative Writing, UCLA MA, English/Literature, San Francisco State University

Xavier Prince

BA, English, Salisbury University

Sammie  Stahlhut

BS, English Language Arts Education, University of Central Florida

Creative Interests: Novels and novellas, Southern Gothic, queer identity, absurdism, environmentalism, humor, and ordinary perspectives

Kendra Stiers

BA, Creative Writing, Miami University

BS, Creative Writing, Ashland University

Poetry MFA Students

Jeremy daugherty.

BA, MA, English, Northern Kentucky University

Creative interests: elegy and the works of confessional poets; creative writing pedagogy in the composition classroom.

Adefemi Fagite

BA, Federal University of Agriculture Abeokuta

Creative interests: social injustice, grief, speculative fiction, and African poetry

Matt Farley

BA, English Literature/Creative Writing, Miami University

Hallie Fogarty

BA, Northern Kentucky University

Creative interests: women poets, Affrilachian Literature, formal poetry, LGBTQ writers, mental illness in poetry, sestinas, confessional poetry

Sophia Judge

BA, Creative Writing, University of Cincinnati

Creative interests: climate-based literature and poetry, feminist works

Ross Kohler

BA, Miami University

Maddie Portune

BSB, Marketing & International Studies, IUPUI MA, English Literature, Indiana University

Creative Interests: Poetry (confessional, new formalism, micro), modern adaptations of mythology & religion, historical fiction (esp. Exploring European history & language), bisexuality in popular media & literature, feminist theory, queer theory, pedagogical approaches to writing & literature, linguistic justice & literary studies in young adult literature

Danton Remoto

MPhil, Publishing Studies, University of Stirling UK;  BA/MA Literature, Ateneo de Manila University, Philippines

Creative Interests : Postcolonial Poetry, Lyrical Poetry, Creative Writing Pedagogy

Hossein Sobhani

MA, University of Southern Denmark BA, Persian Gulf University

Creative Interests: Narrative and the way in which our lives and identities are intertwined with narrative

Cody Tieman

BA, English, Denison University

Kyle Williams

BA, University of West Indies

Reynie Zimmerman

Director of Graduate Creative Writing Program,   Brian Roley

Interim Director of English Department Graduate Studies, Tim Lockridge ( [email protected])

Department of English

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Creative writing

The Creative Writing discipline supports practice-based and critical research and PhD study focused on creative writing. This research activity is associated with the discipline's Contemporary Cultures of Writing Research Group. The core activity in this type of PhD study is the creation of a book-length work of literature (or script equivalent) and an accompanying critical reflective thesis, which elucidates the research and creative strategies involved in making the work. In this way the essence of the Creative Writing PhD is research through creative practice. The final creative work emerges from and embodies the research questions, and the decisions and discoveries made while producing the work. We welcome applications from candidates suitably qualified and with appropriate writing experience and ability.

We expect well-structured proposals which set out specific research questions and clearly outline creative and critical approaches. A substantial writing sample is also required.

Entry requirements

Minimum 2:1 undergraduate degree (or equivalent) and a strong academic and creative record, usually evidenced by an MA in Creative Writing and relevant publications. If you are not a UK citizen, you may need to prove your knowledge of English . 

Potential research projects

• Fiction – novel and short stories
• Creative Nonfiction – including life writing
• Script for stage, radio or screen

Current/recent research projects

• The Longest Fight: a novel and Getting into the Ring: an investigation of archetypes of the boxing hero, the creative influences of boxing reportage, and the role of personal memories in historical fiction.
• Freethinkers, a novel, and Inventing history: how do research, imagination and memory fuse creatively in the writing of an historical novel?
• Darkness Is Never Absolute: Ekphrasis of the Formless and Near-Black Paintings.
• The Other Mothers: Exploring adoption, surrogacy and egg donation through life writing.
• The Electric: A novel and critical commentary investigating narrative disruption in sign language, cinemagoing, and trauma.
• Longing to belong: an investigation into the potential for alternative storytelling techniques.
• A Sudden Light: a practice-led exploration of the significance and potential of the contemporary timeslip novel.

Potential supervisors

• Dr Emily Bullock
• Dr Siobhan Campbell
• Dr Donall Mac Cathmhaoill
• Dr Fiona Doloughan
• Dr Edward Hogan
• Dr Lania Knight
• Dr Derek Neale
• Dr Heather Richardson
• Dr Samuel Sargeant
• Dr Emma Sweeney
• Dr Jane Yeh

Some of our research students are funded via the Open-Oxford-Cambridge AHRC Doctoral Training Partnership ; others are self-funded.

For detailed information about fees and funding, visit  Fees and studentships .

To see current funded studentship vacancies across all research areas, see  Current studentships .

• Creative Writing at The Open University
• Recent and current creative writing PhD students
• The Contemporary Cultures of Writing Research Group

Get in touch

If you have an enquiry specific to this research topic, please contact:

Dr Molly Ziegler / Dr Ed Hogan Email: FASS-EnglishCreativeWriting-Enquiries Phone: +44 (0)1908 652092

Please review the application process if you want to apply for this research topic.

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Mourning the loss of peter saccio, celebrated shakespearean scholar, posted on august 28, 2024 by arts and sciences.

Saccio was a sought-after scholar, an actor and director, and a dedicated advocate for gay and lesbian students at Dartmouth.

Peter Saccio leads a discussion with the Dartmouth Alumni Association of Silicon Valley in February 2010. (Photo by George Hamma)

Peter Saccio, Leon Black Professor Emeritus of Shakespearean Studies and Professor of English, died on Aug. 19. He was 83 years old. 

"A brilliant and beloved professor and celebrated Shakespearean scholar, Peter was a sought-after luminary for countless Dartmouth students, colleagues, and alumni, as well as friends from across the country and abroad, over the course of more than four decades on the faculty and for many years after," Dean Elizabeth F. Smith said in a message to the Arts and Sciences community. "With his remarkable erudition, spirited wit, and deep sense of humanity, Peter made a lasting impact on our campus, the Upper Valley performing arts community, and far beyond."

Saccio was born in 1941 in Brooklyn, New York, and grew up in Bethlehem, Connecticut. He discovered his love of Shakespeare as a child and chose to attend Yale University to pursue a career in drama. Although he persuaded Yale's drama department to produce Henry VI , the king role went instead to his classmate, Sam Waterston—an experience that prompted Saccio to recognize his relative strengths and set his sights on scholarship. He earned a BA in philosophy at Yale, followed by a PhD in English from Princeton University, where he held Woodrow Wilson and Jacobus fellowships.

Saccio joined the faculty at Dartmouth in 1966, teaching primarily Shakespeare and modern British drama. He served as vice chair and chair of the Department of English, and was successively given two endowed chairs at Dartmouth, the Willard Professorship in Oratory and Drama and the Leon D. Black Professorship in Shakespearean Studies. He retired in 2007.

In addition to many scholarly articles on Shakespeare and reviews of professional productions, Saccio authored two books, The Court Comedies of John Lyly: A Study in Allegorical Dramaturgy (1969) and Shakespeare's English Kings: History, Chronicle, and Drama (1977). The latter became a classic in the field, and to Saccio's delight, a popular resource for actors and directors seeking to understand their characters. He also edited Thomas Middleton's comedy A Mad World, My Masters , for the Oxford Complete Works of Thomas Middleton.

In 1990, the Teaching Company (now Great Courses) began recording and marketing scholarly lectures, and Saccio's lectures on Shakespeare were among the original eight that were offered and distributed on CDs and DVDs. The lectures brought Saccio to audiences around the world, who sang his praises. "Professor Saccio's love affair with Shakespeare resounds clearly through all his talks," one student wrote. "His enthusiasm is infectious; it is serious but relieved with humor and asides where appropriate."

Saccio was also regularly invited to deliver lectures at major theatrical venues, including Shakespeare's Globe in London, the Oregon Shakespeare Festival, the New Jersey Shakespeare Festival, and the Great River Shakespeare Festival in Minnesota. He gave lectures to Dartmouth Alumni Clubs across the country, often collaborating with the late Charles Wood, Daniel Webster Professor of History, and on alumni cruises in Europe. He also lectured extensively in public libraries for the Vermont Humanities Council.

At Dartmouth, Saccio's classes were often oversubscribed and he was cited as a favorite professor by many alumni, including the Class of 1971 . The recipient of the John M. Manley Huntington Award for Outstanding Teaching, he was especially admired for combining his vast knowledge of Shakespeare with practical insights about theater production.

"He had a real sense of how performances are created," recalls Professor of Theater Peter Hackett '75. "My friends and I who were leaning towards acting, directing, and design had great affection for Saccio because he was able to open up the world of Shakespeare as well as our understanding of how these plays were brought to life."

Among Saccio's most active commitments at Dartmouth was the welfare of gay and lesbian students. He was faculty advisor to the gay student organization (which had several different names during the 1980s and 1990s) and chair of the Board of Trustees of the Edward Carpenter Foundation, a private foundation established with alumni gifts at a time when Dartmouth did not choose to accept donations for gay and lesbian causes. In 1992, he taught the English department's first course in gay literature.

"He was a tremendous pioneer for gay and lesbian students at Dartmouth at a time when it was not typical," says Colin Partridge '72, a former student who became Saccio's lifelong friend.

Associate Professor of English Melissa Zeiger recalls Saccio's kindness as a colleague, and how he championed gay authors with sensitivity and care. "In the midst of sad times, including the AIDS epidemic, he was able to celebrate the joyousness of gay literary production," she says.

"The way our culture has been run for 1,000 years, if you're gay you're alone," Saccio said in an interview with Dartmouth Alumni Magazine . "Some people start out thinking they're the only people in the world like this."

"Literature does illuminate life," he continued. "It can extend our experience beyond the range of one person."

Saccio's late partner, James Steffensen, was a professor of drama at Dartmouth beginning in 1980. The pair often collaborated professionally, including in the leading of students and alumni to London for theater-focused study and tours, often in association with the Hopkins Center for the Arts. With Steffensen and after his death, Saccio regularly kept in touch with many former Dartmouth students, often serving as a patient listener and trusted advisor both professionally and personally.

When Vermont's Northern Stage was founded in 1997, Saccio quickly befriended its founding director and became an ardent supporter. When Peter Hackett and his wife, Carol Dunne , joined Dartmouth's theater faculty, Saccio introduced them to the company—ultimately leading to Dunne taking its helm as artistic director in 2013. In addition to serving as an artistic advisor and acting in several productions, Saccio was on Northern Stage's Board of Directors for several years and remained connected long after he stepped down.

Saccio's own acting credits include the Shakespearean roles of Casca, Angelo, and Bassanio, as well as various parts in ancient and modern plays. And it was at Dartmouth, finally, when he played the role of the king in a production of Henry IV in the Moore Theater.

Saccio is survived by his sister, Mary Anne Gateley of Searcy, Ark.; his brother and sister-in-law Edward and Joyce Saccio of Havana, Florida; four nieces and nephews, four great-nieces, and a great-nephew.

A memorial service will take place on Thursday, Sept. 12, at 11 a.m. at St. Thomas Church in Hanover.

Donations in Saccio's memory may be made to St. Thomas' Church, Northern Stage, a gay/AIDS charity or support group of the donor's choice, or to the Professor James L. Steffensen Memorial Fund at Dartmouth, which Saccio established to further Steffensen's work in the education of theater students.

In Saccio's honor, the Dartmouth flag will be lowered on Wednesday, Sept. 11, and Thursday, Sept. 12. 

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PhD Creative Writing / Overview

Year of entry: 2024

• View full page
• Bachelor's (Honours) degree at 2:1 or above (or overseas equivalent)
• Master's degree in a relevant subject – with an overall average of 70% or above

Full entry requirements

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Please ensure you include all  required supporting documents at the time of submission, as incomplete applications may not be considered. 

Application Deadlines 

For consideration in internal funding competitions, you must submit your completed application by  12 January 2024. 

If you are applying for or have secured external funding (for example, from an employer or government) or are self–funding, you must submit your application before the below deadlines to be considered. You will not be able to apply after these dates have passed. 

• For September 2024 entry:  30 June 2024 
• For January 2025 entry:  30 September 2024 

Programme options

Programme overview

• Complete your research as part of the University's prestigious Centre for New Writing.
• Combine creative and critical elements within your doctorate, to prepare a novel or a collection of poetry or short stories.
• Benefit from creative supervision by an experienced poet or fiction writer and draw on the range of expertise within the University to find a supervisor for your critical element.

To find out what studying on a postgraduate research programme at Manchester is like, visit our Open days and study fairs page and explore our virtual open week or future on-campus and international events.

We will be conducting our PGR virtual open week in October 2024. Find out more about future events and postgraduate research sessions by signing up for our email alerts.

For entry in the academic year beginning September 2024, the tuition fees are as follows:

• PhD (full-time) UK students (per annum): £4,786 International, including EU, students (per annum): £21,500
• PhD (part-time) UK students (per annum): £2,393

Further information for EU students can be found on our dedicated EU page.

Please note for the majority of projects where experimentation requires further resource: higher fee bands (where quoted) will be charged rather than the base rate for supervision, administration and computational costs. The fees quoted above will be fully inclusive and, therefore, you will not be required to pay any additional bench fees or administration costs.

All fees for entry will be subject to yearly review and incremental rises per annum are also likely over the duration of the course for UK/EU students (fees are typically fixed for International students, for the course duration at the year of entry). Always contact the department if you are unsure which fee applies to your project.

Read more about  postgraduate fees .

Scholarships/sponsorships

There are a range of scholarships, studentships and awards to support both UK and overseas postgraduate researchers, details of which can be found via the links below.

To apply University of Manchester funding, you must indicate in your application the competitions for which you wish to be considered. The deadline for most internal competitions, including AHRC NWCDTP and School of Arts, Languages and Cultures studentships is 12 January 2024. 

All external funding competitions have a specified deadline for submitting the funding application form and a separate (earlier) deadline for submitting the online programme application form, both of which will be stated in the funding competition details below.

For more information about funding, visit our funding page to browse for scholarships, studentships and awards you may be eligible for.  

• AHRC North West Consortium Doctoral Training Partnership (NWCDTP) PhD Studentships - Competition Closed for 2024 Entry
• School of Arts, Languages and Cultures PhD Studentships 2024 Entry - Competition Closed for 2024 Entry
• China Scholarship Council - The University of Manchester (CSC-UoM) Joint Scholarship Programme - Competition Closed for 2024 Entry
• School of Arts, Languages and Cultures New Generation PhD Studentships - Competition Closed for 2024 Entry
• President's Doctoral Scholar (PDS) Awards - Competition Closed for 2024 Entry
• Trudeau Doctoral Scholarships 2024 Entry
• Commonwealth PhD Scholarships (High Income Countries)
• Humanities Doctoral Academy Humanitarian Scholarship 2024 Entry
• Commonwealth PhD Scholarships (Least Developed Countries and Fragile States)

Contact details

See: About us

Programmes in related subject areas

Use the links below to view lists of programmes in related subject areas.

• English Literature, American Studies and Creative Writing

Regulated by the Office for Students

The University of Manchester is regulated by the Office for Students (OfS). The OfS aims to help students succeed in Higher Education by ensuring they receive excellent information and guidance, get high quality education that prepares them for the future and by protecting their interests. More information can be found at the OfS website .

You can find regulations and policies relating to student life at The University of Manchester, including our Degree Regulations and Complaints Procedure, on our regulations website .

19. Format of the thesis

19.1   The submission of the thesis for examination should be electronic, by email, directly to the Research Degrees Team. Students must submit their thesis for examination by emailing one electronic PDF copy of your final thesis, and the completed, signed RDC-Sub submission form, to the Research Degrees Team.

Once all elements of the examination process have been completed satisfactorily, the final approved electronic copy of the thesis must be uploaded to the University’s online repository, RADAR as set out in the RDC-Decl form, before the degree may be awarded. Students confirm, through the completion and submission of a declaration form RDC-Decl RADAR, that the contents of the final thesis are identical with the version submitted for examination, except where amendments have been made to meet the requirements of the examiners ( Section 18 ).

19.2   Except with the specific permission of the Research Degree Committee the thesis shall be presented in English. Where a thesis is presented in a language other than English, a summary in English of 1,000 words shall be included in the thesis.

19.3   An abstract of approximately 300 words should be included in the thesis which shall provide a synopsis of the thesis stating the nature and scope of the work undertaken and of the contribution made to the knowledge of the subject treated.

19.4   The thesis shall include a statement of the candidate’s objectives and shall acknowledge published or other sources of material consulted (including an appropriate bibliography or list of citations depending on the discipline) and any assistance received.

19.5   Where a candidate’s research programme is part of a collaborative group project, the thesis shall indicate clearly the candidate’s individual contribution and the extent of the collaboration.

19.6   The candidate shall be free to publish material in advance of the thesis but reference shall be made in the thesis to any such work. Copies of published material should be included in the electronic copy of the thesis.

19.7   The thesis submitted for examination shall remain the property of the University but the copyright in the thesis shall be vested in the candidate.

19.8   The material excluded from the overall maximum word limit includes: 

• the bibliography or reference lists, as well as all supplementary information such as data, including transcribed or original source data
• questionnaire responses
• computer listings
• previously published work by the candidate. 

All these elements should be included in the appendices.

The maximum number of words permitted in the text of a thesis itself should fall between the word-limit ranges set out below. Please note that while the number of words in a thesis submitted for examination may sit between the minimum and maximum limits set out here, they must not exceed the maximum upper-limit for any theses submitted for examination in one of the disciplines, as described below.

To note that following examination where the examiners recommend amendments to the thesis, the additional word count that will result from the revisions requested, falls outside the limits set here.

Where the programme of research involves the preparation of a scholarly edition of texts, a scholarly edition of creative writing or scholarly edition of musical or choreographic works, or other original artifacts ( see regulation 6.5 ), the written thesis should be within the following range:

• for a PhD: 30,000 - 40,000 words
• for an MPhil: 15,000 - 20,000 words 

The documentation of the practical work can be in the form of a material product, but can also be documented in a separate text that shows the stages and the procedures that the candidate has worked through. 

If the documentation of practice is in the form of a text, the maximum word limit for this documentation would be a maximum of 60,000 words bringing the overall maximum count to 100,000 words.

The Critical Reflection/Commentary of the work will follow existing policy ( see section 6.5 ) and should be within 15,000 and 40,000 words depending on whether the thesis will be defined as: 

• involving “the candidate’s own creative work or practice-based work” (maximum 20,000 words) or   
• “where the programme of research involves the preparation of a scholarly edition of texts, creative writing or other work" (Maximum 30,000 – 40,000) words.

19.9    Absolutely no applications for extension to the maximum word limits set out above will be considered or approved. Students and Supervisors must plan the work to ensure that the final maximum word count falls within the approved limit.

Download RDC-Sub Form

Format requirements for all submitted theses

19.10    The following requirements shall be adhered to in the format for all submitted theses:

• Theses shall be in A4 portrait format; the Research Degree Committee may give permission for a thesis to be submitted in another format where it is satisfied that the contents of the thesis can be better expressed in that format;
• Electronic copies of the thesis shall be presented in a legible form and the size of character used in the main text, including displayed matter and notes, shall not be less than 10 pt type for capitals and 9 pt. type for lower case;
• For an electronic thesis submission, all margins should be not less than 15mm. If a hard copy submission is required the margin at the left-hand binding edge of the page shall not be less than 40mm; other margins shall not be less than 15mm;
• Double or one-and-a-half spacing shall be used in the typescript except for indented quotations or footnotes where single spacing may be used;
• Pages shall be numbered consecutively through the main text including photographs and/or diagrams included as whole pages;
• the full title of the thesis
• the full name of the author
• that the degree is awarded by Oxford Brookes University
• that the thesis is submitted in partial fulfilment of the requirements of the award of Master or Doctor of Philosophy, PhD by Published Work or Professional Doctorate
• the Collaborating Establishment(s), if any; and
• the month and year that the thesis was first submitted for examination.

Electronic PhD copy

19.11   One electronic PhD copy of the final thesis must be uploaded to RADAR and lodged in the University Library.  It should be noted that it is normal practice to provide a final copy of the thesis for the Collaborating Establishment(s), Director of Studies or Faculty.  

The thesis must be presented as follows:

• the electronic PDF copy of the thesis should be submitted and should be uploaded to the University’s online repository RADAR as set out in the RDC-Decl form and confirmation and the link to the online thesis must be sent by email to the Research Degrees Team.
• exceptionally, where final submission for the degree of PhD by Published Work or a Practice based degree cannot be submitted electronically, special arrangements will be made with the Research Degree Team, to receive the final submission in another approved form, such as partially electronic with elements in a hardbound or other form of submission as required.

Submission of a hard copy

19.12    Exceptionally, if it is not possible to submit the thesis electronically due to the nature of the work, a hard copy may be submitted with the approval of the Research Degrees Committee.  

The University’s copy may be bound in any colour and shall be presented as follows:

• the binding shall be of a fixed type so that pages cannot be removed or replaced; the front and rear board shall have sufficient rigidity to support the weight of the work when standing upright and the text may be printed on both sides of the page. In addition it should be printed:
• in at least 24pt embossed type the outside front board shall bear the following:
• the title of the work;
• the name and initials of the candidate;
• the qualification, e.g. PhD; MPhil, PhD on the Basis of Published Work; and
• the year of submission for the first examination.

The same information (excluding the title of the work) shall be shown on the spine of the work, reading downwards.

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University of oxford: creative writing.

Part-Time, 2 years starts Oct 2024

**The information provided on this page was correct at the time of publication (November 2023). For complete and up-to-date information about this course, please visit the relevant University of Oxford course page via www.graduate.ox.ac.uk/ucas.**

The MSt in Creative Writing is a two-year, part-time master's degree course offering a unique combination of high contact hours, genre specialisation, and critical and creative breadth.

The emphasis of the course is cross-cultural and cross-genre, pointing up the needs and challenges of the contemporary writer who produces their creative work in the context of a global writerly and critical community.

The MSt offers a clustered learning format of five residences, two guided retreats and one research placement over two years. The research placement, a distinguishing feature of the course, provides between one and two weeks' in-house experience of writing in the real world.

The first year concentrates equally on prose fiction, poetry, dramatic writing and narrative non-fiction. There is a significant critical reading and analysis component, which is linked to the writerly considerations explored in each of the genres. In your second year you will specialise in one of the following:

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The residences in particular offer an intensive workshop- and seminar-based forum for ideas exchange and for the opening up of creative and critical frameworks within which to develop writerly and analytical skills. There is a strong element of one-to-one tutorial teaching. Tutorials take place within residences and retreats, and relate to the on-going work produced for the course.

You will be assigned a supervisor who will work closely with you throughout the development of the year two final project and extended essay. All assessed work throughout the two years of the course is subject to one-to-one feedback and discussion with a tutor. This intensive, one-to-one input, combined with the highly interactive workshop and seminar sessions, is a distinguishing feature of the course.

Part-Time, 2 years started Oct 2023

**The information provided on this page was correct at the time of publication (October/November 2022). For complete and up-to-date information about this course, please visit the relevant University of Oxford course page via www.graduate.ox.ac.uk/ucas**

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Author Kevin Brockmeier to give reading on Sept. 16

Published Tuesday, August 27, 2024

The SMSU Creative Writing Program will host Kevin Brockmeier on Monday, Sept. 16, 2024.  He will be on campus visiting classes during the day and giving a public reading in the evening in Charter Hall 201 at 7:00 p.m. Brockmeier is the first guest of the visiting writer series for the 2024-25 academic year.

KEVIN BROCKMEIER  is the author of the memoir  A Few Seconds of Radiant Filmstrip;  the novels  The Illumination, The Brief History of the Dead,  and  The Truth About Celia;  the story collections  The Ghost Variations, Things That Fall from the Sky  and  The View from the Seventh Layer;  and the children’s novels  City of Names and Grooves: A Kind of Mystery . His work has been translated into seventeen languages. He teaches frequently at the Iowa Writers’ Workshop and lives in Little Rock, Arkansas, where he was raised.

Brockmeier has published his stories in such venues as  The New Yorker, The Georgia Review, McSweeney’s, Zoetrope, Tin House, The Oxford American, The Best American Short Stories, The Year’s Best Fantasy and Horror , and  New Stories from the South . He has received the Borders Original Voices Award, three O. Henry Awards (one, a first prize), the PEN USA Award, a Guggenheim Fellowship, and an NEA Grant. In 2007, he was named one of  Granta 's Best Young American Novelists.

The reading will feature stories from Brockmeier’s latest book The Ghost Variations: One Hundred Stories published in 2021 by Pantheon. The reading is free and open to the public.

For comment on the visiting writer, contact: Dr. Jessica Hennen, [email protected] , Assistant Professor of English at SMSU.

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English and literary arts - creative writing - phd, admission requirements.

Terms and Deadlines

Degree and GPA Requirements

Additional Standards for Non-Native English Speakers

Additional standards for international applicants.

For the 2025-2026 academic year

See 2024-2025 requirements instead

Fall 2025 quarter (beginning in September)

Final submission deadline: December 16, 2024

Final submission deadline: Applicants cannot submit applications after the final submission deadline.

Degrees and GPA Requirements

Bachelors degree: All graduate applicants must hold an earned baccalaureate from a regionally accredited college or university or the recognized equivalent from an international institution.

Masters degree: This program requires a masters degree as well as the baccalaureate.

University GPA requirement: The minimum grade point average for admission consideration for graduate study at the University of Denver must meet one of the following criteria:

A cumulative 2.5 on a 4.0 scale for the baccalaureate degree.

A cumulative 2.5 on a 4.0 scale for the last 60 semester credits or 90 quarter credits (approximately two years of work) for the baccalaureate degree.

An earned master’s degree or higher from a regionally accredited institution or the recognized equivalent from an international institution supersedes the minimum GPA requirement for the baccalaureate.

A cumulative GPA of 3.0 on a 4.0 scale for all graduate coursework completed for applicants who have not earned a master’s degree or higher.

Official scores from the Test of English as a Foreign Language (TOEFL), International English Language Testing System (IELTS), C1 Advanced or Duolingo English Test are required of all graduate applicants, regardless of citizenship status, whose native language is not English or who have been educated in countries where English is not the native language. Your TOEFL/IELTS/C1 Advanced/Duolingo English Test scores are valid for two years from the test date.

The minimum TOEFL/IELTS/C1 Advanced/Duolingo English Test score requirements for this degree program are:

Minimum TOEFL Score (Internet-based test): 80

Minimum IELTS Score: 6.5

Minimum C1 Advanced Score: 176

Minimum Duolingo English Test Score: 115

Additional Information:

Read the English Language Proficiency policy for more details.

Read the Required Tests for GTA Eligibility policy for more details.

Per Student & Exchange Visitor Program (SEVP) regulation, international applicants must meet all standards for admission before an I-20 or DS-2019 is issued, [per U.S. Federal Register: 8 CFR § 214.3(k)] or is academically eligible for admission and is admitted [per 22 C.F.R. §62]. Read the Additional Standards For International Applicants policy for more details.

Application Materials

Transcripts, letters of recommendation.

Required Essays and Statements

Writing Sample

We require a scanned copy of your transcripts from every college or university you have attended. Scanned copies must be clearly legible and sized to print on standard 8½-by-11-inch paper. Transcripts that do not show degrees awarded must also be accompanied by a scanned copy of the diploma or degree certificate. If your academic transcripts were issued in a language other than English, both the original documents and certified English translations are required.

Transcripts and proof of degree documents for postsecondary degrees earned from institutions outside of the United States will be released to a third-party international credential evaluator to assess U.S. education system equivalencies. Beginning July 2023, a non-refundable fee for this service will be required before the application is processed.

Upon admission to the University of Denver, official transcripts will be required from each institution attended.

Three (3) letters of recommendation are required.  Academic recommendations preferred.  Letters should be submitted by recommenders through the online application.

Essays and Statements

Essay instructions.

Applicants should submit a sample of critical prose (e.g., a seminar paper, scholarly publication, or excerpt from thesis or other longer work demonstrating familiarity with the conventions of academic research and writing) not to exceed 20 pages.

Personal Statement Instructions

Personal statements should be 2 pages maximum and should address the applicant's past academic experience, future scholarly goals, and their suitability for graduate study and research in our program.

Résumé Instructions

The résumé (or C.V.) should minimally include the applicant's educational history, work experience, academic experience (including research opportunities or presentations), selected publications, and/or volunteer work.

Writing Sample Instructions

Applicants must submit representative samples of creative work (for Prose, no more than 30 pages; for Poetry, 5 - 10 poems).

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Your submitted materials will be reviewed once all materials and application fees have been received.

Our program can only consider your application for admission if our Office of Graduate Education has received all your online materials and supplemental materials by our application deadline.

Application Fee: $65.00 Application Fee

International Degree Evaluation Fee: $50.00 Evaluation Fee for degrees (bachelor's or higher) earned from institutions outside the United States.

Applicants should complete their Free Application for Federal Student Aid (FAFSA) by February 15. Visit the Office of Financial Aid for additional information.

Course details

• Mon 09 Sep 2024 to 22 Nov 2024
• Wed 23 Apr 2025 to 04 Jul 2025

Advanced Creative Writing (Online)

There are no time-tabled sessions on this course. Using a specially designed virtual learning environment this online course guides students through weekly pathways of directed readings and learning activities. Students interact with their tutor and the other course participants through tutor-guided, text-based forum discussions. There are no ‘live-time’ video meetings meaning you can study flexibly in your own time under the direct tuition of an expert. For further information please click here

This is an advanced course designed for students who have completed one of the introductory courses such as Getting Started in Creative Writing, or one or more of the specialist courses such as Writing Fiction, Writing Poetry, Writing Drama, or Writing Young Adult Fiction, or a similar course.

How do authors develop an initial idea into a completed work of fiction? A practical course covering all aspects of novel writing from character creation, story development to final edit. Designed to engender confidence and good writing practice for aspiring novelists.

The development of online publishing opportunities has given rise to an increased commercial success of the self-published author. Beginning with an investigation of how fiction can be created from the writer''s own experience, this course will explore the techniques used to develop and structure a sustained piece of original prose to a commercially viable standard. We will look at character creation and development across a variety of genres. We will learn how to assess the thematic content of contemporary fiction and how this is expressed in the progression of plot. We will examine how description and metaphor are used to support narrative purpose. At the same time, we will explore the role of the writer as self-editor and how close-reading and critical thinking can enable improved confidence in the development of a unique, individual voice which will appeal to a broad readership.

This course emphasises weekly reading and writing exercises, peer feedback, and tutor guidance. Tutors prompt and moderate discussions that centre on group learning rather than workshopping personal pieces of writing. Both assessed assignments receive detailed feedback from the tutor.

For information on how the courses work, please click here .

Programme details

Unit 1 - Write what you know

• Inspiration and application of ideas.
• How to write from personal experience and develop anecdote and memory into a piece of fiction.

Unit 2 - Beginnings, Middles, Endings

• How 3 act structure shapes a story.
• Where to start a story.
• Analysis of crisis points and reader expectation.
• The relationship between main plot and subplot.

Unit 3 - Character 1

• How to create a complex protagonist.
• Departure from expected archetypes.
• Internal vs. external life of character.
• The character with a secret.
• Character growth vs. character decline.

Unit 4 - Character 2

• Supporting characters and their function in story.
• The difference between primary and secondary characters and subsequent influence of story development.
• Secondary characters as chorus and jury.
• The role of the hidden/ invisible main character.

Unit 5 - What kind of story

• Genre expectation and how to subvert it.
• How to fit original ideas to specific genres.
• Commercial expectations of mainstream genres.
• How to subvert known genres.

Unit 6 - What's it all about

• Thematic development in story.
• How to identify the themes in self-created writing; how to dramatise these in character development and action to fit commercial expectation.

Unit 7 - Complex plotting

• Planning and execution in story.
• The concept of dual-plotting, and how this can play with readers' expectation.

Unit 8 - Whose story is it anyway

• Narrative point of view.
• How to choose your narrator and dramatic perspective to best serve plot and character development.

Unit 9 - How to tell it

• Use of description and metaphor.
• How descriptive prose can reveal character; the use of metaphor to provide clues within a complex narrative.

Unit 10 - When is it finished

• Self-editing.
• Good editorial practice, with a focus on how to create text to the standard expected by publishers and agents.
• How to create write synopsis and covering letter for commercial consideration.

We strongly recommend that you try to find a little time each week to engage in the online conversations (at times that are convenient to you) as the forums are an integral, and very rewarding, part of the course and the online learning experience.

Recommended reading

To participate in the course you will need to have regular access to the Internet and the following text books:

• Lodge, D., The Art of Fiction (London: Penguin, 1992)
• Mullan, J., How Novels Work (Oxford: Oxford University Press, 2006)
• Vogler, C., The Writers Journey (Studio City, CA, Michael Wise Productions, 1998)

If later editions of the course texts are available these will also be suitable.

Certification

Credit Application Transfer Scheme (CATS) points 

To earn credit (CATS points) for your course you will need to register and pay an additional £30 fee for each course you enrol on. You can do this by ticking the relevant box at the bottom of the enrolment form or when enrolling online. If you do not register when you enrol, you have up until the course start date to register and pay the £30 fee. 

See more information on CATS point

Coursework is an integral part of all online courses and everyone enrolled will be expected to do coursework, but only those who have registered for credit will be awarded CATS points for completing work at the required standard. If you are enrolled on the Certificate of Higher Education, you need to indicate this on the enrolment form but there is no additional registration fee. 

Digital credentials

All students who pass their final assignment, whether registered for credit or not, will be eligible for a digital Certificate of Completion. Upon successful completion, you will receive a link to download a University of Oxford digital certificate. Information on how to access this digital certificate will be emailed to you after the end of the course. The certificate will show your name, the course title and the dates of the course you attended. You will be able to download your certificate or share it on social media if you choose to do so. 

Please note that assignments are not graded but are marked either pass or fail. 

If you are in receipt of a UK state benefit, you are a full-time student in the UK or a student on a low income, you may be eligible for a reduction of 50% of tuition fees. Please see the below link for full details:

Concessionary fees for short courses

Ms Elizabeth Garner

Elizabeth Garner is a novelist and editor with 25 years of experience of story-development in both film and publishing. She was written two novels: Nightdancing , which received the Betty Trask Award; and The Ingenious Edgar Jones , which was published to critical acclaim in the UK and USA. She has also published a collection of illustrated folk tales: Lost & Found . She is a freelance fiction editor and also teaches creative writing for OUDCE.

Ms Sara Taylor

Sara Taylor is a product of Virginia and the homeschooling movement. She received her Masters in Prose Fiction and Ph.D. in Creative and Critical Writing from the University of East Anglia. Her novels, published by Random House, explore the social construction of identity, sexuality, and family. She acts as co-director and editor of creative-critical publisher Seam Editions, and was elected a Fellow of the Royal Society of Literature in 2018.

Course aims

• Understand how to develop their ideas into a coherent, engaging and commercially viable piece of fiction.
• Become familiar with a range of fiction genres and learn how to shape their work accordingly.
• Critically analyse and discuss their own work with an awareness of the expectation of a public and professional readership.
• Learn the practical skills of self-editing and planning essential for the continuation and completion of their individual writing projects.
• Further develop confidence in their own original writing style.

Teaching methods

• Introductory section, outlining key areas of work within each unit.
• Description of required reading and recommended reading.
• Presentation of materials taken from additional (eg. online) sources, relevant to each unit.
• Online discussion forum.
• Online personal study diary.
• Area for short responses to literary extracts from key texts.
• Tutor responses to forum and exercises.
• Assessment and feedback.

Learning outcomes

By the end of this course students will be expected to:

• Appreciate the diverse skill sets and techniques required in the construction and execution of a sustained piece of prose.
• Be able to think critically about their own work and make editorial choices accordingly.
• Be prepared to apply the skills acquired to continue and complete their own original, individual writing projects.

By the end of this course students will be expected to have gained the following skills:

• The ability to plan and structure ideas into a coherent outline for a novel.
• The ability to develop complex characters to the standard expected of commercially viable modern fiction.
• Critical assessment of the thematic content of a diverse range of contemporary fiction.
• Confidence in their ability as writers through the discovery and development of their own unique voice.
• An understanding of good working practice and self-editing.

Assessment methods

You will be set two pieces of work for the course. The first of 500 words is due halfway through your course. This does not count towards your final outcome but preparing for it, and the feedback you are given, will help you prepare for your assessed piece of work of 1,500 words due at the end of the course. The assessed work is marked pass or fail.

English Language Requirements

We do not insist that applicants hold an English language certification, but warn that they may be at a disadvantage if their language skills are not of a comparable level to those qualifications listed on our website. If you are confident in your proficiency, please feel free to enrol. For more information regarding English language requirements please follow this link: https://www.conted.ox.ac.uk/about/english-language-requirements

Application

Please use the 'Book' or 'Apply' button on this page. Alternatively, please complete an Enrolment form for short courses | Oxford University Department for Continuing Education

Level and demands

FHEQ level 5, 10 weeks, approx 10 hours per week, therefore a total of about 100 study hours.

IT requirements

This course is delivered online; to participate you must to be familiar with using a computer for purposes such as sending email and searching the Internet. You will also need regular access to the Internet and a computer meeting our recommended minimum computer specification.

Terms & conditions for applicants and students

Information on financial support

View a sample page to see if this course is for you

• Career Exploration
• Arts, Communications, & Media
• Education, Nonprofit, & Public Health
• Business, Consulting, Finance, & Marketing
• Government, International Affairs, Law, & Public Policy
• Health Professions Advising
• Career Essentials Resources
• Graduate School
• Application Support
• Short Internship Projects (SHIPs)
• Fellowships for Undergraduates
• Fellowships for Graduates
• Class of 2025 Fellowship Planning
• Fellowships for International Students
• Civic Engagement

Writing a Personal Statement

Preparing to Write

Brainstorming, don't forget, sample prompts.

A personal statement is a narrative essay that connects your background, experiences, and goals to the mission, requirements, and desired outcomes of the specific opportunity you are seeking. It is a critical component in the selection process, whether the essay is for a competitive internship, a graduate fellowship, or admittance to a graduate school program. It gives the selection committee the best opportunity to get to know you, how you think and make decisions, ways in which past experiences have been significant or formative, and how you envision your future. Personal statements can be varied in form; some are given a specific prompt, while others are less structured. However, in general a personal statement should answer the following questions:

• Who are you?
• What are your goals?
• How does this specific program/opportunity help you achieve your goals?
• What is in the future?

A personal statement is not:

• A variation of your college admissions essay
• An academic/research paper
• A narrative version of your resume
• A creative writing piece (it can be creative, though)
• An essay about somebody else

Keep in mind that your statement is only a portion of the application and should be written with this in mind. Your entire application package will include some, possibly all, of the materials listed below. You will want to consider what these pieces of the application communicate about you. Your personal statement should aim to tie everything together and fill in or address any gaps. There will likely be some overlap but be sure not to be too repetitive.

• Personal Statement(s)
• Transcripts
• Letters of recommendations
• Sample of written work
• Research proposal

For a quick overview of personal statements, you might begin by watching this "5 Minute Fellowships" video!

If you are writing your first personal statement or working to improve upon an existing personal statement, the video below is a helpful, in-depth resource.

A large portion of your work towards completing a personal statement begins well before your first draft or even an outline. It is incredibly important to be sure you understand all of the rules and regulations around the statement. Things to consider before you begin writing:

• How many prompts? And what are they? It is important to know the basics so you can get your ideas in order. Some programs will require a general statement of interest and a focused supplementary or secondary statement closely aligned with the institution's goals.
• Are there formatting guidelines? Single or double spaced, margins, fonts, text sizes, etc. Our general guideline is to keep it simple.
• How do I submit my statement(s)? If uploading a document we highly suggest using a PDF as it will minimize the chances of accidental changes to formatting. Some programs may event ask you to copy and paste into a text box.
• When do I have to submit my statement(s)? Most are due at the time of application but some programs, especially medical schools, will ask for secondary statements a few months after you apply. In these instances be sure to complete them within two weeks, any longer is an indication that you aren't that interested in the institution.

Below is a second 5 Minute Fellowships video that can help you get started!

Before you start writing, take some time to reflect on your experiences and motivations as they relate to the programs to which you are applying. This will offer you a chance to organize your thoughts which will make the writing process much easier. Below are a list of questions to help you get started:

• What individuals, experiences or events have shaped your interest in this particular field?
• What has influenced your decision to apply to graduate school?
• How does this field align with your interests, strengths, and values?
• What distinguishes you from other applicants?
• What would you bring to this program/profession?
• What has prepared you for graduate study in this field? Consider your classes at Wellesley, research and work experience, including internships, summer jobs and volunteer work.
• Why are you interested in this particular institution or degree program?
• How is this program distinct from others?
• What do you hope to gain?
• What is motivating you to seek an advanced degree now?
• Where do you see yourself headed and how will this degree program help you get there?

For those applying to Medical School, if you need a committee letter for your application and are using the Medical Professions Advisory Committee you have already done a lot of heavy lifting through the 2017-2018 Applicant Information Form . Even if you aren't using MPAC the applicant information form is a great place to start.

Another great place to start is through talking out your ideas. You have a number of options both on and off campus, such as: Career Education advisors and mentors ( you can set up an appointment here ), major advisor, family, friends. If you are applying to a graduate program it is especially important to talk with a faculty member in the field. Remember to take good notes so you can refer to them later.

When you begin writing keep in mind that your essay is one of many in the application pool. This is not to say you should exaggerate your experiences to “stand out” but that you should focus on clear, concise writing. Also keep in mind that the readers are considering you not just as a potential student but a future colleague. Be sure to show them examples and experiences which demonstrate you are ready to begin their program.

It is important to remember that your personal statement will take time and energy to complete, so plan accordingly. Every application and statement should be seen as different from one another, even if they are all the same type of program. Each institution may teach you the same material but their delivery or focus will be slightly different.

In addition, remember:

• Be yourself: You aren’t good at being someone else
• Tragedy is not a requirement, reflection and depth are
• Research the institution or organization
• Proofread, proofread, proofread
• How to have your personal statement reviewed

The prompts below are from actual applications to a several types of programs. As you will notice many of them are VERY general in nature. This is why it is so important to do your research and reflect on your motivations. Although the prompts are similar in nature the resulting statements would be very different depending on the discipline and type of program, as well as your particular background and reasons for wanting to pursue this graduate degree.

• This statement should illustrate your academic background and experiences and explain why you would excel in the Department of Civil and Environmental Engineering (UMass Amherst - M.S. in Civil Engineering).
• Describe your academic and career objectives and how the Yale School of Forestry and Environmental Studies can help you achieve them. Include other considerations that explain why you seek admissions to the Yale School of Forestry and Environmental Studies and your interests in the environmental field (Yale - Master of Environmental Management).  
• Please discuss your academic interests and goals. Include your current professional and research interests, as well as your long-range professional objectives. Please be as specific as possible about how your objectives can be met at Clark and do not exceed 800 words (Clark University - M.A. in International Development and Social Change).
• Write a 500- to 700-word statement that describes your work or research. Discuss how you came to focus on the medium, body of work, or academic area you wish to pursue at the graduate level. Also discuss future directions or goals for your work, and describe how the Master of Fine Arts in Studio (Printmedia) is particularly suited to your professional goals (School of the Art Institute of Chicago - MFA in Studio, Printmaking).
• Your statement should explain why you want to study economics at the graduate level. The statement is particularly important if there is something unusual about your background and preparation that you would like us to know about you (University of Texas at Austin - Ph.D in Economics).
• Your personal goal statement is an important part of the review process for our faculty members as they consider your application. They want to know about your background, work experience, plans for graduate study and professional career, qualifications that make you a strong candidate for the program, and any other relevant information (Indiana University Bloomington - M.S.Ed. in Secondary Education).
• Your autobiographical essay/personal statement is a narrative that outlines significant experiences in your life, including childhood experiences, study and work, your strengths and aspirations in the field of architecture, and why you want to come to the University of Oregon (University of Oregon - Master of Architecture).
• Personal history and diversity statement, in which you describe how your personal background informs your decision to pursue a graduate degree. You may refer to any educational, familial, cultural, economic or social experiences, challenges, community service, outreach activities, residency and citizenship, first-generation college status, or opportunities relevant to your academic journey; how your life experiences contribute to the social, intellectual or cultural diversity within a campus community and your chosen field; or how you might serve educationally underrepresented and underserved segments of society with your graduate education (U.C. Davis - M.A. in Linguistics).
• A Personal Statement specifying your past experiences, reasons for applying, and your areas of interest. It should explain your intellectual and personal goals, why you are interested in pursuing an interdisciplinary degree rather than a more traditional disciplinary one, and how this degree fits into your intellectual and personal future (Rutgers University - Ph.D in Women’s and Gender Studies).
• Your application requires a written statement to uploaded into your application and is a critical component of your application for admission. This is your opportunity to tell us what excites you about the field of library and information science, and what problems you want to help solve in this field. Please also tell us how your prior experiences have prepared you for this next step toward your career goals and how this program will help you achieve them (University of North Carolina Chapel Hill - Master of Science in Library Science).
• After watching the video, please describe what strengths and preferences as a learner you have that will facilitate your success in this innovative curriculum. What challenges in our curriculum do you anticipate and what strategies might you use to address these challenges? (MGH Institute of Health Professions PT - They recently redesigned their curriculum)
• Your personal goal statement should briefly describe how you view the future of the field, what your goals are to be part of that future, and what brought you to pursue an advanced education degree in your chosen field. You may include any other information that you feel might be useful. (Northeastern PT)
• Personal Statement: In 500 words or less, describe a meaningful educational experience that affected your professional goals and growth and explain how it impacted you. The educational experience does not need to be related to this degree. Focus on the educational experience and not why you think you would be a good professional in this field. (Simmons PT)
• Personal Statement (500 word minimum): State your reasons for seeking admission to this program at this institution. Include your professional goals, why you want to pursue a career in this field and how admission to this program will assist you in accomplishing those goals. (Regis College Nursing)
• “Use the space provided to explain why you want to go to this type of program.” (AMCAS)
• Address the following three questions(Though there is no set limit, most statements are 1–2 pages, single-spaced.): What are your reasons for pursuing this degree? Why do you wish to pursue your degree at this institution? How do you intend to leverage your degree in a career of this field? (Boston University MPH)
• Please submit a personal statement/statement of purpose of no more than 500 words for the department/degree of choice. Professional degree essays require a clear understanding of the _______ field and how you hope to work within the field. Be sure to proofread your personal statement carefully for spelling and grammar. In your statement, be sure to address the following: what interests you in the field of _____ what interests you in a specific degree program and department at this institution and what interests you in a particular certificate (if applicable). Please also describe how you hope to use your ________ training to help you achieve your career goals. (Columbia PhD in Public Health - Epidemiology)
• Because each Home Program requires significant original research activities in fulfillment of the requirements for the degree, we are interested in obtaining as much information as possible about your previous research experiences. Those who already have such experience are in a better position to know whether they are truly interested in performing ______ research as part of a graduate program. Please include specific information about your research experience in your Statement of Purpose. You may also use the Statement to amplify your comments about your choice of Home Program(s), and how your past experiences and current interests are related to your choice. Personal Statements should not exceed two pages in length (single spaced). Make sure to set your computer to Western European or other English-language setting. We cannot guarantee the ability to access your statement if it is submitted in other fonts. (Stanford Biosciences PhD)
• Your statement of purpose should describe succinctly your reasons for applying to the Department of ____ at ___ University. It would be helpful to include what you have done to prepare for this degree program. Please describe your research interests, past research experience, future career plans and other details of your background and interests that will allow us to evaluate your ability to thrive in our program. If you have interests that align with a specific faculty member, you may state this in your application. Your statement of purpose should not exceed two pages in length (single spaced). (Stanford Bioengineering PhD)
• Statement of purpose (Up to one page or 1,000 words): Rather than a research proposal, you should provide a statement of purpose. Your statement should be written in English and explain your motivation for applying for the course at this institution and your relevant experience and education. Please provide an indication of the area of your proposed research and supervisor(s) in your statement. This will be assessed for the coherence of the statement; evidence of motivation for and understanding of the proposed area of study; the ability to present a reasoned case in English; and commitment to the subject. (Oxford Inorganic Chemistry - DPhil)

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